Alright. Thank you for listening to Greenest Nine Hits. I'm Chris and playing I Can't Go For that from the Private Eyes album by Hollinotes is my co-host, tim. We want to thank you all for listening again. As always, private Eyes is the subject matter of our episode today. It's the 10th studio album by Hollinotes. It was released in 1981. Private Eyes became one of Hollinotes' biggest hits, reaching number one on Billboard Hot 100 chart. It also spawned two other successful singles I Can't Go For that, and Did it in a Minute both of which reached the top 10 on Billboard Hot 100. I Can't Go For that is probably my favorite song on this album, but it's one of the hits and so it won't be a song that we're gonna be voting on today. So, like as always when you listen to our episodes, we listen to the album. You know.
Speaker 2:Have a few laughs along the way and then at the end we together rank our top three nine hits, so the song Private.
Speaker 2:Eyes and, of course, I Can't Go For that and Did it in a Minute will not be a part of what we'll be voting on later on in the episode, but in the meantime, you know it doesn't hurt to just kind of do a recap. You know it's been a while since these guys have been relevant, although they've been touring all the way up until the last year or so. And of course you know, we all know, that there are problems between the two of them. You know, as it's being recorded, so we'll see how history plays out. You know, depending on you know, when you're listening to this, One of the real important things about this album or I guess one of the most significant things that kind of goes overbooked, you know, on the topic of I Can't Go For that is the fact that this is a song that's been sampled more than, I think, most any other song that's out there.
Speaker 2:For example, I think Simply Red Sunrise 2003 sampled the bass line and the melody of it in their hit Single Sunrise De La Soul in 1989 on the song Say no Go. Sampled the drum break On their song, or actually, yeah, On their song Say no Go from the album Three Feet High and Rising. There's also Heavy D and the Boys Is it Good to you? In 1989, they sampled the bass line Simply Red again sampled the bass line For 1995, Fair Ground and the Single Fair Ground.
Speaker 3:There are a bunch of others so I mean, the list goes on and on.
Speaker 2:We don't have to dig deep. I mean, those are a few of many other songs that have sampled those bass lines. The Personnel Daryl Hall, now 77, leads, lead vocals, keyboards doesn't synthesize. On this one he plays some guitar, mandala, mando cello, timbles. John Oates lead vocals as well. They have that harmony. It's like their big deal. Larry Fass plays synthesizers GE Smith. You know who I'm talking about.
Speaker 3:Could you guys just go to the blond guy with the guitar?
Speaker 2:The blond guy with the guitar on Saturday Night Live, so you know he was with them for a while so notable guitar player there?
Speaker 2:Who else? Well, there's a few. Oh, charles Deschants, also known as Mr Casual, as Tim Leicaulon he plays playing on the hot horns. Shout out to Charles. So, yeah, we're gonna listen to some really good music today. We're really excited about it.
Speaker 2:It's so heartbreaking, you know, like for the fact that these guys are at each other's throats. I think that there's some sort of a rift about their LLP, limited liability partnership. I think Oates wanted to sell his shares. He was telling him for months, no, I'm not going to do it. And then, you know, like a jilted lover, hall finds out that he tries to sell the shares and he gets a job, gets a judge to block that. So I guess it's at the moment, as we're recording this, it's like the restraining order by the judge to restrain the this, his shares to be sold. So we'll see how it turns out. But you know, it's just real. Some you know it's going to the courts and everything. You know, kind of like a little judge Woffner, you know people's court, you know. So we've got on this side Darrell Hall, the plaintiff, and suing for damages, or shares?
Speaker 3:I don't know.
Speaker 2:And then you got Hall saying hey man, you've been an individual for a while, you know, and you've been the man and I've just been owed, so over here with my pushy mustache and you know, you've been talking out all the glory. So it's like so you know, rather than go to a judge, I think that they should sell their dispute here in our core. But anyway, that's not going to happen. So anyway, but nevertheless, we're going to be again, like I said, listening to non hits and Tim's going to pack it up and he's going to join us in a few moments. Shout out to all the listeners. Shout out to you If you're, if you're in the car, man, if you're headed to work. Shout out to the commuters. Shout out to the tea drinkers as always, we always do that. Shout out to the beer drinkers Hell, why not? And shout out to you, wild Tim, how you doing bud.
Speaker 4:Feeling smooth. Yeah, smooth as a daisy.
Speaker 2:You're excited for this one, aren't?
Speaker 4:you. That's an understatement.
Speaker 2:You know why? Because it's because of Charles DeChant. You like, you like sax players. He's no, he's no David Sanborn, but you know, yeah, he's no David.
Speaker 4:Well, he's better, he's better. Mr Casual, exactly, he defines the casual, you know. Just Look at this guy, check him out. I mean just the long locks, the amazing jacket yeah, he fits right in there. And I wonder what his athletic leisure would look like. You know, you get the leggings, some Russell athletic little shorts over that, maybe some flannel shacket.
Speaker 2:Yeah, okay, yeah, I mean, I was special here, yeah, I'm wearing a flannel shacket. I'm not sure.
Speaker 4:I think this is both wearing a athleisure is what we call it. Yeah, it is athleisure. Where you could either be running 10 miles or in very sub-artic weather, or just laying on the couch watching your favorite episode of Maury.
Speaker 2:you know, either or yeah, I mean well, I mean if you're out, you know doing a hike, or you're watching TV and laying on the couch, I mean you can't do it in the kind of sequence jacket that uh and if you're trying to wear so like. I'm playing that sax. It's like have you ever wore a sequence while you were? I mean, I've never worn sequence period, but I'm just wondering that while you're watching TV he's like you don't wear it for that.
Speaker 4:A sequence of what I mean. I feel like Charles can see the sequence of you know the world in some kind of like pixelated Neo from the Matrix kind of way, while he's like blaring on that saxophone. Okay, I'll take that.
Speaker 2:I won't ask you to sit the next couple plays out on that one. I think that's legit. I do it so, but regardless, we got a great show man. We're going to get into songs. There's Private Eyes on this one, right.
Speaker 4:Private Eye is good. Yeah, I mean this whole album. What does it mean? What does this album mean to you? I think it's just kind of like a little bit of superficial, like love songs that are poppy and yeah, like good jam it's kind of what light hearted it's not.
Speaker 2:It's new wave with pop, you know some kind of. Thing.
Speaker 4:Yeah, new wave pop. I don't know. Are we off, are we ready?
Speaker 1:And we're off, all right.
Speaker 2:There we go. All right, here we go, you ready, I see you you see me, but you're blowing the lines.
Speaker 4:Blowing lines what Well, hey?
Speaker 2:we just said that.
Speaker 4:Blowing the lines when you're making a scene Straight off the bat.
Speaker 2:This is an 80s album. Yeah, I mean think we don't have an HR department, or maybe we do kind of downstairs.
Speaker 4:Geez, she's not ironic, I know it is, see you, I see you.
Speaker 2:Ironic keeps like popping in, you guys using the S word. Yeah, it's like all right, I'm watching you watching, you, watching you. I asked her where I got the jacket. We got like sound clips of like private eyes. That was Hong Kong Fooie. It has completely different era. We got a little Matt Dylan yeah, from what was. Something about Mary Something about Mary, yeah, cause you can escape by private eyes. My lady friend, you're back in school.
Speaker 1:They say oh, every move, baby, you expect me to believe this is a straight stalker case. Come on, hey, hey, hey, hey, I'm not a stalker. I'm not a stalker, I'm just a friend of mine.
Speaker 2:She's just a friend. There's GE right, this is GE Smith.
Speaker 3:Yeah, that's GE Smith, yeah, Block.
Speaker 2:All right.
Speaker 3:I show you the block again.
Speaker 2:I want to see the blind guy you like the blind guy with the guitar.
Speaker 4:Yeah, I do like the blind guy. I like that guy. He play really good. I must buy it on your side, you see, of course.
Speaker 1:Private eyes.
Speaker 4:There's just secrecy anymore. There's no privacy yeah.
Speaker 2:You don't even need eyes anymore, it's just satellites and fucking cameras and shit.
Speaker 4:Fuck that, some Orwell shit.
Speaker 2:That's like private satellites they're watching private drones.
Speaker 4:Oh, niners Nails has a good song called satellite. Oh yeah, I'm watching you. It's a creepy good hard rock song, very different than this, yeah.
Speaker 2:We've got drones around here. It's just crazy yeah.
Speaker 4:Drones.
Speaker 2:What else?
Speaker 4:Yeah.
Speaker 2:Satellites robbing, you know, creeping around the corner. I'll do that so many.
Speaker 4:Everybody just checking your history. Oh, let's get some Hong Kong food.
Speaker 1:This sounds like a keeper for Hong Kong food, all right.
Speaker 4:A little palate cleanser here.
Speaker 2:Yeah, scatman. Carruthers Shout out to Scatman.
Speaker 1:There's some lady friend you knew back in school.
Speaker 2:All right, Nice. All right, Now we got. So that was a hit. We're not going to rank that one. The next one is what's?
Speaker 4:this one Looking for a good sign Right For all those shout out to the sign makers out there.
Speaker 2:It's a sign Little bongo Got the bass and the bongo like working the guy.
Speaker 4:It's hard to distinguish, yeah.
Speaker 2:I can't say enough about the, the harmonies here.
Speaker 4:Well, that's what this is about. Yeah, they're good singers, vocalists, I should say.
Speaker 2:This is I don't know it's rooted in like that's 50s, like jazz, like R&B.
Speaker 4:It's bubble gum, it's, it's Raga Bubble gum Raga.
Speaker 2:This is, this is barbershop.
Speaker 4:Barbershop, yeah, Bubble gum, barbershop. See then 10 times fast.
Speaker 2:Yeah, there's a 10 twist Bubble gum barbershop. Bubble gum barbershop Backing.
Speaker 4:Why are you fighting me? No, fighting. If you're looking for a good time, don't go out to bars and start start fights. Okay, that's not not another good time. Okay, wait, wait, wait, don't do that. You just you don't want to do a Brad.
Speaker 2:Hamilton, oh, at the bar. It's not the right, neither here nor there. Mr.
Speaker 4:Casual getting crazy. Yes, he's punching it down, he's punching it.
Speaker 2:He is punching down on these guys.
Speaker 1:I want the whole. Thing.
Speaker 4:Oh, I like how they broke out of that See, yeah, it's a good transition. They pulled the ripcord. Good on that, yeah they did Real good Like.
Speaker 2:You know this song is a lot better this time than the other times I've heard it.
Speaker 4:It could be in Caddyshack, I feel like it's so stereotypically like a feel good, like a stupid little love song, that yeah.
Speaker 2:Like during, like the climax of that song, like that movie, like.
Speaker 4:You love to hate it so much, so what, let's dance? Yeah, exactly, you love to hate it so much that you then come back to love it, you know yeah.
Speaker 1:Anyhow, if you think that I'm gonna sit around and wait for you.
Speaker 2:That's sad Linda. Sad Linda from Fast Times of Rachel.
Speaker 1:Looking for a good time. I want romance.
Speaker 2:You want romance.
Speaker 4:You want romance? Looking for a good time? We don't even have cable. There's a hot guy over there Just if he says anything funny, just laugh like you've never heard a joke in your life before. I'm looking everywhere. Shout out to the arcade players out there.
Speaker 2:Yeah, shout out to the asteroids players.
Speaker 1:Do, do, do, do, do, do, do, do, do, do do.
Speaker 2:Shout out to the defender. Yeah Well, those are all popular games in 81. I think this is around this time. This came out like the arcade games, you know, like Pac-Man, the old school ones.
Speaker 4:There wasn't any guitar on that where it was there. I'm donkey you know you're on that song.
Speaker 2:Yeah, just rhythm. Okay, On the theme of that fight, you know there's more fighting songs, aren't there? There's a bunch of songs about minutes on this.
Speaker 4:There's a minute theme here.
Speaker 2:I know, I don't know what. That, yeah, one of them was a single too. This, yeah, the bass line just seems to be sampled over and over again. This is, yeah, like simply rad.
Speaker 4:I mean, this intro is hot, hot fire.
Speaker 2:It is. That's baby-making music. That's what that is.
Speaker 1:That's baby-making.
Speaker 4:Well, the little crystallized piano bits keys. So serene Could be in the sauna.
Speaker 2:Yeah, this is great Salt room music.
Speaker 4:Yeah, bass salts Hit in the tub, shout out to the soakers.
Speaker 1:I want my soul. Anything, it's kind of selling my shares, fucking over Selling my soul. I'm not sure what you want me to do. We'll have an ex coming at you.
Speaker 3:You gotta go, just go. I don't know now.
Speaker 1:I can't go for that. Can't go for that.
Speaker 4:I like that line. It's meta, just repeating the same old lines.
Speaker 1:I don't know now. I'll do anything that you want me to.
Speaker 2:I don't know about anything. I mean, do almost Almost anything. What do you think he's talking about? What would he do?
Speaker 4:And then, what is that I?
Speaker 3:don't know.
Speaker 4:Is that like some weird stuff? I don't know. They obviously don't want to get into it with specifics here.
Speaker 2:Yeah, what do you think? What about Roger from American Dad? What do you think? What do you think he's talking about?
Speaker 1:I'll give him a San Diego, thank you.
Speaker 2:Oh, okay, is that what he can't go for? Alright, yeah, man, that could be it. I don't know.
Speaker 4:We'll have an ex coming at you. Hold on, people. We'll take out your riddles.
Speaker 1:I'll do anything that you want me to. Yeah, you almost anything that you want me to.
Speaker 4:I got the voice. I got the voice. It just gives me a headache if I do it too long. A pitch match matching intonation, it's not easy.
Speaker 2:Pitch intonation.
Speaker 4:Yeah, it's like hitting the right scale as your right. You know, you just, you just.
Speaker 3:You got to go, go go.
Speaker 2:That's right. I can't do it.
Speaker 1:I'm scared. Can you do it too? Here we go, I'm scared. Can you do it too? I can't do it. I can't do it.
Speaker 3:I can't do it. You got to go, just go, I can't do it.
Speaker 1:I can't do it, I can't do it. I can't do it.
Speaker 4:Solid I've said this before with our 80s songs. I know this is a non hit, but that might be one of the greatest hits of the 80s.
Speaker 2:Oh, it definitely is.
Speaker 4:Hell yeah.
Speaker 2:I'm glad you agree with that. Yeah, okay, the bass line. I think it's like the bass line in particular, that everybody samples. Yeah, shout out to you.
Speaker 4:It's like it's jazz pop fusion. I don't know.
Speaker 2:Yeah, I can't say enough good words about the song it's good.
Speaker 4:Why my favorite you?
Speaker 2:know real close to yeah, private eyes, a close second.
Speaker 4:All right, we're punch, we're punching up. All right, we're punching away. Class up here. Start with G Smith.
Speaker 2:This is mono, a mono so Translated to man to man, for the day person.
Speaker 1:What are you gonna find?
Speaker 2:I Think different. Strike you on this.
Speaker 4:You got intensely pop. It's just like all pop, it's all soft pop rack.
Speaker 2:Yeah, but it's also, it's oats taken. That's him. Oh, oh see, like all doing the mono, a mono. He's probably like, yeah, you can probably take the royalties for this one. I don't give a shit, I Don't think this is a big song, hi, what do you think?
Speaker 4:No, it's you ain't do it here, definitely not.
Speaker 2:Definitely not a hit. I can't like it.
Speaker 4:It's nice and easy. It's growing on me.
Speaker 1:I said easy, that was not nice.
Speaker 4:It's very nice and easy.
Speaker 1:Oh, that hits, you.
Speaker 4:Yeah, hand to hand.
Speaker 1:Oh.
Speaker 4:And we're fighting.
Speaker 2:Bobby and happy God yeah, let's immediately hold hands after we just beat the crap out of you.
Speaker 4:That was good timing. Actually it like stopped. The song is weird. I Just want peace and romance and women, and just to not be wrong. Oh shit, yeah, the other happy.
Speaker 2:Gilmore, just that's in that case that guy I'm telling.
Speaker 4:Yeah, I'll meet you at the flagpole at three o'clock and we'll bring your guitar and your drums and your bonkers and shit. I know we'll get nice and easy. This is like a commercial song for Pepsi or some shit like that, I know.
Speaker 2:I'm surprised, like this didn't get.
Speaker 4:I Can't do it on this song.
Speaker 3:I'm gonna punch it yeah.
Speaker 2:All right, oh sorry.
Speaker 4:All right, we're into. Did it in a minute. What does that?
Speaker 2:mean I don't know. It's just kind of like Brad Hamilton counts stuff out. I don't know. Wait a go.
Speaker 3:Brad. All right, brad, can you live in that moment?
Speaker 1:Dude, I've jacked it twice since I've been here. Are you kidding me? Why not?
Speaker 2:Paul Rudd, stop it. I mean, yeah, it's sort of like a pre-scarface soundtrack. I don't know. Yeah, it's very 80s. This is like very nice.
Speaker 4:Billy Joel yeah.
Speaker 2:Kind of yeah.
Speaker 4:It's Jolie, I know.
Speaker 1:I know, I know when it's coming.
Speaker 2:Oh, that's great.
Speaker 4:All right. Hamilton, all right. All right, phoebe Kates Did it, she did it, she did it. You did it.
Speaker 1:Oh wait a minute, Wait a minute. Boys won't listen. No, they won't. No, they won't. Oh wait, Just a minute Wait.
Speaker 4:Wait, is anybody?
Speaker 1:in knock over here, knock anymore. Is that our?
Speaker 4:HR department with some complaints.
Speaker 2:Exactly yeah.
Speaker 4:Wait a minute, I was proving wrong. If I lie, if I just lie, I can get out of this sticky situation.
Speaker 1:Wait a minute, wait a minute, boys won't listen.
Speaker 3:With joy in your heart.
Speaker 4:Little Friday night lights here. Oh wait, just a minute, Little. Oh, I've got some friends over back. Keep it down. I've got some work inside. What were to do on what Brad?
Speaker 2:They ever got about that Lean ass excuse. That was never With his pirate suit on Exactly. They like didn't even question it. They were more like oh, what's wrong with him?
Speaker 4:He hates his job, barely even looks me in the eye anymore. It's kind of sad. Mom's always gone. Do you want to come to my bedroom?
Speaker 2:Yeah, his sister was pretty aggressive with Mark Ratner Anyhow.
Speaker 1:I can make it up, sit around and wait for you Forget it I know, sit around and wait.
Speaker 4:Wait, just a minute.
Speaker 2:I feel like I didn't get Brad Hamilton out of my system.
Speaker 1:Say and let it out, Give it some air. Man Play with it.
Speaker 4:Play with it. All right Wait just a minute.
Speaker 1:Okay, that's it.
Speaker 2:Enough of that, we're done. Okay, so this one is above water.
Speaker 4:Head above water.
Speaker 2:That's right. Head above water. That happens sometimes. You know when you're pushing over your weight. You know you gotta. This is the equivalent of that song Push it to the Limit from Scarface. I think, that's why I'm sort of yes, shout out to the swimmers out there. Shout out to the swimmers, shout out to the waiters, yeah, waiting water, boxing training.
Speaker 4:If you're just like waiting, boxers training, pizza Pizza. Make little pizzas in the water. Okay, make the little pizzas with your feet. Right, make them with your hands Blow the bubbles. It's like a carousel. All right, In with the good but out with the bad. Yeah.
Speaker 2:Let's get out of our buoys and our kicking boards.
Speaker 4:Out of buoys, in with the oxygen, out the carbon dioxide here.
Speaker 2:Breathe in through the nose and then out through the mouth. There's a the up, yeah.
Speaker 1:You'll never envy the big fish in the pond. It's dark and deep when the moon surface is gone.
Speaker 4:This is a surface song, I don't know.
Speaker 2:We have a pond in the back. We have pools and a pond A lot of good things yeah.
Speaker 3:Maybe sit, the next couple plays out.
Speaker 2:You know what I mean? He was talking about me, yeah.
Speaker 4:Talking about hollownotes.
Speaker 2:Oats needs to sit the next couple plays out. He's just like fucking him over left and right.
Speaker 4:I know their intonation is off on this song. I just yeah. They knew they'd be having legal problems in their 77.
Speaker 3:The back of their minds.
Speaker 4:They're like this guy is going to betray me. I'm just going to keep my head down, but above water and do what I can. You know how these guys met.
Speaker 2:Um, you know it's actually.
Speaker 2:There is a lot of rouge on that, like two or three albums before this, I mean. But no, no, no it's. There was actually like a they're at a college or something and there was like a like an active shooting nearby what Both of them were at and they like ran to like a serve, like the same service elevator, and they like sort of like, you know, I guess, protecting themselves or whatever. That's how they met, like they ended up you know talking to, like you know discovering that they both love music and all that stuff Anyway, in a time of trauma, yeah.
Speaker 2:I mean, what did a chance encounter, though at the same time, wow, none of this would have happened. Of course, none of these lawsuits would happen either. So maybe it was bad for the long game, good for the the short and mid midterm.
Speaker 4:I don't know how do you like? Yeah, quantify that situation. But, yeah, they're just trying to keep your head, just people making songs. You know, I know, trying to tour. They've lived their their hard life on the, on the road, throwing their vocal chords to the winds, exactly.
Speaker 2:Yeah, I mean, it's just growing their mustaches with wild abandoned.
Speaker 4:Yeah, and just what else do they do Rusion?
Speaker 3:it up. Can you live in that moment?
Speaker 2:Yeah, in that above water moment. That's some, yeah, some subliminal stuff there with the Friday night lights. All right, yeah, okay. So this is the next song. What is this? Tell me what you want. This is like a weird thing. What were they thinking?
Speaker 4:on this. It's got two parts to it. It's got this unfinished sort of yeah.
Speaker 2:And then it starts to rock in a minute, right, yeah, this is Barbershop it's. Barbershop Raga.
Speaker 4:This would be a cool song to like open to, though, cause it's like it has this thing yeah.
Speaker 2:It's kind of like Spirit of the Radio by Rush, oh, wow, okay, in fact this came out in 81.
Speaker 4:That came out in 80.
Speaker 2:I think that they ripped it off right here. The GE Smith it's a pretty good thing. The blonde guy with the guitar.
Speaker 3:Exactly. I show you a blonde guy with the guitar.
Speaker 1:He's good yeah.
Speaker 4:I like the Raga kind of.
Speaker 2:This is very police-ish too, de-de-de-de-de.
Speaker 1:About a cowboy always.
Speaker 2:Lots of cowbell.
Speaker 4:Now it goes into the.
Speaker 2:Scott thing. Is this Scott?
Speaker 1:Yeah, yeah.
Speaker 4:Is this Scott? No, a little bit. Yeah, yeah, that's.
Speaker 3:GE Smith yeah, block, it needs more cowbell, a little more.
Speaker 2:I like the Raga. This is not bad.
Speaker 4:You don't have any intel on this one I don't know, but it just reminds me of the police.
Speaker 2:That's all I know, At least that previous stanza. Tell me girl.
Speaker 4:This doesn't sound like Colin.
Speaker 2:Rose, it's a fighting song.
Speaker 4:It's a good fighting song.
Speaker 1:It's a good fighting song. Tommy Metola, I guess, manages these guys yeah.
Speaker 2:RCA records? There's not really much? I don't think there's much intel on this song. You know they had a writing partner, Sarah Allen, and she was a co-writer the song with Hall. Okay, yeah, she co-wrote Private Eyes, I think, with a relative, Jana Allen. I think it was her daughter or sister, something like that. And then Daryl Hall Hall Notes and Allen also wrote I Can't Go Up or Down. Sarah missed and made Bank. I hope so.
Speaker 2:I don't know if she was in the LLP, though I mean that music is a whole separate thing or maybe she went over to the Oats side, wow, you know, let's do a little pallet cleanser here.
Speaker 4:All right, we're going to fight. Fight is ours here. Look, you stupid bastard, you've got no arms left. Yes, I have, look.
Speaker 2:Just a flesh wound.
Speaker 4:Alright, the flesh wound on my ears. Cut my ears off on that one.
Speaker 2:That was good you know that was good, cutting through hauling notes with money, probably. I think it's always that's good palate cleansing.
Speaker 4:It needed to happen.
Speaker 2:It had to happen. I'm feeling fresh.
Speaker 4:We banked it. We had to play it. It's supposed to be from mono and mono.
Speaker 2:That's okay. Friday let me down is this one.
Speaker 4:Oh, Friday yeah.
Speaker 1:You ain't got no job and you ain't got shit to do.
Speaker 2:I brought the movie Friday. Alright, there you go.
Speaker 4:What are you gonna do on Friday?
Speaker 1:Yeah.
Speaker 2:And not so much hauling notes. I'm not gonna listen to that, uh.
Speaker 4:That's not your Friday night music. Yeah, I gotta go with something a little harder.
Speaker 2:Yeah, I gotta go with something a little harder. Barbershop Raga. Yeah, this is Barbershop. I just couldn't get into this song.
Speaker 4:You go to the pool on Friday or the pond.
Speaker 2:The pond will be good for you. You got a pool here. Yeah, it's like. Tim is Carl Spackler, I'm Ty Webb. Yeah, ty.
Speaker 1:Yeah, this one.
Speaker 4:What's your drug, Danny?
Speaker 2:Every day, every day Good man, just on the weekends. This is like Rick Springfield man.
Speaker 4:Yeah.
Speaker 2:I think this is haul. Oh, this is Oat singing.
Speaker 3:Tim, let it out, Give it some air man Play with it.
Speaker 4:Get out of the house, do something. You just sit on the couch, yeah, and watch Seinfeld, or that's a great Friday night, not Tim?
Speaker 2:Yeah, everybody loves Raymond. It's like that was in the big box of porn. We haven't heard much from Mr Casual in a while.
Speaker 4:Yeah, what's his deal? He's got a bow chick of wow-ow-ing on this.
Speaker 2:Yeah, yeah.
Speaker 4:Oh, wait a minute, wait a minute. Wait a minute. I have plans. Wait a minute.
Speaker 2:The drummer's pretty good on this too. I'm going to take out the personnel. I don't think we shot it out or mentioned the drum player, which is it's not even a down-it's. Oh, here we go. The音 is Mickey Curry. Jerry Marada. This is. What track is this here? I think it's like 8. I think it's Jerry Marada 8,. Yeah, shout-out to Jerry. I think I prefer his to Mickey Curry.
Speaker 3:Can you live in that moment best you can, with clear eyes and love in your?
Speaker 2:heart. That's an excellent segment.
Speaker 4:Oh, we're back to minutes here.
Speaker 1:Oh, wait a minute, wait a minute, wait a minute, oh, oh, oh.
Speaker 4:Unguarded, the unguarded variety Unguarded. Oh, is anybody knocked? So you're not getting more. I'm oh yeah, okay, oh yeah.
Speaker 2:I just wonder, like they both play keyboards, and so I'm just wondering what songs both either Hall of Roads are playing keyboards on or Tim Ballets well, that's the. The Tim Ballets is all that I mean.
Speaker 4:Oates does not do that no, tim Ballets, we're all Oates does not go for that they just like, they like whittle away on the piano a little bit as they're singing. They're like and they like play it, like get their little voice, intonations of the, the chords and shit.
Speaker 2:It's a highly advanced way of making songs yeah, you know what the song sound. What the song sounds like to me is like like the outtakes for kiss on my list, yeah, something kind of like that yeah that's what I'm hearing, but I mean it's like okay, but it's. It's almost as if it's the part of the same song had an accident.
Speaker 4:Your kiss is on my list. I had an accident in it. The hell does that mean I had an accident in it? An unguarded minute, watch out. Oh, oh, watch out. Hold it tight, you know, play with it yeah, this sounds like very, very bad intercourse and we're off the rails back to G.
Speaker 3:Smith you like it? A blunt guy with the guitar fills fill century. Yeah can you guys go to the blonde guy with the guitar?
Speaker 4:more guitar solo please you like it? A blunt guy with the guitar yes, he's saving this song right now he really is, and this is like a bad kiss on my list. I mean now the last minute of this. I'm actually kind of enjoying. I don't know it's getting so bad.
Speaker 2:It's good kind of thing that's the danger of haul notes. It's like you get mesmerized into liking. That's, that's it. That's a good pal, climb to it. I'll call it. Oh gosh, now, this song, this is your imagination.
Speaker 4:This is not a hit right.
Speaker 2:It's a single, but it was like it got like up to 33. It's sort of like it didn't never really took off. I, for the purposes of what we're doing, I think this should I like the keys, how towards our voting yeah, yeah.
Speaker 4:It's interesting the keys are on the griddle.
Speaker 2:They are on the griddle. They're on something.
Speaker 4:Hold on people. Yeah, it sounds like they're on mushrooms.
Speaker 2:actually it's like psychedelic almost.
Speaker 3:Imagination.
Speaker 4:Yeah, this is deep. This has that Sort of wave, headbopping like.
Speaker 2:That's why I like it. It's hypnotic in a way. It's very hypnotic, but in a good way.
Speaker 4:The cutting of the guitar, the background singing True blue. That's when your crab meat is from Maryland. Are you true blue with those crab cakes? You tell me right, them crabs are from North Carolina or Texas, are they?
Speaker 3:You gotta go, just go.
Speaker 2:Yeah, we're going to need you here, champ for our man.
Speaker 1:I'm going to get some crab cakes. I want romance, you want romance.
Speaker 4:I'll share some pizza to table three.
Speaker 2:Charles DeShape to occur to Seafond please.
Speaker 4:Mr Casual wants a pepperoni pie.
Speaker 2:Mr Casual doesn't eat anchovies on his pizza. Oh, that's like a weird synth. I think that's Larry fast. Shout out to Larry. We haven't mentioned him yet. John C Glurion bass Nice, I think Jerry Marata plays drums on this one, not in the state. I like the background singers. I'm sorry, this is Chuck Berge on drums. Shout out to Chuck.
Speaker 1:This is your imagination, Peter.
Speaker 2:Oh, all right, that was nice, pal Quincy.
Speaker 4:All right.
Speaker 2:I think we're at the end here.
Speaker 4:This is the end. Some men or boys, that was a Tim clip, a little shout out to the little rascals Don't go growing up now Getting day jobs and shit Like Brad Just a minute, hates his job. Does anybody knock anymore? Drink beer? Throw the cans in the street, read Playboys, sit and sip red wine. Shout out to the neat malt whiskey drinkers.
Speaker 2:Yeah, shout out to the red wine drinkers, I guess.
Speaker 4:The animal collectors, the gun rack owners. What am I going to do with the gun rack? Little owned many guns that would necessitate an entire rack.
Speaker 2:Well, you could put a 10 point buck on there too. Shout out to the venison eaters yeah, shout out, yeah.
Speaker 4:On the other side, shout out to the yoga Shout out to the, the vegans, the funk traders, the protein deficient Shout out.
Speaker 1:So man, if you can, so man. Why are voices jerks?
Speaker 2:This was written by Hall, just him, that's it.
Speaker 4:That's awesome.
Speaker 2:He did. You know, he did your imagination of the song. Before that it was just Hall that wrote that Pretty good.
Speaker 4:Does he like bugs, bugs and bugs?
Speaker 2:Who's this? This, this has got to be very fast.
Speaker 4:It's kind of like the programming in the sense right, it's kind of ahead of its time. Actually, the synthy stuff is.
Speaker 2:I do like how it's kind of echoey and unique. All right here comes GE the griddles.
Speaker 4:Oh yeah.
Speaker 2:He's a little disappointed that he's not shredding right now. Okay. Here we go.
Speaker 4:He is kind of shredding.
Speaker 2:I like this.
Speaker 3:Can you guys just go to the blonde guy with the guitar?
Speaker 4:Is that a minute solo?
Speaker 2:Yeah, something like that, oh wait.
Speaker 4:It takes all kinds of boys and men, soldiers, you know. Shout out to the mechanics, construction workers, shout out to all of them, the heavy lifters out there. They might smell bad, but you know.
Speaker 2:All right. Well, we got another one of the books, man. Oh yeah, so we got to. We got to choose our top three, do you?
Speaker 4:also I like how the album cover has like both of their heads being one head. It's like just half their face and like weird, there's no way that their head is like it's like split, yeah yeah.
Speaker 2:They're sort of like this yeah, they have like another album before this where they have their like a makeup. It's the one that has Sarah smiles on it.
Speaker 4:I think they're all like in Rouge and it's like almost uncomfortable to watch, but it's like what's their, their, their other next album has a really good song, the first song on it for H2O man eater.
Speaker 1:Oh yeah.
Speaker 4:Well.
Speaker 2:H2O is like their biggest of all time. I think like in terms of commercial success they have, like in the 80s, that they killed it like, especially after this album, the one before they've got so many good albums, I mean bigger than the both of us, I think, is my favorite in 76. But yeah, they killed it in the 80s with method of modern love. You're out of touch. They keep adapting, you know. Yeah, now they had, they had a lot of cooking tunes, man, they're good.
Speaker 4:All right. Well, my number three. I'm gonna go with the last song. Some men, just because of the synth, yeah, their, their synth was ahead of the time it was good.
Speaker 2:No, I thought it was awesome.
Speaker 4:It's not. It wasn't Raga, it was like synthy pop. Raga it's like. I don't know what's your number three.
Speaker 2:I'm gonna go mono a mono.
Speaker 3:Oh interesting.
Speaker 2:I didn't like this song at all, like when I first heard it and the, I guess the chorus of it, just kind of, because it started to stick with me in that little right, that's good harmony, you know it's. The song was put together pretty well after you listen to it for a while and you know, incredibly it's just a straight oats song. So I'm a John Oates fan, you know. I guess I was my number three.
Speaker 4:Nice, you lean oats. Yeah, number two tell me what you want. You know, don't beat around the bush, all right, just tell me. Okay, all right, that's good, maybe a little poppy, but they're all poppy.
Speaker 2:Poppy 1981. Yeah, is that a Seinfeld reference?
Speaker 4:Yeah, you don't? You don't? You don't feel like you have to wash your hands after this?
Speaker 2:Exactly, yeah, I mean you guys don't know, is that like when Tim leaves here, there's like, there's like pee stains right, right on the it's?
Speaker 4:everywhere. Yeah, exactly Boys Ew.
Speaker 2:Ew boys.
Speaker 4:Close the toilet when you flush. It's splattering everywhere.
Speaker 2:Oh, thank you for the visual God. All right, Number two for me. I'm gonna go some men, you know, because I liked all the trippiness in the, the experimentation, and you know, the different sound just sort of stood out versus some of the other non hits and it's buried down in the in the bottom. So I think it should be recognized.
Speaker 4:It validated reading playboys and sipping red wine simultaneously.
Speaker 2:Exactly. Oh yeah, that's the yeah. That's just the icing on the cake. Right there, those lyrics right there, yeah, so what's your number one?
Speaker 4:My number one your imagination. It's pure, it's good, it's just. Yeah. I feel like it could have been a hit and I will listen to it again.
Speaker 2:It kind of was. It was sort of like a quasi single. I think it reached 33, but it didn't.
Speaker 4:it just didn't get the, you know, not unique, I just, yeah, it was kind of, I kind of liked it.
Speaker 2:Yeah, it's my number one as well, and I think it had a potential to be a hit. I don't know, it maybe just got drowned out by keep it above water.
Speaker 4:Your imagination didn't keep it over water Above water. Yeah.
Speaker 2:Well, I mean it just especially coming right after unguarded minute, which is, yeah, poor man's kiss on my list, yeah, so yeah, I mean another one of the books, dude, yeah, this is good your imagination, we both we both called it so that was good, great album.
Speaker 4:Thanks for listening.
Speaker 2:All right, take care guys. Thank you, thank you and we're off.