transcript

Speaker 1:
[00:00] The earthquake was just the beginning. The Pacific Northwest is gone. Infrastructure, safety, border, all of it, swallowed by the Cascadia Fault in one catastrophic moment. Fifteen-year-old Cielo is alone, surrounded by floodwaters, surrounded by the dead. And somewhere out there, her mother has been taken by something far more dangerous than any natural disaster. American Afterlife, the official companion audio drama to Pedro Hoffmeister's acclaimed thriller. New chapters, new terror. The world of the novel brought to life in sound. American Afterlife, subscribe now, wherever you get your podcasts, so you don't miss a single episode when the story begins again. Presented by Pair of Thieves. Available now, wherever you get your favorite podcasts.

Speaker 2:
[01:00] This week on We Fixed It, You're Welcome, we're getting personal about a very beloved company. I'm the grandson of HB. Reese, and I have no interest in buying another Reese's product. Our guest, Brad Reese, has the world's attention, and he's got ours too. It's laughable. I mean, you're paying more for a product that's inferior. Of course, we're going to try to fix this situation.

Speaker 3:
[01:19] Hopefully, Hershey will pay attention. Hopefully, Hershey will address it.

Speaker 2:
[01:23] Go listen to this very special episode wherever you get your podcasts. We fixed it. You're welcome.

Speaker 3:
[01:31] Coming up next, we're turning the spotlight on 10 songs that embody the period of the rock era when disco was actually on its last leg and rock was making a huge comeback. It's our latest dated countdown. Songs that are distinctly of their time, including one song that got its pre-chorus from a perfume bottle, another one that would never have been recorded if the writer hadn't stalked a famous band's manager into the restroom. He actually pitched the song at a urinal. Plus a number one hit that rocketed to the top of the charts after being synced in one of the most controversial scenes in TV history. Plus a song that's been banned from casinos because every time it's played, its musical vibrations make slot machines and blackjack tables pay out by 10x. Also, there's the naughty song that got me kicked out of church as a toddler when I sing it during a prayer. And a song a rocker wrote as a private song for his wife's birthday present, because he couldn't think of anything to get her, it was never supposed to be heard by the public, but it got released and hit number one. These stories are next on our Dated Songs from 1979 Countdown. Let's do it. Hey, music junkies, Professor of Rock, always here to celebrate the greatest artists and the greatest songs of all time. You know, if you remember wanting a transformer, but having to settle for a go-bot because they were cheaper, you're going to dig this channel of deep musical nostalgia. Make sure you're subscribed below, even if you think you are, sometimes you're not, and subscribe. Make sure to like, comment, and share so we can keep this channel going. I'm really happy. You know, I've received so much amazing feedback about this new series we've been doing called Dated. A lot of people love these classic hits that are passed over a lot. Today, we're actually going to head to the end of the 70s, going into the 80s, where music was changing so fast we could barely keep up. Going back to the year, 1979. So coming in number 10, I've got a song that's been ripped off plenty of times. It's Pop Music by M. Pop music, of course, a mysterious artist who went by the single letter M. We're going to talk about how he got that. The origin story of the song began in the middle of the winter. It's actually in a studio in snowy Switzerland. Robin Scott, who was the artist behind the moniker M, he was working on a track that would sum up 25 years of pop into one simple, unforgettable chorus. Pop music began in R&B and funk grooves that could have kept the Barty dancin forever, but a push from a friend changed the chorus for Robin, and he decided to switch the arrangement to a synthesizer-heavy sound. It was a transition that would define an era of the last stages of disco, meaning the emergence of New Wave. The recording session piqued the interest of David Bowie, who wandered in and dropped a few hand claps on this track. You might call those hand claps more than just a form of percussion. It was a seal of approval from a legendary peer who understood the song's charm and its huge hit potential. Robin Scott, he was a painter before he began to produce records. And the pseudonym Am, that came from the Am sign of the Paris Metro. It was Robin's badge he could wear as he carried this song through the pop culture universe. There was a unique inspiration behind Robin's pre-chorus lyric though. You know, New York, London, Paris, Munich. Name checking these major cities, that came directly from the text on a perfume bottle. It was actually sold by Robin's father, who was a traveling perfume man. Pop Music was bottle lightning for Robin Scott as Am, but it was a massive hit around the world. It went to number one in 12 countries, including reaching the top of the Billboard Hot 100. I mean, it has an almost bubble gum, novelty, synthetic vibe that dates it, taking us back to 79 and never leaving. Many have said that Pop Music was ripped off by a few songs. I Want a New Drug by Huey Lewis, and of course, I Want a New Drug was ripped off by Ghostbusters. What do you think? Coming in at number nine are a dated 1979 countdown, a sappy smash that broke two records on the Billboard Hot 100. I Got Sad Eyes by Robert John. Robert John's 1979 hit Sad Eyes stems from a deliberate effort to revive the sound of 1950s doo-wop balance, a gamble that paid off with a chart-topping smash that unexpectedly displaced the next My Sharona from the top spot. Now, producer George Tobin, he worked with Shaka Khan and Kim Carnes, among others. He invited John to California to work on new material and the pair spent several months refining the ballad. George typically looked for artists that needed a reboot to revive their career, but he also had a knack for developing new artists, such as what he did for Tiffany in the 80s. George Tobin was a big fan of Robert's falsetto. Having heard it on his cover of The Lion Sleeps Tonight, it was the number three single on the Billboard Hot 100 in 1971.

Speaker 2:
[06:32] In the jungle, the mighty jungle, the lion sleeps.

Speaker 3:
[06:37] Robert's upper register on Sad Eyes was a technique he honed early in his career to evoke the doo-wop style. Tobin's idea was for Robert to compose a song in the vein of My Angel Baby by Toby Bowe, which also featured a strong falsetto in that lead vocal. So Robert John came up with Sad Eyes, telling the story of a man ending a temporary affair because his main partner is returning home. Singing in falsetto was very prevalent in the 70s, and it's kind of the reason why it sounds dated, sounds 70s. By the dawn of the 80s, the falsetto thing was pretty much gone, and the songs that were defined by that style were a thing of the past. Sad Eyes, though, was a number one smash. Such a big hit. It knocked the maestro and off the top spot. It held Michael Jackson's Don't Stop Till You Get Enough off the top spot as well. And although Robert didn't have another hit after Sad Eyes, his songs set two records on the Billboard Hot 100. It was number one 20 weeks after entering the Hot 100, tying the record set by Nick Gilder's Hot Child in the City for taking the longest time to reach the peak position. And Sad Eyes set another longevity record for Robert for the 20 years and 11 months that elapsed between his first appearance on the Billboard Hot 100, which happened on November 10th, 1958 as Bobby Pedrick Jr. and the debut of Sad Eyes on the Survey. And that record, of course, eventually snapped by Tina Turner. It actually happened five years later with What's Love Got to Do With It. All right, coming in at number eight on our data list is a pretty crazy one. Ring My Bell by Anita Ward. And Anita Ward's one and only hit is notable for its era and philosophical controversy. Rising to number one on the Billboard Hot 100 during the late disco period. It later carried a stigma being associated with a genre that fell out of favor for years, kind of complicating his playability on many radio and club playlists. The song's lyrics penned by Freddie Knight. Now, Ring My Bell was originally written for 11-year-old Stacey Lattesaw as a teeny-bopper song about children attempting to talk like grownups on the telephone. When Lattesaw signed with a different label, that song became a different song, was reshaped into a more mature subject line, and Anita Ward was asked to sing it. So Frederick Knight said he deliberately stayed away from making the song sound too suggestive so that it didn't tarnish a clean-cut image for Anita. Did you know that the average employer has to sift through around 250 resumes for just one job? That's like listening to a thousand demo tapes just to find one band we're signing. Well, if you're hiring, here's the good news. You can review those resumes faster with ZipRecruiter. ZipRecruiter has a new feature that instantly shows you the most interested qualified candidates first. And today, you can try for free at ziprecruiter.com/rock. ZipRecruiter's matching tech finds the right people fast. And with that new feature, candidates who are qualified and actually want the job rise right to the top. And even better, they can tell you in their own words why they're interested. No wonder ZipRecruiter is the number one rated hiring site on G2. Cut through the standard and get to the standouts with ZipRecruiter. Four out of five employers who post on ZipRecruiter get a quality candidate within the first day. And now you can try for free at ziprecruiter.com/rock. That's ziprecruiter.com/rock. Meet your match on ZipRecruiter. But the line, you can ring my bell was heard as a naughty phrase later pointed out specifically in the 1984 book, Slanguage of Sex. Back in 1979, the recording of Ring My Bell was noted for its innovative infusion of the snare electronic drum, even though that sound has really become passe. The most interesting thing about Ring My Bell though, is the recent TikTok trend that claims Anita's song brings good luck and financial prosperity. It's a real thing, I guess. Proponents say the track contains an abundance frequency that can manifest wealth or serve as a matrix hack to clear debts. Many assert the song is tuned to a specific frequency, often linked to 432 Hertz or 888 Hertz that supposedly attracts money and positive outcomes. Get this, a persistent rumor also alleges casinos have banned Ring My Bell from their sound systems because the frequency allegedly causes slot machines to pay out more frequently. Cross the board, Ring My Bell, it's banned from being played in Vegas. Some claim they have proof that when it's played, winnings go through the roof. So when you play the slots, make sure you have it in your headphones. You're definitely gonna wanna add it to your playlist. Coming in at number seven, it's a song that calls out the struggles of having an attractive partner that everybody seems to want to get with, but it might just be an ego problem. At least that's what Dr. Hook sang about on their interpretation of When You're In Love With a Beautiful Woman. Now, When You're In Love With a Beautiful Woman, that was written by Evan Stevens. It's a guy who tried a bunch of different odd jobs before he hit his stride as a serious songwriter in the Nashville scene. So some of those jobs, he was into barbering for a while. Then he joined the US Coast Guard as a Morse code operator. And while stationed in California, he played in local folk clubs. He wrote songs and he sold his artwork. Eventually, even Stevens moved back to Ohio with plans to enroll in art school, but an invitation from his musician, Uncle Bob, that drew himself to Nashville in 1970 for what was meant to be a short visit, but it became his permanent residence. He even lived with Next to Nothing, worked as an airport parking lot attendant, and started collaborating with another up-and-coming songwriter named Eddie Rabbit in 1972. I love Eddie Rabbit. So good. Now, six years later, he decided he needed to take a bold step to get his music heard by a big act. So he actually tracked down Ron Halfkind, the manager of Dr. Hook, and he actually followed him into the bathroom at Muscle Shoals Sound Studio in Alabama to pitch his song When You're In Love With a Beautiful Woman. Ron had previously dismissed the tune, didn't want it, but Stevens, he was relentless. In fact, some stories point to the fact that he tried to play it for him at the urinal. He pitched it at the urinal. After finishing his business, Ron listened to the demo and was surprised how much he liked the song. So even Stevens' persistent men's room pitch actually paid off. When You're In Love With a Beautiful Woman was a huge hit for Dr. Hook. It went to number one on the Billboard Hot 100. But in the 21st century, I mean, the song sounds like it's trapped in 1979 because of this brand of slick, soft rock with sweetened strings and a disco backbeat. But I love it. I love Dr. Hook. I think they're so underrated. All right, let's turn the spotlight on a rocker who took a big detour to craft one of his biggest hits. At number six, I got Rod Stewart with Do You Think I'm Sexy. Rod Stewart initially resisted recording Do You Think I'm Sexy because he felt it was far outside his rock roots. He even described it as a story of a guy meeting a chick in a club, signaling a move toward the disco era cocaine lounge lizard persona. The song's melody also drew from Jorge Benjor, Taj Mahal. Which led to a legal dispute that was settled when Stewart donated a portion of his royalties to UNICEF. Now, despite becoming a big fat hit, the track drew criticism from many critics and fans who felt Rod abandoned his blues rock sound to ride the disco way popularized by the Saturday Night Fever movie soundtrack. Now, co-writer Dwayne Hitchings has said the song was intended as a spoof of the era's dance scene, spoof of disco rather than a serious artistic statement. But it did become the definitive rocker sells out to go disco songs of the era. And Rod definitely took it seriously. Now, I've told this story once before, but my mom used to listen to this song a lot. She had a huge crush on Rod. She had the song. Well, as a young kid, young boy, I was about three years old, maybe four. We were all sitting in church one Sunday. It was very quiet and reverent after a prayer. Apparently, the three-year-old version of myself proceeded to sing as loudly as I could. If you want my body and you think I'm sexy, come on sugar, let me know. The bishop, who was the leader of our church, motioned for my parents to take me outside, like get them out. For years after that, I had bragging rights, and I got kicked out of church as a toddler for singing a naughty song. Hey, I've worn it as a badge of honor for years. Now, Rod, he was embarrassed about, do you think I'm sexy? He actually refused to sing it in his live concerts for many years, partly because he felt the song reflected a period of pop culture that was dated. But you know, because his diehard fans begged for it, finally gave him what they wanted, and he added it to his regular concert set, and it's been there since 2012. Okay, halfway through our nostalgic dated count out of 1979, I got a song that I've always found to be very creepy. It's for a reason that I can't really go into detail on, but I'll tell you a little bit about it later. It struck a romantic chord for millions back in 79, talking about Reunited by Peaches and Herb. Peaches in the duo Peaches and Herb wasn't one person. Herb fame remained constant as Herb, while seven different women inhabited the Peaches role over the years. On the 1979 hit Reunited, Linda Greene was the third performer to be Peaches and provided the passionate female counterpoint for that number one ballad. Reunited was penned by Dino Ficaris and Freddie Perrin. It was produced by Perrin at his Los Angeles studio, Mom and Pop's company store. After leaving Motown where Perrin had co-written several Jackson five hits as part of the corporation with Berry Gordy, the two formed their own production company. According to Perrin, the song came from two professional songwriters crafting a fitting ballad for one of their acts. They began at the piano in his studio. Ficaris handled most of the lyrics and he returned the next day with the working title. When Linda Green, who would become Peaches, heard the demo, she cried. It really touched her heart and they knew they had something special. Now, reunited, it may have brought Linda Green to tears during her stint as Peaches in 1979, and it may have brought couples together on the dance floor. But today, the song, it feels like a 70s relic. The lush orchestral's texture, you know, typical of late 70s R&B and disco, stands in stark contrast to contemporary digital production techniques. The lyrics are deeply sentimental, and, you know, it was very popular to wear your heart on your sleeve lyrics in the 70s like that. I mean, it's probably one of the most dated songs of its time, but where they are now, Herb Feimster, he's worked as a court security officer since 1986, and he occasionally performs his Peaches and Herb alongside various iterations of different peaches. Feimster doesn't need to work for a living thanks to ample royalty earnings from the songs, but he says, I want to work till I die. I don't believe in retirement. When Herb Feimster and Linda Green part ways as Peaches and Herb in 1983, Linda pursued gospel recording projects from there. Herb has done some oldies shows with another female singer as Peaches and Herb, but he and Linda Green have not reunited since their split, amazingly. I don't know about you, but I've always been hoping and waiting for a Peaches and Herb reunion. Maybe someday. Now, the reason that the song upsets me so much is that something really bad happened to me when I was a little boy when this song was playing in the background. Unfortunately, I can't go into details, but it's always upset me. But today, I'm facing my fears and I'm covering it. So maybe someday I'll talk about it. All right, we're at number four in our countdown, the dated hit song from 1979. This one has no lyrics, but it's still shot to the top. Arise by record mogul, Herb Albert. Herb Alpert's instrumental Sensation Rise began construction as an upbeat disco track, but a studio decision to slow the tempo transformed it into a seductive, funk-leaning anthem. The song gained iconic status after being featured in a provocative moment on General Hospital. Eventually reached number one on the Billboard Hot 100 and earned a Grammy Award for Best Pop Instrumental Performance. Initially panned by Randy Alpert, Herb's nephew, he was nicknamed Badass with Z's. Also Andy Armour wrote it as an up tempo dance number. The tracks feel, though, changed dramatically during recording. Drummer Steve Schaefer, he suggested cutting the tempo to about 100 BPM, a move that helped the song thrive even as disco waned in popularity. I mean, is there any song that screams the late 70s more than this one? I don't think so. Rise marked Herb Albert's first Billboard Hot 100 number one since his Tijuana brass days, making him the first artist to top the chart with both a vocal pop hit, which was This Guy's In Love With You, as well as an instrumental. The Cuts popularity received a significant boost, like I said, from the highly rated Soap Opera General Hospital, most notably during the Luke and Laura storyline. The scene where Luke exerts force on Laura, that drew enormous viewership and helped push the song up the charts. Very controversial. I have to go now. It's a boost that persisted for a time as the Soaps storyline shifted to a more romantic one between the two lead characters. At its peak in the early 80s, General Hospital once attracted over 30 million viewers. Incredible, especially for a daytime soap. The Rise album and title track stands out as one of the early pop records recorded digitally using a 3M32 track digital recorder at A&M Records Studio. It's that lush, smooth sound that bridges mellow funk and disco that now really defines that specific era and dates the track. Although the irresistible bass line on Rise was famously sampled on Hypnotize by Notorious BIG in 1997. Of course, it was awesome. It definitely gave Rise more of a modern renaissance there. The original version of our next vocal track on Dated Hits from 79 was a dramatic piece with a classical arrangement and has been covered hundreds of times, but Donna Summer's version of MacArthur's Park was the biggest. At number three, we have the song about the cake that was left out in the rain. You know, Jimmy Webb is one of Pop Music's most prolific lyricists for sure, but he didn't even realize he could write something as bold and theatrical as MacArthur Park. He first submitted the song to the group The Association. A lot of people don't know that, but they passed on it. After meeting actor Richard Harris at a fundraiser in LA, he created a version that found the life of its own. At first, Webb wasn't sure about releasing it as a single though, then radio stations started playing the album version in full, and soon he was asked to do a shorter single. Now he said no to that idea, declined it, so the label kept the full 7 minutes and 20 seconds on vinyl playing. Actually, Sir George Martin even suggested that the Beatles kept Hey Jude running long because of Webb's track. Harris' original take actually climbed to number two on the Billboard Hot 100 in 1967. Fast forward to 1979, and producer Georgia Moroder heard MacArthur Park as tailor-made for his long-term client, Donna Summer. She was, of course, one of the hottest singers during that time, and he picked a key that would let her hit those high notes without losing any power. He spent a little time on the arrangement, and then he played a light piano part while Donna sang along, and it became a bonafide hit. Summer's version as part of the MacArthur Park Suite on her Live and More double album runs eight minutes and 40 seconds, even longer than Richard Harris' version. Now the shorter seven inch single version minus the second movement, that gave Donna Summer her first number one on the Billboard Hot 100, and became the last of seven Web Penn songs to crack the top 10 on the charts. Jimmy Webb was delighted when the track hit number two in America and number four in the UK for Richard Harris, but he was over the moon when he hit number one for Donna Summer. Like I said, it's one of the most covered songs of all time. I mean, everybody from Frank Sinatra to Aretha Franklin has done it. And actually Donna Summer's disco take remains Jimmy Webb's only number one single in the United States. It's hard to believe. And actually depending on who you talk to, this song's either the greatest song of all time or the worst song of all time. Plenty think it's the latter of the two, but some feel it's misunderstood in one of the greats. But one thing is certain, the disco remake of MacArthur Park was a genius transformation by Donna Summer and Georgia Marauder. But you know, today it sounds dated. You probably push more people into the side of being one of the worst ever, if we're being honest. It's the adaptation to an exuberant disco hit that puts us right back on the dance floor with mirror balls and strobe lights and all that, heavily reflecting the sonic sensibilities of the late 70s. Again, I take nothing away from the brilliant interpretation of the original, but it's kind of a time period piece in pop culture for sure. All right, coming in at the number two position of the runner up. On our dated countdown for 79, I got Babe, the tender ballad by Styx. Styx keyboardist, co-founder and primary vocalist, Dennis DeYoung wrote Babe as a private birthday gift for his wife, Suzanne. Initially, he had no intention of anyone else hearing the song at all, but that changed. They released it and the song became a smash. It also changed the direction of Styx. Here's what Dennis DeYoung told me about the origin story and the evolution of Babe.

Speaker 4:
[25:52] My wife's birthday, I'll write her a song for her birthday party. Surprise or so, I just said at the piano, wrote it in a day and a half, done. I go into the studio, I call John and Chuck up. I said, let's go, I have them with us. I'm going to give it to Suzanne. Okay. We're very close, the pronunciers and I, family functions, we're always together. We go to the studio and the engineer says, I'm sorry, the grand piano was out of tune. In the corner of the studio, a guy named Bobby Whiteside had left his Fender Rhodes there. This is true. I said, I never played a Fender Rhodes, they're tricky. Whirlichers, they're different kinds of instruments. So I said, bring it out, it's only a demo. Tape was rolling. I hadn't thought it out. No singer there but me. I sang all the harmony parts. It's only for Suzanne, doesn't matter. No guitars because guitar players were on vacation. I take it home, real to real. I'm listening to it and think, that thing sounds great. So I played for the guys, we came in, we put, Tommy put a sober line. We didn't even re-sing the vocals, because people loved the demo so much, I was scared to death to change. It was never intentional. It was never meant to be a Styx song.

Speaker 3:
[27:44] So Babe became the alone number one single for Styx. That's right. That was her only number one hit. The success of the band, well, the success of the song turned the band away from its prog rock roots. It eventually was a symbol of the schism between Dennis and bandmates, Tommy Shaw and James J. White Young. When Dennis left the band, Tommy and J. White carried on with the Styx moniker, and rarely if ever played Babe in their live sets, considering it is a Dennis song that doesn't reflect the true identity of Styx. I mean, as great as the song is, it's a hallmark of the 70s. It sounds so 70s. Before we get to the number one dated song of 1979, I'm going to give you an honorable mention. 1979 was the year that Elton John also jumped on the disco bandwagon with a dated departure titled Mama Can't Buy You Love.

Speaker 4:
[28:37] Mama can't buy you love.

Speaker 3:
[28:42] An interesting angle around the story of Mama Can't Buy You Love is based on the fact that it was Elton John's first hit single that he didn't co-write. And the lyrics weren't written by his longtime collaborator, Bernie Taupin. The song actually came from the duo Leroy Bell and Casey James, who performed as Bell and James. Do you remember their only hit as Bell and James, Livin It Up? Mama Can't Buy You Love was one of three tracks that Elton recorded with Philadelphia soul producer, Tom Bell at the end of 1977, as he was trying to put together an album. Tom Bell produced the track and actually convinced Elton to drop into a lower vocal range, steering him away from his usual falsetto. Elton basically handed the reins to Tom Bell on this one and let him steer the ship. Elton hardly ever gave up major control, at least where his music was headed. And now when Tom first met Elton, who of course was the biggest solo star of the seventies, he recalls Elton saying, Look, man, I'm tired. I want you to do everything. I want you to write. I want you to play. All I want to do is sing. And Tom noted that instead of grinding away at every detail, he ended up spending a lot of time playing ping pong during their sessions. Apparently Elton was pretty damn good at ping pong. Mama Can't Buy You Love was recorded in 1977, but it was kept on the shelf until 1979. It was because the label MC Records was worried it might be too soulful for Elton's rock audience. A single by Elton John of the seventies, I mean, it was pretty much a bona fide hit. And Mama Can't Buy You Love, it was a hit. Climbed to number nine on the Billboard Hot 100. But many fans regard the song as one of his weakest offerings, including me, don't like the song. It didn't help that the song had a subtle disco back beat in the arrangement that quickly made a passe, especially after its peak, and makes it sound really dated today. All right, it's time to unveil my number one dated song from 1979. More rockers trying out disco on this one. Oh, no, not Paul McCartney, the dance hit, Good Night Tonight. I really like Good Night Tonight. I think it's a good song. Good Night Tonight, of course, single by Paul McCartney and his band Wings, notable for its disco infused sound and the spirited use of the Mexican viola on the intro. The viola was a gift presented to Sir Paul by the group Mariachi Cobra, after Paul became intrigued by its unique sound during a 1978 tour stop in Tucson, Arizona. Good Night Tonight started as an instrumental backing track soon after Paul received the viola. It had this distinctive role in CR 78 drum machine driving it and Paul McCartney kept shaping it with Wings until it became a full fledged 1979 single. The track was later stretched out to over seven minutes for the 12 inch release, mainly so the baseline could really show off. That bass groove isn't just any groove though. It's heavily inspired by Motown legend, James Jamerson. The song first came together as a backing track in February of 1978, about a year before it hit the singles chart. When Good Night Tonight was released as a single in 1979, long-time fans of Paul McCartney were actually pretty horrified by his decision to create a disco song. An obvious move to follow a fad, when his loyalists regarded him as the true trailblazer of the rock era. Of course, he caught flak from John Lennon for writing what John called silly love songs. Paul ignored critics who labeled Good Night Tonight as a weak attempt to get one of his songs played in the popular dance clubs of the period. Instead, Paul focused on his massive success as the top five hit around the world. He justified the song's dance-oriented sound, which was actually recorded without the full Wings band initially. It was a calculated effort, like I said, to create a vibrant dance track with no apologies whatsoever. I mean, it was pretty predictable that when John Lennon was asked what he thought of Good Night Tonight, he said he didn't like the song at all. But he did give his former writing partner and bandmate major props for the bass playing, you know, for the bass playing on the track. Now, the disco-asphatic, it totally dates Good Night Tonight. It's the thing that dates it the most. There's no getting around it. But I agree with John Lennon. Man, bass line that Paul plays on this is badass. I also really like the flamenco flavor that blended into the music. I thought that was an inventive approach. You know, a touch that reflects McCartney's unparalleled gift for finding a catchy unorthodox flair in his pop hits. Reminds me of my dad doing a silly dance when he played the record back in the day. I think it's a great song. Not a great song, a good song, a really good song. And of course, it just shows why Paul is unparalleled with writing a pop hit. I think a worse hit was the one he did with Kanye. That was really selling out. This is what I think. But I mean, if Paul McCartney, you got to give him a little bit of leeway there. He can do what he wants. He's Paul McCartney. But I like Good Night Tonight. But again, dated because of the disco sound. There you have it. Those are the songs. Those are the dated songs from 1979. Again, I'm not saying these songs are bad. I'm saying they're more of their time. That's why a lot of these are used in pop culture. Because if you want to take somebody back to the moment in 1979, if you're making a movie and you want to take them back to that moment, those are the songs that you play because it takes you back to those memories. What are your memories of the songs? What do you think are dated songs from 79 that I missed? What else would you like to see on this program? Let's have a great discussion below. Make sure to like, comment and share. We'd love to have you and subscribe. We'd love to have you as part of our community. Till next time, Three Chords and The Truth.