0:01

You know, What

0:04

You Believe Open. Was

0:07

on gamma to live then

0:09

as soon as a serious

0:12

this is was on and

0:14

or building downtown where a

0:16

family of to there are

0:19

people on the street. Back.

0:26

Off and he did on the

0:28

we got a good know what

0:31

this park as as about. Were

0:34

just two friends. Wow,

0:36

Just wow. Now Fdr

0:38

Lo M Legged man

0:41

okay one song. work

0:43

luxury and. Ah,

0:48

that was the last month gonna. Do

0:51

a luxury know? Excellent.

0:55

We're. Going

0:57

to hear more getting probably that.

1:03

Wrong song for once. All not

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wrong. Saw. A.

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War was going on camera hard here and

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five when Jimmy to go for a passenger

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of flying. Play. Buckle Up.

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Prepare. Guys. Can. Get it through

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the ride, come your way with lift all

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remember how are you my for hims I'm

2:23

good the our it'll pop up up up

2:25

and have a soup. I'm

2:28

doing well road by the were

2:30

doing under pressure. It's twenty Twenty

2:32

four. It's a leap year. It's

2:34

election year. Ah. If is

2:36

like every single industry on the planet is

2:38

be wildly disrupted. Ah, lot of people were

2:40

under pressure. So much pressure in our daily

2:43

lives on a planet in the country. It's

2:45

just like inescapable. How many elections this your

2:47

something like fifty of Europe alone in I

2:49

love not enough. Not enough. Like saw him

2:51

for his but the song the song as

2:53

a rock monster yeah it is. It is

2:55

a bohemian of a sigh was number one

2:57

in three countries the Uk, Canada, and Holland.

2:59

And while it didn't hit number one in

3:02

the Us, Indigo four times platinum, Yes has

3:04

been ranked as one of the five hundred

3:06

greatest. Songs of All Time by Rolling

3:08

Stone Magazine. Rosso Magazine says it muslim

3:10

A that's the gospel. If it's true,

3:12

it's it's. really have The Site as

3:14

one of the greatest collaborators. Volta rather

3:16

go talk about that bass like that's

3:18

right this summer. One song, it's. Ice.

3:21

Ice baby. when. I'm.

3:32

With are you got me I was out

3:35

for a second I was checked. it is

3:37

of course Green and David Bowie on the

3:39

moon. Military.

3:51

This is an episode we've been so excited about

3:54

for such a long time because some of the

3:56

vocals dems you have for the art or spines

3:58

exotic. They are under the aegis. The single

4:00

moment is a sign tingler. If you are

4:02

absolutely we have. The Archipelago goes for not

4:04

one but two of the most legendary. Singers.

4:07

Of all time Freddie Mercury yes and David. This

4:09

is gonna be such a subset of the show

4:11

because we always play some Sam's we always talk

4:13

about and we have guess sometimes this one is

4:15

going be just like the rest the episodes but

4:17

as a little bit more stem heavy I would

4:20

say because there's so much gold within the math.

4:22

But there's also this extra added bonus which is

4:24

that I have a whole bunch of only use

4:26

stuff. there's a lot we will hit what tell

4:28

the story about. It makes a mess that they

4:30

didn't make the final kind and part of the

4:32

story of how the song got made will be

4:34

illustrated by the fact that you'll be hearing South

4:37

that. As we discuss the crazy process of

4:39

cutting and pasting different ideas together, you'll hear

4:41

some of the unused once. I agree that

4:43

in a way that we might have people

4:45

who listen the so they know we met

4:48

during the Pandemic. And you had play

4:50

some of the stuff for me and I was

4:52

just like oh my god this is like. This.

4:54

Is like a music nerd's dream to yeah, through

4:56

these years of the stuff, yeah, so I don't

4:58

want to waste too much time getting into. Yeah.

5:01

I mean look we're about to get into it

5:03

and just to sort of thing is that story

5:05

about like This show itself began a little bit

5:07

with the friendship. plus I've got the stem so

5:09

we tell the world about it. A success of

5:11

this I'm We kind of say this for like

5:14

this episode once we figured out The South Twenty

5:16

five episodes if I mentioned already you are listening

5:18

to be twenty third best podcast on Planet Earth

5:20

according to the Atlantic South we really know we're

5:22

doing and today we're going to show you all

5:25

of these incredible moments underneath the hood of this

5:27

on you've heard many times before but never quite

5:29

this way. Okay so before we dig into the

5:31

stems, can you play as a little preview? The

5:33

kind of stuff will be hearing. There's.

5:36

So many great moments, this is a really

5:38

hard choice to make. This is maybe one

5:40

of my favorite moments, but it's also super

5:42

intense, so just be prepared for and intensity

5:44

level that you may not have been prepare

5:46

for until I told you to prepare. for

5:55

not done yet when my notes I

6:02

mean, okay, so I'm already at peak

6:04

excitement. I was going

6:06

to ask you specifically about that part, because

6:08

admittedly in preparing for this episode, you can

6:11

find the acapellas on YouTube. They're

6:14

out there. And

6:17

we're going to have some varying levels. Do

6:19

you want to tell real quick the people,

6:22

the difference between, in the past we've said

6:24

untreated vocals, naked vocals,

6:26

raw vocals. We use a

6:28

lot of X-rated terms to describe vocals on this

6:30

show. Vocals get nasty on this show. Yeah. Do

6:34

you want to tell us exactly what we have

6:37

stem-wise here? Do we have the actual stems that

6:39

they used in the recording? Well, there's both. What

6:41

I just played for you is the final acapella

6:43

as heard in the song with

6:46

reverb added as it is in the mix.

6:48

But what I also... So that's what you

6:50

heard just now. So when we say treated,

6:52

it's treated. It's probably got EQ. It's got

6:55

compression. It's definitely got reverb. The

6:57

word treated just means that there's effects or

6:59

EQ or compression. Things are done to the

7:02

vocal to juice it up or make it

7:04

sound more exciting. No, it's insane.

7:07

It's insane. It goes on. It's

7:09

a new thing to hit for a second. But then at the

7:11

end it goes higher. It goes higher. I

7:14

mean, you guys, I created the echo on love.

7:16

I mean, there's so much good stuff. I mean,

7:18

I'm excited because I love Queen. I love Queen.

7:20

And by the way, I love Queen, but you're

7:22

like a next-level Queen fan, right? What

7:24

is it about them that you love so much?

7:27

Queen is probably my first favorite band, maybe outside

7:29

of the Beatles, who because I grew up and

7:31

they were in the environment as a child, doesn't

7:33

really count. It's kind of like all babies love

7:35

the Beatles. Like a certain point, it just... They're

7:37

in the air. It's one of those... For me,

7:39

it was just in the air. But Queen was

7:41

a band that was a discovery. And

7:44

once it was like in my life, I

7:46

just... I bought all the records and that

7:48

is probably the only band maybe outside of the Beatles

7:51

where I've kind of heard every song. And

7:54

their significance emerges over time. Like

7:56

why am I so attracted to

7:58

this band? life is

8:00

for. Understanding, unpacking, peeling back the onion about

8:02

like, oh my God. It's not until later

8:05

in life that you start to understand the

8:07

kind of aspects of sexuality and the aspects

8:09

of performance and

8:11

the aspects of there's comedy. There's a

8:13

lot of comedy in Freddie Mercury. And

8:16

of course, the musicianship as a drummer

8:18

first and then picked up basic guitars.

8:20

We're both drummers. All of the instruments

8:22

in this band are peak level composition,

8:24

performance, recording. There's so much to unpack

8:26

with Queen that I would say that

8:28

they're neck and neck with the Beatles for

8:31

me is a favorite band. Yeah, and I would

8:33

say that their music still matters. I mean, it's

8:35

one of those bands that's oddly been

8:37

relevant before we were really listening to

8:40

music and to this day like my

8:42

kids go around singing. Yes. Another one

8:44

bites the dust. Kids love Queen. And we will

8:46

rock you. It's one of those bands. I think

8:49

it's the primacy, if you will, of

8:51

the drums in creating these music. I mean, we

8:54

will rock you is one of the first songs that

8:56

I remember from this group. And by the way, I'm

8:58

just going to go on the record in a minute.

9:00

The first time I heard under

9:02

pressure, it was after the first time I

9:05

heard that bass line was definitely Ice Ice

9:07

Baby. No, absolutely. I never heard. Is this

9:09

our NOS moment that we're having right

9:11

now? You wish. This is the NOS. I

9:14

will say. This is the New York State of

9:16

Mind moment. Oh, you're trying to rock right past it, aren't you? Growing

9:18

up. No, I wish. I would love to know what

9:20

I don't know. That's so interesting that you didn't hear

9:22

until after it was used. Yeah.

9:24

When I was in school. Vanilla Ice is

9:26

reworking, if you will. When I was in

9:28

school, we definitely heard Another One Bites the

9:30

Dust. We definitely heard We Will Rock You.

9:33

We Had The Champions was in a Revenge of the

9:35

Nerds. There were other Queen songs that we had exposure

9:37

to. I'm not sure I had exposure to under pressure.

9:39

Yeah, interesting. Again, the first time I heard that bass

9:41

line was probably Ice Ice Baby. We're going to talk

9:43

a little bit about that when we get to an

9:45

interpolation. Oh, we're going to talk a lot about it.

9:47

We're going to talk a lot about it. But We'll

9:49

save that for now. But for right now, I'd love

9:51

to set the scene, as we do on one song.

9:53

We're scene fitters. We're going to talk about the historical

9:55

context for the song. So Under Pressure was recorded in

9:57

1981. It.

10:00

Was preceded. I did the last.

10:02

Single. From Queen Before this

10:04

was ah their song from. I.

10:07

Think without doubt the greatest Space Opera

10:09

of the Nineteen seventies. Everybody knows it

10:11

is. Of course Flash Gordon and Song

10:14

as Flashy be different of Less Gordon

10:16

are you have to go back and

10:18

listen. I've

10:30

yet to see. Can it's I'm afraid. Movies: I've

10:32

never seen the movie and I'm such a huge

10:35

fan because I couldn't see that as I had

10:37

no access to it when I was this when

10:39

I was young there was no way to see

10:41

it. And actually that's true. I think what it

10:43

was is that I knew it was terrible and

10:45

I know herbal there was ever rejoice I wanted

10:48

to make at the video store dear to me

10:50

like I want to see this. The not that

10:52

bad to Flash Gordon is is amazing campy feel

10:54

right at two kids who are fortunate to watch

10:56

it without without knowledge of where's Isis was gonna

10:58

go. I think it's a great movies that if

11:01

this podcast recalled one film yeah I would say

11:03

let's do a deep dive on Flash Gordon that

11:05

suit but that's of the for another less do

11:07

that. Don't remove a to double feature with Spinal

11:09

Tap and Abby Like a perfect perfect night kind

11:11

of from the same period and I would be

11:14

purpose but that's what Queen is up to at

11:16

the same time Though he has recently released as

11:18

as as yeah thousand it was like says number

11:20

two number One in the Is and fashion is

11:22

also likes of isn't measured By the way when

11:24

I'm out of my absolute. I

11:37

love that where he spent like Zola Eric I'm half

11:39

of the seventies a sort of like but forgotten. Bowie.

11:41

Here in America, the fact that like.

11:44

he's working with all these great soul musicians

11:46

and raining of a disadvantage rose right yep

11:48

and and you mentioned fashion and same would

11:50

you have to will probably cover on a

11:52

feature episode of this oh and speaking of

12:00

collaboration.

12:04

Bowie's in a very collaborative move.

12:06

He works with John Lennon on

12:08

fame. He's actually, I think, recording

12:10

cat people at

12:12

Mountain Studios and he comes across the guys

12:14

in the studios. Can you tell us how

12:17

this collaboration comes about? Yeah, well that's exactly

12:19

right. So Queen has a studio that they

12:21

own in Montreux, Switzerland. As

12:23

one does. As one does. This

12:25

is in 1981 and they... I

12:29

think if I had a studio, I'd probably just

12:31

live there. Yeah, I mean it's called

12:33

Mountain Studios. I can just picture it in my mind. It looks like the

12:35

place to grow old and retire. Yeah.

12:37

One song live from Mountain Studios. Oh my god,

12:39

I would love that so much. So

12:42

it is a studio. It's open to the public.

12:44

Bowie is there. You're right. I think they hear

12:46

through their mutual producer who's Mac, Reinhold Mac, who

12:49

also worked on this on the song Under

12:51

Pressure that Bowie's in the studio next door

12:53

recording the cat people song for the cat

12:55

people movie. Super fan and Queen, isn't there?

12:57

Oh my god, when you

13:00

think about the connection between the two,

13:02

first of all Freddie Mercury grew up

13:04

in the glam era, in the Ziggy

13:06

era. So Ziggy and Bowie, the representation

13:09

of like a character on stage basically.

13:11

A singer who's also a character and playing

13:13

a part. When you think about that and

13:15

the glam with the fashion and just the

13:17

outrageousness, Freddie Mercury springs to mind as being

13:19

like an obvious child of this presentation

13:23

that David Bowie has going on. But isn't the drummer

13:25

in Queen, I had heard he was actually the real

13:27

super fan who like literally when he heard that Bowie

13:30

was down the hall like reached out and was like,

13:32

hey man, you want to come? Roger Taylor, man. He's

13:34

the secret sauce of Queen. He is the highest voice

13:36

of Queen. If you ever hear a Queen high harmony

13:38

sack and you're thinking, oh that must be Freddie. It

13:40

must be Freddie. It's Roger always at the

13:43

top top, hippie top most note. That's

13:45

like fighting out like, you think

13:47

Michael's the, but actually Tito's the best dancer

13:49

in the Jackson. One of my, actually

13:52

gonna, I'll illustrate that. One of my favorite Queen records

13:54

is called Sheer Heart Attack, but it doesn't actually contain

13:56

the song Sheer Heart Attack. It has the song Killer

13:58

Queen and it has this moment. at

14:00

the beginning of the song as if to illustrate

14:02

that they know how ridiculous Roger Taylor's voice is.

14:09

That's Roger Taylor. He's doing his thing. I

14:17

mean, how is that possible that Freddie doesn't

14:19

have the highest voice in Queen? Yeah,

14:21

so that's happening in Montrose, Switzerland. Yeah. They

14:24

eventually get together. They decide to hang out in

14:26

the studio and just jam and just sort of

14:28

rock out. See what happens until at

14:30

a certain point, Bowie's like, you guys, look at us.

14:33

We're these five people. Let's write a song

14:36

together. Let's turn this into a collaboration. Of

14:38

course, they're all half-wasted anyway, but part

14:41

of the fun of it, I guess, for them is they're just

14:43

hanging out being Ridge Rock stars. But at some point, Bowie clicks

14:45

into this gear, which is important for the rest of the story,

14:47

which is serious. Let's get some shit

14:49

done, boys. Let's do something together. So

14:51

they start jamming, and they start jamming on a

14:54

song which Roger had kicking around like

14:56

a demo. And I'll play you a snippet of that.

14:59

It's called Feel Like. It's called Feel

15:01

Like. There's actually some scratch vocals, too.

15:03

And I'll play that for you right now. And

15:14

as you can hear, that's the chord. I mean,

15:16

it's under pressure. That is the song structure. Yes,

15:18

actually, because I figured you were going to bring it in.

15:21

And I had never heard this demo for

15:23

Feel Like before the show. Hearing it right

15:25

now, it's got some of my favorite elements

15:27

of the song. That guitar part, yeah. Absolutely.

15:30

I mean, like, we know

15:32

we're going to talk about the bass line, but

15:34

like, there's so much that I love in Under

15:36

Pressure. The piano, the

15:38

guitar, like, there's so much stuff that works.

15:41

So like, yes, that is a great song. Maybe

15:43

not. It maybe would have just been forgotten to

15:45

the time. It's the foundation for a great song.

15:48

It was a brilliant thing to bring in, too, because they'd

15:50

already kind of worked on it enough to be like, add

15:53

to this rather than go from zero, you

15:55

know, which can be sort of stressful sometimes.

15:57

I know from experience, like, play something or

15:59

make something. something from scratch is like terrifying.

16:02

So they start out... That's what comes up to me like,

16:04

hey, be funny. People

16:06

really do that. It's not a cliche. That's such a cliche

16:08

that people say that can means it really happens to you.

16:11

People say be funny. Oh

16:13

my God, I'm stressed out just thinking about that

16:15

happening to you, my friend, I want to protect

16:18

you. And I should mention, by the way, that

16:20

they'd already decided prior to this jam session that

16:22

they wanted to collab and and they do have

16:24

a collab, which is David Bowie

16:26

ended up singing backing vocals on

16:28

Queen's song Cool Cat. They

16:31

ended up not using Bowie's contribution, but I was

16:33

able to track it down.

16:36

Let's listen together and decide whether they made the right

16:38

call. So I wonder... I

16:40

did not think

16:43

it was that. When did

16:45

Bowie start dating Eman? When

16:47

did they start dating? Oh,

16:56

good question. Not in 81. Not until my

16:58

player. In my dream world,

17:00

Eman comes to say, Don't

17:03

rap. Don't do that pseudo rap

17:05

thing. What's funny is

17:07

Cool Cat's one of my favorite songs on

17:09

a much maligned album. We were talking

17:11

about this before we started recording. I think Hot Space is

17:13

actually a good album. It's a great record. When you start

17:16

doing research for our show, a lot of times

17:18

you will come across sort of the conventional wisdom

17:21

of a certain generation of music critics who

17:23

are always like, oh, you know, I hated

17:25

it when Rock tried to do disco, when

17:28

Rock tried to go R&B. But like, come

17:30

on, you guys. Like, I would say that

17:32

those clubs that Freddie Mercury is clearly

17:34

going to, maybe the whole band is going to in

17:36

the late 70s and early 80s. Like, I

17:39

think those are good albums. You know, what's funny,

17:41

though, is that deep... I like them. Like, I like

17:43

Cool Cat's body language. I still think, like, as

17:46

a side project, you and I should probably sample

17:48

body language. Body language is one of my favorite

17:50

queens off that album. I'll play it for you.

17:53

This is body language from the unfairly

17:56

maligned Hot Space record. This is body

17:58

language. Right

18:00

off the gate. I'm in. I'm

18:02

in with that Lindrum synth

18:04

bass Insanely

18:09

good Dude, I'm gonna throw

18:11

this out there. I just love I want to find

18:13

out when the song came out Yeah, and I also

18:15

want to find out what year did changing Change

18:18

change glow of love searching. Oh searching searching.

18:20

You're right. You're right, right? I mean like

18:22

it's inspired Somebody

18:25

who listened to somebody song I'm gonna go ahead and

18:27

say that this came after cuz I'm

18:29

pretty sure it Came out

18:31

first. So I think searching is like one of those

18:33

great songs Maybe if there's time we'll do an episode

18:35

about that because that is early Luther Vandross for those

18:37

who don't know Luther Vandross was

18:39

the singer for change for some time and Searching

18:42

is one of the really really

18:44

cool songs and it sounds very similar to body language

18:47

I'll play a little snippet right now. You be the

18:49

judge Oh Yeah,

18:54

I never said no One

18:56

thing you have to remember this is here's a

18:59

story that will answer your question Okay, don't forget

19:01

first of all the dance stuff on this record

19:03

in particular is really of a it's more of

19:05

a John Deacon Thing the bass player than Freddie.

19:07

Yeah, surprisingly a little bit John Deacon was really

19:09

into like let's do something in more of a

19:11

funk vein Yeah, I'm gonna disco vein So and

19:13

don't forget that he may have gotten into that

19:15

mood when he was hanging out with Nile Rodgers

19:19

They wrote good time A

19:28

bass line on my own and that's when he

19:30

wrote this So

19:38

John Deacon John Deacon also liked

19:40

dance music not ready We

19:43

are firm believers that we are not Music

19:45

snitches. Oh hell no, but this is all out there

19:48

body language. I'm talking about 1982. Yeah. Yeah Yeah,

19:51

searching by change came out in 1980. Of course it did

19:56

There is no question Deacon

19:58

made a little mixtape. He's like These are the songs

20:00

I like so much that I'm gonna

20:03

write a song similar to it, but different

20:05

and that is exactly what it is And

20:07

that's okay. By the way, this is my

20:09

firm belief now that said what we just

20:11

heard was really frickin similar Yeah, and given

20:13

that change did not achieve the monetary light

20:16

peaks of great fortune

20:18

stacks of money Scrooge McDuck

20:20

level no money that Queen

20:22

did I'm not super stoked about it saying it

20:24

when we sort of here in the room Yeah,

20:26

there is it's very difficult for me to imagine

20:28

there wasn't a connection there Creation

20:30

yeah finish the chronology of how this song

20:32

came about all right, so they go to

20:35

dinner They've been jamming on this track and

20:37

they're partying the partying continues. There's champagne.

20:39

There's probably cocaine There's

20:42

drugs. There's there's well-documented

20:44

cocaine I want

20:46

to see McCusatory. No, no, but I think it's

20:48

safe to say there was legal then right, right?

20:50

No, if you're a rock star night, I don't

20:52

even know that it was definitely a carve-out in

20:55

the law for you and I

20:57

want to say something about cocaine I want to say say about

20:59

cooking to me David Bowie is

21:01

in that rare Pantheon of artists that I

21:03

just think are bonafide genius Hell yeah And

21:06

I'm like the same way that everybody who

21:08

heard Charlie Parker thought oh if I take

21:10

heroin I can be Charlie Parker No, no,

21:12

he was a heroin He was he was

21:15

a genius who happened to be a heroin

21:17

addict not the other way around okay And

21:19

I feel like I mean the

21:21

stories are legend Bowie was apparently like

21:23

a serious co-kit But like the

21:26

cocaine consumption is not what made him a

21:28

genius. Oh, definitely was David Bowie who just

21:30

happened to really enjoy cocaine But like I

21:32

just had to put that out there I

21:34

think we're gonna talk open and honestly about

21:36

the creation process one song is actually a

21:38

stealth Just say no don't do

21:40

drugs kids show so I think we're kind of

21:42

peeling back the curtain I'm not allowed to listen

21:44

to this this and Breaking Bad I'm like you

21:46

will find out when you're 16 hey real quick

21:49

one thing I love about the chronology is if

21:51

this gets towards the actual creation of the song

21:53

I know people are listening and waiting They're

21:57

working on this music yeah, and then they go across

22:00

the street at one point, I love this part of the story, and

22:02

I don't know if it's a restaurant or

22:05

a bar, but apparently they just drank copious

22:07

amounts of wine. Yes. And

22:10

like they're just over there, they're getting super lit,

22:12

and then they come back over and

22:15

people have forgotten what the bassline they've been working

22:17

on. Yes, they were recording it, they were playing

22:19

it, and they were like, this is great, we'll

22:21

remember this forever, and then they came back to

22:23

the studio and they're like, what the fuck are

22:25

we doing? And then the bass player can't quite

22:28

remember. So John Deacon, who came up with this

22:30

iconic bassline, has forgotten what he was playing, and

22:33

Bowie remembers it. So the funny thing about this story

22:35

too, is that I've heard different stories about this. They

22:37

all tell it differently. Yeah, go ahead and tell Bowie.

22:39

Yeah, so in one telling, and I think it's very

22:41

kind what they're doing, I think Deacon, when he tells

22:44

it, gives Bowie credit, and Bowie

22:46

kind of avoids the credit and gives it back

22:48

to him. Well, not at first. There was an

22:50

interview. No, no, no. Tell me

22:52

what you know. I think that Deacon at first

22:55

said, musically, this song

22:57

is all Freddie. This

23:00

is like an 82 interview. He

23:03

says, musically, it's

23:06

Freddie, lyrically, it's Bowie. And

23:09

then I think it's Roger Taylor. Roger

23:12

Taylor, yeah, the drummer. I think it's Roger

23:14

Taylor who says, no, this

23:16

song was basically feel-like, but

23:18

with Bowie contributing to the bass

23:20

line, the famous bass line part.

23:23

Go ahead. I love this

23:26

because the Rashomon nature of creativity is,

23:28

you have to, people should apply this

23:30

to everything they ever hear about how

23:32

stuff got made. Because not only

23:34

is there the like, people were in the room, came

23:36

out of the room, and suddenly there's no two stories

23:38

or the same. Right, and the people in the room

23:40

have different stories depending on what year you're talking to

23:43

them. It changes over time. It

23:45

changes based on the relationships. It changes because

23:47

there's lawsuits involved. And it changes also because

23:49

of memories, and it changes also because of

23:51

maybe some- The amount of wine and cocaine

23:53

because- Wine and cocaine, but right. And

23:55

at the time you're coming, if you're

23:57

in the room making something, sometimes you

24:00

don't realize that you're influenced by the

24:02

person who said something next to you.

24:04

A million ways that the creative process

24:06

makes it really difficult to untangle the

24:08

exact specific contributions of every single person

24:10

as separate from the others. Now, I

24:13

did interrupt you because I think you

24:15

were about to tell us the story

24:17

that I think is kind

24:19

of the most agreed upon ending

24:22

to the creation process, which is that John

24:25

Deacon does forget the base. John

24:28

Deacon forgets his own baseline. And it's Bowie who reminds

24:30

him, no, it sort of went like this. What I

24:32

think is funny about the retelling, and I think it

24:34

might be kind of a mutually understood

24:37

tacit thing amongst the players, is that Dickey

24:39

probably did forget which six notes in a

24:41

row he played. He knew there was something

24:43

about six notes in a row, but exactly

24:45

the rhythm and what came next seemed to

24:48

be unsure. What I

24:50

think happened is that Bowie had something

24:52

in his mind that he thought was better, and what

24:54

he said was, no, John, you're playing this. And

24:56

sort of like, incepted it to

24:58

be like, oh, great idea, John. I thought

25:00

about that when I read that. I was

25:02

like, do we know that Bowie actually remembered

25:04

what it was, or is it possibly that

25:06

he thought, oh, this would be better if

25:09

it's something like this? You don't know. How would we

25:11

ever know? We'll never know, but we both read into

25:13

it the same thing. And I think it was just

25:15

a matter of like, this will be better, but let's

25:17

give him credit for it. By

25:20

the way, we're not even taking away, did you

25:22

call him Dickey? Dickey, that's a good name.

25:24

I've never heard that. Yeah, Barney's in the

25:26

order, and Dickey is in the

25:28

queen. I don't know if I could call another

25:30

man Dickey with a straight face. The British people

25:32

have these really funny nicknames for each other sometimes,

25:34

like Dickey. If your name is, like Morrissey goes

25:36

by, they call him Maz, right? Mazar.

25:39

Garys or Gaz. Someone

25:41

has to explain that to us. One of these

25:43

days, we're going to do a deep dive on the term soccer

25:46

and how that came about. It's a

25:48

very British origin for the word soccer. Why isn't it? Well,

25:50

it's football, because you- It goes back to football

25:53

association. Okay. But we'll talk about

25:55

that another time. After the

25:57

break, those spine-tingling vocal stems, we

25:59

promise. We're going to play them

26:01

as well as that iconic baseline and we'll

26:03

get into the Freddie Mercury and David Bowie

26:07

Beef is too strong a word But we'll

26:09

just say they definitely butted heads like some

26:11

Rams fighting over the ladies and the flock

26:14

We will get into all that when we come back Hey

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28:16

Welcome back to one song, Luxury. Where do you

28:18

wanna start? All right, well,

28:20

we're gonna talk about Queens Under Pressure from

28:22

the Inside Out. This is a song written

28:24

by five gentlemen, Roger Taylor, Freddie Mercury, John

28:27

Deacon, Brian May, David Bowie, produced

28:29

by Queen with Bowie. Engineer

28:31

was named Mac, Reinhold Mac. And

28:34

there's an additional credit

28:36

that flows around. I think he also played keyboards,

28:38

and that's this gentleman named Dave Richards. So just

28:40

credit where it's due. So good

28:42

old Roger Taylor with that high, high, high

28:44

note is also really one of the most unsung,

28:46

great drummers of our era. I'm a huge

28:48

John Bonham fan, and everyone loves Keith Moon,

28:50

whatever, but like this guy's a monster. I

28:53

like animals. He's one of my favorite monsters.

28:55

Travis Parker. And Quest loves Shout

28:58

Quest. Shout out,

29:00

okay, there's lots of drummers, let's face it. Roger Taylor

29:02

is just one of many. No,

29:04

Roger Taylor is a monster of a drummer,

29:06

and here he is playing drums for Under

29:09

Pressure. I'm gonna start with this chunk here,

29:11

which is just the basic beat. And

29:13

then we'll get into some of the sick stuff that comes later. So

29:26

you can hear a lot of bleed in there. That is

29:28

actually isolated, but he's playing in a room, and he's obviously

29:30

listening to the mix, either in his earphones

29:32

or in the room itself, which is why you hear

29:34

some bleed from the others. And here's Roger Taylor going

29:36

into the chorus. It

29:46

sounds so big in part because we've got Reaver, but

29:48

he also just hits really hard. So

29:51

here is the greatest part of the song

29:53

from a drum perspective. This is a monster

29:56

of a fill that happens right after the bridge.

29:58

When I hear this, I hear

30:00

Dave Grohl in his room as a teenager listening

30:02

to it. But let's listen to the whole thing.

30:05

That's that

30:10

part. This

30:16

is so Dave Grohl to me. Oh

30:24

my god. So sick. So

30:27

powerful. So loud. Take that,

30:29

wimbly! So stadium! You

30:31

guys were born to be in stadium.

30:33

I mean you just forget how much

30:35

Queen, they didn't invent stadium rock

30:37

but they kind of like perfected stadium

30:39

rock. Yeah right, exactly. That's well put.

30:42

Zeppelin maybe kind of invented it I

30:44

think quite literally. But Queen

30:46

took it to the next level. Writing songs

30:48

for those stadiums that they were now filling.

30:52

That was outstanding. I love that

30:54

part. I don't know, you can follow up any drum

30:56

stems with that. Those were the peak

30:58

moments. I

31:00

love that you brought up Dave Grohl because we've mentioned on

31:02

the show before his conversation with Pharrell and all the stuff.

31:05

He was listening to, for his part,

31:07

Pharrell I'll never forget, somewhere in the

31:09

aughts was like I'm starting this label,

31:11

the name Star Trek, and what I'm

31:13

looking for is not just rappers, I'd

31:15

love to find a rock singer whose

31:18

voice reminds me of Freddie Mercury. I didn't

31:20

think that Freddie's voice has love across so

31:22

many different genres. That's incredible. It's just one

31:24

of those voices. Why do you think that

31:26

is? I just think that there's certain voices

31:28

that you can't, you can

31:31

never mimic or Freddie

31:34

Mercury, Michael Jackson, Marvin

31:37

Gaye. There's some voices that just,

31:40

there's no duplicating them, they're

31:42

once in a lifetime voices. Freddie

31:44

just, I mean you played that note earlier.

31:47

Most people couldn't hit that note much less maintain it

31:49

like that. Hold it and then bend it at the end

31:51

higher. And then bend it higher. We're

31:54

going to get into that stuff in a

31:56

minute. We're going to listen to so much.

31:59

In the meantime, let's listen to that icon.

32:01

Baseline and it is definitely true as some

32:03

commenters appointed out we overuse the word iconic

32:05

on this show I am definitely guilty of

32:07

overusing the word iconic when it comes to

32:09

overusing the word I that's fair. I am

32:11

right there with you that is so fair,

32:13

but there it may be no more iconic

32:16

Use of the bass guitar than this. This

32:19

is up there There's

32:27

no done done done it's just done done There's

32:30

no sevens done. I'm tempted to just skip ahead.

32:32

We all we all saw that interview. We all

32:34

six done all our brains exploded Um,

32:39

I mean what can be said about

32:41

that bass line the simplicity not only

32:43

is it simple because it's sort of

32:45

short Those six notes are

32:47

the same note. This is a two

32:49

note riff You've got seven

32:51

total notes and six of them are if you

32:54

pick up a bass guitar, you can probably play

32:56

this. Oh, yeah You only

32:58

need to know two notes and you can

33:00

kind of like forget like the second one

33:02

You can kind of fake a little bit

33:04

It's just that one little rhythmic dah dah

33:06

dah that sixteenth note, which we think that

33:08

maybe Bowie added It's unclear like in the

33:10

transition from Diki playing something to Bowie Misremembering

33:13

it possibly in a bet in what hit in

33:15

his mind was a better

33:17

version of it But certainly that

33:19

dah dah done done that sixteenth note

33:22

makes it makes it I think why it is

33:24

so iconic I think part of why it's so

33:27

iconic. I I totally agree only because you brought

33:29

it up. I want to only because you brought

33:31

up that iconic Baseline

33:35

but I'd like to play just

33:37

a snippet of their performance on Saturday Night Live

33:40

where you'll notice that the The

33:43

that iconic way the whole song is sped up to

33:46

what I would call 1982 cocaine fast By

33:49

the way, fun fact. This is the first

33:51

and the last time we Play

33:55

the song in America. I played the song America. So check

33:57

this out. This is from Saturday Night Live 1982 Chase

34:00

was the host. He definitely doesn't

34:02

know about cocaine. This is Under

34:04

Pressure on Saturday Night Live. If

34:17

you have the time, go find this clip

34:19

before NBC rips it off of YouTube. Okay,

34:21

I want to talk about the guitars because

34:23

the guitars, we were going to say a

34:26

lot about the bass line, but the guitars

34:28

are freaking epic in this song. Can you

34:30

play some? Yeah, and it's fun to listen

34:32

back to that first demo because a lot

34:34

of that stuff made the cut. In fact,

34:37

this first thing I'll play for you is

34:39

something we heard in the original demo before

34:41

Bowie even entered the room. And here it

34:43

is. This is Brian May, one of the

34:45

guitar parts, the initial one that starts the song.

34:51

So good. Sounds

34:53

like a koliath, koliath? What is that thing called? So

34:55

he's playing a 12 string apparently. I think there's a

34:57

mix of guitars in there, but it was Bowie's suggestion

34:59

to have one of them be a 12 string guitar.

35:03

So it's almost like harpsichord. Right. Very treble.

35:05

Very, very treble. Very attacky. So that's the

35:08

part that we know existed prior to them

35:10

all entering the room in Montreux because it

35:12

was on the demo for Feel Like. And

35:15

then we get into this part, which is in the chorus.

35:21

And then more come in. So

35:31

those are the two main things that Brian

35:33

May plays during the song. And then there's this

35:36

one part, remember a moment ago I played that

35:38

huge Dave Grohl- Yeah, that's those drums. ... drums.

35:40

There's a part here, there's a funny story behind

35:42

it, which I read, where this

35:44

is another idea that Brian May had, I

35:47

guess lying around in his riff drawer in his scene.

35:49

And he wanted to use it in the song. Okay,

35:52

so May was like, I'm going to get this

35:54

riff into the song somehow. And this is a

35:56

quote from him. This is his heavy riff. I

35:58

remember saying, cool, it sounds like the- who, at

36:00

which point David Bowie frowns a little

36:02

bit and says, it won't sound like the

36:04

who by the time we are finished. So

36:07

here's that riff. Shots fired. Here's that riff that he's

36:09

referring to. At the who. And

36:15

you can hear it here. It's

36:19

very who. It

36:22

does sound like the who. It does sound like the who and it does

36:25

sound like the who and it does sound like the who and it does

36:27

sound like the who and it does sound like the who. That's

36:32

like Baba O'Reilly, right? Yes.

36:35

So

36:41

there's definitely like a little who influence going on

36:43

there. Yeah, for sure. Absolutely. So that's

36:45

Brian May. Those are guitars. There's a lot more going

36:47

on. I'll just play you a little teeny bit of

36:49

some of the keywords just because they're fun to listen

36:51

to before we get into the meat of it. All

36:53

the vocals. So here's

36:55

that piano. Plink plink. By

36:58

itself. Again,

37:01

we got the doo doo doo doo doo doo doo and

37:04

the piano. Let it play. Let

37:08

it play. I

37:22

did not know that was there. You

37:24

want to hear that again? Can we hear that again? I

37:27

mean, was that what was that? Flash

37:33

Gordon made it into the studio. Apparently that is

37:35

a synthesizer from 1981. I'll look up

37:37

the sounds like it sounds like it sounds like my

37:39

Casio keyboard when I was a kid might be a

37:41

ferro light. Maybe that's the OB and Oberheim, but whatever

37:43

it is. You

37:48

know, never meet your heroes and sometimes don't listen to

37:50

the stuff. You know,

37:52

what's interesting is hearing that piano by itself.

37:55

I'm in my brain. We

37:58

were talking in the sly episodes. the Family

38:00

Stone episode that, you know, the greatest musicians

38:02

like, you think you hear stuff that's not

38:04

even there. Yeah. And with

38:06

this piano, I was actually hearing a slightly different

38:08

note. In the song version, in your mind all

38:11

the ears. For

38:13

some reason in my head, it sounds a little bit

38:15

different than when I'm hearing it now just by itself.

38:18

It's just weird like that. Yeah, sometimes in the mix,

38:20

other instruments kind of blend in with each other. So

38:22

you think one of the dynamics, right? Yeah, and the

38:25

other instrument that's working there that makes it sound a

38:27

little different. It's probably the guitar. It's the guitar part

38:29

because that's being layered like this. I'll just play them for

38:31

you. Play them together. Yeah. You really

38:33

like that? Here

38:36

it is without that. Yeah, I

38:38

think it's because the guitar is there. It's

38:48

making other things happen in my brain. Yeah, yeah,

38:50

yeah. That's so funny. There

38:52

is always, that's the joy of listening

38:54

to the stems and sharing them on the

38:56

show. There's stuff that you don't notice in

38:58

the mix like that. Fog horn that they

39:00

obviously, the San Francisco fog horn, noise, whatever

39:02

the fuck. That's definitely a key word. I'm

39:04

just joking. It's a synthesizer. But

39:07

it is very funny. Could you play us anything else that

39:10

you discovered, let's say that you think is either

39:12

not in the mix or we would have never

39:14

noticed it? Absolutely. Yeah,

39:16

here's a little interesting something I think you might enjoy. That

39:25

sounds like those rubber chickens that the

39:28

kids all like to drive me crazy because you step on anything.

39:30

I kind of want to hear that again. You

39:32

ready to do the visual for it with the rubber chicken? Here

39:34

we go. I

39:38

think every parent knows what I'm talking about. It's those rubber chickens.

39:41

I mean, I noticed that's there, but now you'll never unhear it. Let's

39:45

see if I got one more. It

39:51

shows up every time. They lumped it

39:53

so much they used it every chorus. Cut

40:00

it. Am I ruining the song? Don't do this. Cut

40:02

it. No.

40:05

Cut this off. Cut this off. I'm

40:07

so sorry. Brady doesn't have the highest voice. There's a Dan

40:09

Rooster on the track. And there's a fog war. Maybe

40:12

we shouldn't have done this song. I'm

40:16

going to do this. I'm going to do this. I'm going

40:18

to do this. I'm going to do this. I'm going to

40:20

do this. I'm going to do this. I'm going to do

40:22

this. I,

40:25

the ala who's created nothing this great, has some

40:27

notes. Okay, so I think it's fair to say

40:29

we're coming to the moment. We've all

40:31

been waiting for luxury. Let's talk about the vocals.

40:34

And I think you want to start us off

40:36

with a quick story about how the

40:38

vocals got recorded. So at

40:41

this point in the project, Bowie is starting to

40:43

really take the organizational hands, shall we say?

40:45

I was going to say the upper hand. But he is

40:47

definitely kind of the project manager in this situation. And he

40:49

suggests, and this comes from his own experience by the way.

40:51

His creative methods included a lot of like data-ist things

40:54

and surreal like cut-ups and things like that. Like

40:59

you take newspapers and you chop them up, throw

41:01

them on the floor. Maybe there's some lyrics there

41:03

kind of stuff. So he suggests that everyone go

41:05

into the, to get the lyrics and the melodies,

41:07

that all the members, not just him and Freddie,

41:09

all five of them go into the studio, into

41:12

the vocal booth, and just come up

41:14

with whatever comes into their head in the moment. So

41:16

they're to listen to the instrumental track and just whatever

41:18

comes out of their mouth, just

41:21

let it go and don't overly, you know, don't be critical about it. So

41:23

they do this. And

41:25

what I'm going to play for you in addition to all the iconic

41:27

stuff that we've heard many times, but

41:30

never quite like this isolated, is other

41:32

stuff that wasn't in the final version. We're going

41:34

to hear, one of my favorite things is Brian

41:36

May, who usually has one song on every clean

41:38

record, but he isn't normally on under pressure. There's

41:42

a verse that he comes up with, which is

41:44

generally not something people know exists, and we're going

41:46

to play that for you. But first,

41:50

let's play Brian May. You

41:53

want to start with Brian May? I'm

41:55

glad you're talking about Brian because I think

41:58

you're about to play this vocal and... Let's start

42:00

with Brian's unused vocal. Yeah, and you can hear

42:03

Freddie and David in the background yelling,

42:05

people on streets, which is the working

42:08

title of Under Pressure. Yeah, because that's

42:10

all. They had been just vocalizing nonsense except a few

42:12

words popped up and they're like, hey, people on streets.

42:14

People on streets. I like that. It's very catchy. You'll

42:16

hear that as Brian works out his idea here. You'll

42:19

hear them popping up. Here we go. This

42:21

is Brian May on lead, and then people on streets

42:23

is David and Freddie. Violent

42:26

and lonely. People

42:28

on streets. Nowhere to run. People

42:32

on streets. They don't do people.

42:36

How kind of people

42:39

get things done. The

42:43

kind of people who live on

42:45

streets. That

42:47

one sort of tied up in a nice little bow, wouldn't it? Yeah, man.

42:50

People get things done. People on the streets. This is

42:52

a different song. We

42:54

here at the show are big on vulnerability.

42:58

I was this year's old when I found out

43:00

that they're saying people on streets. I thought there

43:02

was just more of that sort of scat. Yeah,

43:06

I didn't know they'd say people on streets. Yeah,

43:08

people on streets. That's really cool. Yeah, right on.

43:11

I'm just going to do one more unused thing

43:13

because it's very funny. This to me feels like

43:16

Freddie putting on his Barry Gibb hat. You'll

43:18

hear why I think that in a moment. You

43:21

say New York, New York

43:23

is dangerous. Because you

43:25

read that way, you may. I

43:28

love that. I love that. So basically, listen to

43:30

this. That

43:36

sounds like Jimmy Fallon doing his impression

43:38

of Barry Gibb. You're right. But that's

43:40

why we like putting everything in its

43:42

historical context. Because they're listening to

43:45

the radio just as much as an artist today would

43:47

be listening to Doja Cat on the radio. He's

43:49

heard Barry. I like that. You

43:52

could be like, I like that. Hey, guys, have

43:54

you guys noticed that Barry gets like, ha, ha, ha,

43:58

ha. That's really cool. Whoever

44:00

knew that was in there it makes me wonder too now

44:02

that we're talking about it Is that the inspiration for the

44:04

ultimate why which we just heard at the beginning which is

44:06

crazy in other words? Did he start out

44:09

as a joke doing the berry gib and then decide let's

44:11

like do it Let's

44:17

do it for real Because he's

44:19

out at this time too And I

44:21

almost wonder like that almost sounded less

44:23

berry gib and more Prince like that

44:26

And I'm not saying that he's copying Prince

44:28

or the Prince is doing Curtis Mayfield though,

44:31

right? Yeah, exactly I mean everybody's like influencing

44:33

everybody else But when I heard that I

44:35

did think I was like, you

44:37

know Cuz I know that later on Freddie and

44:39

Michael Jackson go work together But that

44:41

part that that part sounded more like Prince to

44:43

me Okay, which is I think sort of wobbling

44:45

this to me sounded like very good wobbly but

44:48

that other party played is a hundred percent I

44:51

love that section. That's so funny and I'll just

44:53

do one more. It's just fun to hear Freddie

44:55

sing A line that didn't end up getting

44:57

used and here's here's that line I

45:08

did get used no, that's not

45:10

in there. I'm thinking about the part This

45:14

is him getting maybe this is him nailing and

45:17

finding that melody and choosing to use it in

45:19

falsetto But then rewriting the lyric Yeah, kind of

45:21

what I think and actually it might have been

45:23

Bowie who wrote the new lyric for that melody

45:26

and this gets back What we were saying before

45:28

about the Rashomon of who said what you said

45:30

that Deacon Said Freddie was

45:32

responsible for music. Yeah, and I'll find that

45:34

for me in like I think that I

45:36

think that's probably accurate And my guess is

45:39

from what we heard. That's a perfect example.

45:41

That's probably Freddie going I got this great

45:43

idea Here's the melody. I'm gonna do it

45:45

in falsetto and Bowie's like and here's a

45:47

better lyric for it That's just speculation but

45:49

total regulation or our behalf, but you know

45:51

what these interviews. That's what I think might

45:54

have happened There are a lot of freaking

45:56

interviews out there folks and

45:58

now let's hear Bowie's unused stuff. This

46:01

is another line from Bowie which

46:03

he sang off the dome,

46:05

top of the dome, presumably maybe he wrote some of

46:08

these lyrics down but this didn't get used. There

46:11

could be a hellhole but it's not

46:14

what you think. You count

46:16

them in figures. I

46:18

call them friends. They take

46:20

me high, take me high.

46:24

The phrase it could be a hellhole. It

46:27

could be a hellhole. They decided

46:29

they could top that and

46:33

they did. What they left

46:35

in was pure gold. Now we've come to

46:37

the part that everybody's been waiting for and

46:40

for this I have a small request for

46:42

our one song listeners. I want you to

46:45

close your eyes and just listen

46:47

just this once to Freddie's

46:49

voice. Gotta

47:01

play the whole thing. No,

47:03

because we're gonna talk about this separately. Oh god it

47:05

pains me so much to stop it right there. It's

47:07

hard to stop the music. Please

47:10

don't stop the music. It's really hard to

47:12

stop that part because it's such a natural

47:14

progression but I just... Emotional moment after emotional

47:16

moment. So many of them. It's so emotional.

47:19

I just... I

47:21

don't want to sound like that fogey.

47:24

It's like, where's the music? But it's

47:26

so emotional and his voice is so

47:28

good. It's so good. It's

47:31

hook after hook after hook after hook.

47:33

It's pleasure center being tickled continuously

47:36

in different ways. Yeah man and like you

47:39

know when you hear it without the music

47:41

you hear... I heard the growl

47:43

in that one part more

47:45

than I think I've ever really appreciated.

47:47

Yeah. Yeah. Yeah. Like he's

47:49

just hitting you over and over with give

47:51

love, give love, give love. There's just so much

47:53

going on there. I just I love it so much. It

47:55

sounds so good and it's so emotional and it's so wrong.

47:58

I'm feeling the same thing. And you just wonder like... Yeah,

48:01

is there music right now my mind always goes it

48:03

is there music right now that I'm not listening to

48:06

That I should be because it's just as good

48:08

as this my problem Sometimes it's like when people

48:10

when I go to people I'm like only here's

48:12

something emotional. They give me like some singer-songwriter No

48:15

offense. It's like a person with like an

48:17

acoustic guitar and they're singing about like their

48:20

shitty breakfast That's

48:22

not what I mean by emotional I

48:24

mean like this is hard rockin music

48:26

with drums and bass and guitars and

48:28

stuff But it's still at its heart

48:30

really emotional I just don't want to miss

48:33

the boat on something being recorded right now

48:35

But maybe maybe that comes out I have

48:37

two minds on that I hear everything you're

48:39

saying and I agree and I simultaneously think

48:41

well Maybe there's something happening now that over

48:43

time will emerge is that yeah, but at

48:45

the same time I think this hit just

48:47

as hard listen one is in

48:50

night's morning as it hits 40 So

48:53

maybe the time will make it that way Like

48:56

it's not even like yeah search on the album to

48:58

find this this was the hot space Single

49:01

and his voice but that's why I think you're

49:03

like, you know whether it's a

49:06

rapper with incredible skill or a singer with

49:08

an incredible voice like Freddy's a once in

49:10

a generation talent Yeah, and and so is

49:12

David Bowie and so is David Bowie crazy.

49:14

I want to listen to David Can you

49:16

play me some David Bowie? Let's continue. You

49:18

pick it up. Yes pick it up or

49:20

we left You

49:22

so much and if they both come in

49:24

together at the end of the David Bowie

49:27

if they will just let it ride All

49:47

right now listen Fucking chills.

49:50

I Agree all the chills in the

49:53

world all the chills in

49:55

the road and so juiced and yet I've

49:58

always thought that was Freddy coming in at harmony with

50:00

him. That's not Freddy. I just noticed that too. No,

50:02

that's Roger Taylor. He of the high

50:05

voice. There he is doing the high

50:07

harmony there. And it's a

50:10

little lower. It's a little raspy.

50:13

You can tell because of the raspiness. That's

50:15

what you're saying. I guess I can hear

50:17

it. I'm still giving Freddy the props on

50:20

that. I refuse. I

50:22

don't even know if Freddy's in there. I want to keep a little

50:24

bit of the magic alive. Wait, is Freddy even in this? I want

50:26

to listen again. I'm

50:30

not sure that Freddy's part of that. That might

50:32

just be Bowie and Roger. Well,

50:37

whatever the fuck is going on there. I mean,

50:40

it's amazing. It's insane. It's amazing. It's one of

50:42

those things. You know when you're listening to the

50:44

song that's, I can't wait for that next part.

50:46

Yeah. This is a part where for

50:48

a minute and a half straight from the drum

50:50

fill to the end of the song, which we

50:52

just heard, everything that's happening, I'm like, I love

50:54

this. Oh, and it's about to get better. Oh,

50:56

I love this. It's about to get better. I

50:58

love this. It's about to get better. It is

51:00

this build that never ceases to like. They're playing

51:02

with our emotions. If you want to be honest

51:04

about it. I have a practical question and a

51:06

more esoteric philosophical question.

51:09

They went off into separate places and

51:11

recorded vocals. They went

51:13

to the vocal booth separately one at a

51:15

time. Right. So how are they harmonizing and

51:17

hitting the same notes? That's just the writing

51:19

process. They're writing that way. And we heard

51:21

some results because they recorded it and that's

51:24

still part of the tapes that have

51:26

been passed around and led to me, but they

51:28

didn't use it. And then when they finally did lay

51:30

down. But it didn't be upon the lyrics and then

51:32

they came together and sang. At a certain point, what

51:34

I understand is that it's really Bowie who's kind of

51:36

making some final choices about what remains,

51:38

like what to use out of all these ideas,

51:41

the patchwork of ideas. Because there is a lot

51:43

of different things and it's a difficult thing

51:46

logistically to do to figure out which do we

51:48

use, what don't we use? At a certain point,

51:50

again, going back, just relying on interviews and sort

51:52

of piecing together a Lot of

51:54

people with slightly different stories. It seems like

51:56

Bowie was the one, maybe with Roger, who

51:58

went to the music. Doctor the city the next

52:01

day and said let's use this less use that

52:03

but he is bringing it's Oh I think I

52:05

just answer the questions. That's why Freddy's out on

52:07

the end there. Because. He wasn't there

52:09

the next day and Roger was. I.

52:11

Think that's why we just heard the end

52:13

of the song with the only the two

52:15

of them some side ready. didn't come back.

52:17

Sometimes revelation has to come from just going

52:19

through the information I would marry I have

52:21

yeah would make so because they only recorded

52:23

everything on that first day which has yard

52:25

of the insane magic of the songs. The

52:27

next it was mixing. they just took what

52:29

they hadn't made it into. this was your

52:31

idea. What a great question that prompted that

52:33

revelation because it's like spreading, wasn't there to

52:35

sing harmonies was only Roger was fully sit

52:37

while I love is necessary tip of that

52:39

Ivanova so that our theory bad. Added as a

52:42

glorious if any by was it a bayless hit

52:44

up the south. Now.

52:46

Of course this song was famously sample. We

52:48

debated whether the even breathe so obvious as

52:50

similar everyone Evelyn history and what. yes it

52:53

would be if it's also person who doesn't

52:55

know anything above. Samples interplay. They still know

52:57

about Ice Ice baby. And.

52:59

About an interview segment was i'll play for You

53:01

Just without any were entered up yeah I died

53:03

or exact words are gonna play. We. Sampled

53:06

I'm from, I'm but it's not the phone. Both was.

53:09

Like boom boom boom boom. Boom!

53:12

Boom Boom Boom. Boom!

53:14

Boom Stuff Mobile south of. England.

53:20

Obsessed with Thirty every time we were

53:22

talking now about how Under Presses baseline

53:24

when from rock and roll history to

53:26

to hip hop infamy view of the.

53:29

Primary. Give him some credit the odd desk.

53:33

You know us all the time. I

53:35

I was listening for the science. He

53:37

says the same thing twice. He.

53:40

Of the me me me me me me me

53:42

me me if he does but ours as the

53:44

me me me me me the me being like

53:46

a puzzling said you just. Have

53:49

the balls! In

53:55

A I'm a citizen. Yeah.

54:04

right? I think any on his lover

54:06

of hip hop. Will. Have

54:09

to admit, That. That beat his.

54:11

Don't if I go for you as

54:13

I'm using that word dope intentionally to

54:15

this Ninety Nine Naveen as via internet

54:17

seventy know that extra done with as

54:19

I've done and I'm Diana less of

54:21

a totally different it is assuming that

54:23

extra set of the six Done Done

54:25

Done that southern dun dun dun dun

54:27

dun dun that as a he was

54:29

a major that of the disease and

54:31

done.are homeless For the record when I

54:33

hear him to that explanation I see

54:35

are the exact same thing. Like I

54:37

heard him say simply the vaccine face

54:39

I don't hear. A seventh know even totally

54:41

and sport he goes it's all I know

54:43

is is done and I bet is kind

54:45

of player july mind for serious evidence as

54:47

maybe it's because have a subtle and so

54:50

the first time ever heard this baseline was

54:52

in ice ice baby the else it might

54:54

be a is of when I listen to

54:56

under pressure To this day I am unknowingly

54:58

hearing the seventh note that is that there

55:00

is that is very possible I want to

55:02

say really quickly. As I

55:04

just have to tell my eyes as baby stories help. Guys.

55:08

If the if the is ninety ninety

55:10

and take a radio a where we

55:13

find it is not to thoughts the

55:15

radios we've and most of us kids

55:17

were all listening to be One or

55:19

Three in Atlanta. I remember very distinctly

55:22

that's They Play that song. And

55:24

the next day. sort of like a water

55:26

cooler moments. Yeah, everybody's I still just as

55:29

long as I said above. I guess I

55:31

sleep like everybody's really amp to the I

55:33

were elementary school kids, we have no taste

55:35

in music in our life. We love that

55:38

song and I'll never forget this one kid.

55:40

Is a bag of the room was like

55:42

yo that that was white. And

55:45

like the room stopped and like

55:47

you just can't even a medal.

55:49

The people so they can imagine

55:51

just how. Insane. That

55:53

was of he was pulling it off to. you

55:56

guys do. Nobody knew what had been. Allies look

55:58

like the Morning After Ice Ice Baby the original

56:00

on an Iranian or whatever. that was like. We

56:02

didn't know my division not out yet Emily I

56:04

had A Reuters B, a gap in between the

56:07

song the I, The Solace I'm out of My

56:09

Head and then you got a video of has

56:11

a young getting away with it. Are

56:13

almost. I'll never forgive whoever. I don't

56:15

have to pay for my videos Bobby

56:18

Ross but like succeed. I remember I

56:20

remember that the roses or all the

56:22

air left the room. Everybody was like.

56:25

There's no way of all my

56:27

some of them all buried screw

56:30

like. None. Of us like

56:32

to think that a white suit is that

56:34

song. Saddam was our hearts lord and nights

56:36

driving. I'm of ninety ninety four months so

56:38

did you change is no no my by

56:40

white kid. Rapper. Your we

56:42

doubled and know yet a hammer in on

56:45

Hammer family like a high top right of

56:47

a lighthearted here for air flights. I just

56:49

remember how everybody was shocked into silence that

56:51

he could be whites and then we just

56:53

moved on. Lower just moved on our talked

56:55

about every game and will ever have a

56:57

real came out fallacy. I really like Joe

56:59

his wife and then you saw like a

57:01

little bit of a line of the sailors,

57:04

some scissors the like just another just let's

57:06

now he sees they decided outline review on.

57:09

Isis I was on his eyes.

57:11

Still sounds good songs but like

57:13

there wasn't like we can't legged

57:15

Now the Anti. Line. Of

57:17

argument was that. He. Stages he

57:19

that live in a life because you

57:21

know dilemma like it was very segregated.

57:23

we didn't know that there were lights.

57:26

Real. White. Street kids in

57:28

I mean I may as a rubber band legal

57:30

was as you don't know Roberts my own little

57:32

in Iowa I didn't a little bit less about

57:34

a what I needed numbers in worry I did

57:36

a deeper dig. So if if anyone has been

57:38

following the story is is that a phone one

57:40

of our he has his infamous video We just

57:43

play the clip a very slight denying for civil

57:45

just have one deny deny deny. That is literally

57:47

trying to tell us to our fate is that

57:49

they are not the same the South. This is

57:51

some combination of light. Ignorance and

57:53

just like you know, To. Provide

57:56

all right, probably come by. He may not

57:58

have known that that extra. It didn't make

58:00

him a plagiarism now, and maybe that they were

58:02

grown up here. My me, my. Background.

58:05

Wise words as. Robber.

58:07

Van Winkle does come from money as he like

58:09

as a poor flown as I say a little

58:11

bit but probably from Florida I was the sooners

58:13

and four nights a little bit about Robin Van

58:16

Winkle and I like adding of Assad's my friend

58:18

Claire Mcleish who are is is a real a

58:20

friend of mine from they musicology I met are

58:22

literally the Miracle Musicality Society in Denver, the annual

58:25

Conference and I just came back from Italy the

58:27

most. Non. Salary thing we're going to careful

58:29

a. Good

58:31

friend of mine who we both kind of. Working.

58:34

On similar things are both interest in sampling

58:36

of interplay soon and all this to say

58:38

that she had done a deep dive that

58:40

she helped me before this episode. With some

58:42

research she was able to get into some

58:44

publications I don't have access to. Saw Some

58:46

of these facts are things that maybe revelations

58:49

in public for the first time because the

58:51

most recently if you look up this case

58:53

you may find a clip many years later

58:55

of Miserables or Van Winkle A Cave and

58:57

Allies claiming that he bought out the song

58:59

varieties. very vague about what he's talking about

59:01

like there's and Opie and Anthony Clippers. Like

59:04

us a Five. Four million Dollars I bought it.

59:06

I'm like Michael Jackson with The Beatles I'm so

59:08

smart and Opie and Anthony like whoa that's amazing

59:10

A boy am I buy were four billion dollars

59:12

in his his first saw and what is even

59:14

talking about Select I can break down for you

59:17

What that Actually I've done some homework. Okay, if

59:19

any way out there wants to do some as

59:21

you can follow along with a little bit you

59:23

can go to beamy.com and learn that the actual

59:25

writing credits for Under Pressure do not include Robber

59:27

Van Winkle that's his real name So he has

59:30

steadily not talking about owning Under Pressure that that

59:32

would not be the case as an. Owner and

59:34

if you look at the Ice Ice Baby

59:36

credits you will find all the members of

59:38

Queen. You will find David Bowie A by

59:40

the way and this is important to you.

59:42

Will also find a couple more names. You'll

59:45

find Floyd Brown who's Dj Earthquake was the

59:47

producer produce that tracks and Mario Chocolate Johnson

59:49

who's the lyricist and there are various interviews

59:51

with both of them that I believe it

59:53

was. They both say that Robber Van Winkle

59:55

did nothing. Except. show up and rap

59:57

that day that all the lyrics written by

1:00:00

Chocolate Johnson, which is why their story is

1:00:02

about Shug Knight shaking him down, a little

1:00:04

exaggerated for publishing. But it's

1:00:06

safe to say- That's the famous hanging you off

1:00:08

the balcony in West Hollywood. That's that famous story,

1:00:10

which did not happen. That didn't happen? These

1:00:12

are facts that are verifiable in those databases, but my

1:00:15

friend helped me go a step further. Did

1:00:17

Shug hang someone else over the balcony? It is quite possible.

1:00:19

I don't want to get into any conversation- I don't want

1:00:21

to get into any conversation about Shug. I think he's really

1:00:23

great. We're very glad to have him on the show. After

1:00:28

that Opie and Anthony interview where

1:00:30

he claims for $4 million he bought

1:00:32

it, a Queen spokesman said, told Ultimate

1:00:34

Classic Rock, this publication, that vanilla ISIS

1:00:36

statement is inaccurate, and

1:00:39

arrangement was made whereby the

1:00:41

publishing in the song was

1:00:43

shared. Just to sum

1:00:45

it all up, there is some truth in the

1:00:47

fact that he probably did pay $4 million to

1:00:49

have some kind of participation

1:00:51

in getting royalties, but he's not an

1:00:54

owner. It's important because the difference

1:00:56

is that if you're an owner, it means that

1:00:58

you have the right to license it, you can

1:01:00

authorize a derivative of works, you can approve it

1:01:02

for use in a movie or a movie trailer.

1:01:04

He doesn't have any of those rights that an

1:01:06

owner would, but he probably might be getting paid

1:01:08

in a new innovative way behind the scenes. Technically

1:01:11

not an owner, so he doesn't own- it's not the

1:01:13

same as Michael Jackson buying the Beatles, which

1:01:15

is the comparison he makes himself. That's

1:01:17

a way different thing. Throwing it on

1:01:19

the show, I said, never meet your

1:01:21

heroes. Apparently never meet your zeros. Ouch.

1:01:24

Darn. Listen, whatever

1:01:26

that Vanilla Ice movie to the extreme, he famously

1:01:29

said, hey, lose that zero, get with a hero.

1:01:31

Oh, nice. So I was trying to do a-

1:01:33

and now it sounds like I've picked beef with

1:01:35

Vanilla Ice, which I'm perfectly comfortable. You're ready for

1:01:37

that. All right, so one of

1:01:39

the things people say about this song is it

1:01:41

is perhaps the ultimate collaboration, the ultimate duet. That

1:01:43

was one of them, yeah, for sure. Yeah, oh

1:01:45

my God. It doesn't get much bigger than Queen

1:01:48

and David Bowie. Two of my

1:01:50

favorite artists of all time, the two most

1:01:52

iconic voices and artists. And

1:01:54

musicians and their voices themselves, but

1:01:56

also the artwork they make surrounding

1:01:58

the music with the- visuals and the

1:02:00

costumes and incredible collaboration. But let me

1:02:02

ask you this, Deanna Riddle, what are

1:02:05

your favorite collaborations of all time? Well,

1:02:07

I thought we were gonna have a chance

1:02:09

to talk about, we didn't really get it,

1:02:12

but Freddie and Michael

1:02:14

Jackson were sort of fans and you can

1:02:16

see footage of Michael Jackson backstage at a

1:02:18

Queen concert on YouTube. I think

1:02:20

they're two of the greatest voices not to

1:02:22

be mimicked ever again. And they

1:02:24

recorded State of Shock together, which

1:02:26

is a decent song, but like,

1:02:28

you know, I can think of

1:02:31

several other, you know. Is that Michael Jackson

1:02:33

and Mick Jagger? Well, it eventually became Michael Jackson

1:02:35

and Mick Jagger, but the original

1:02:38

recording of it was Michael

1:02:40

Jackson and Freddie Mercury.

1:02:42

And you can definitely find that

1:02:45

on YouTube. Gotta

1:02:49

be mine. Gotta

1:02:53

be mine. Gotta be mine. So

1:02:58

that was cool. Yeah, that was my guy. And of course,

1:03:00

Michael Jackson did his music with the Beatles

1:03:02

we saw previously about, say, say, say, which is...

1:03:05

The infamous, say, say, say. Always

1:03:07

thought it would have made really better. They

1:03:10

definitely, it should have been... The girl is mine,

1:03:12

which should have definitely been on Paul's record. That

1:03:15

would have pleased so many more people. It makes

1:03:17

so much more sense. Let's get fit that into

1:03:19

every fifth episode. By

1:03:21

the way, Paul, clearly the mood to collaborate. You

1:03:24

know, did his song with Stevie Wonder, Ebony and

1:03:27

Ivory. Ebony and Ivory.

1:03:32

Live together in perfect...

1:03:34

You've got Mick Jagger and Bowie

1:03:36

working together on that song. Dancing

1:03:39

in the Streets. Classic

1:03:41

video. Classic video. We haven't seen the version where it's

1:03:43

like, they take the music out and it's just

1:03:46

like breathing, heavy breathing. It's right.

1:03:50

Dancing in the Streets. Dance,

1:03:53

sick of it. We've

1:03:56

got Kitty Rogers and Dolly Parton. I was

1:03:58

in the stream around this time. We

1:04:00

already mentioned Bowie with John Lennon for

1:04:02

Fame. And

1:04:04

what's crazy is that on the album

1:04:07

with, on the

1:04:09

album with Under Pressure, there is

1:04:11

a song called Life is

1:04:13

Real, which is Freddie's dedication

1:04:15

to his recently passed friend.

1:04:18

John Lennon. And

1:04:23

then of course you've got Fame, the

1:04:25

famous collaboration with David Bowie and

1:04:28

John Lennon, I don't think we all knew that

1:04:30

Lennon was on that track. But

1:04:32

once you find it out, it's hysterical. That's him saying

1:04:34

Fame. That's

1:04:40

him doing the Fame. And then just to bring it full circle, the

1:04:43

album that Under Pressure appeared on, Hot

1:04:45

Space, has a

1:04:47

tribute to John

1:04:49

Lennon from Freddie Mercury. I

1:04:52

just, I keep thinking about, yeah, go ahead. Yeah, no, that was

1:04:54

it. What were you gonna say? I just keep thinking about how

1:04:56

Hot Space, I hope some people go check

1:04:58

out the album. They really should. What's really funny when

1:05:00

you look at it, is that it is their, it

1:05:02

seems to be their least loved record just by the

1:05:04

numbers on Spotify. And it's comical, cause

1:05:06

like all these songs are like four million, three million,

1:05:08

but then you have Under Pressure at the end, cause

1:05:11

it's the last song with 1.5 billion. It

1:05:14

just sort of speaks to like, you know, it really carried

1:05:16

that out. But again, we really appreciate R&B and disco, and

1:05:18

this is an album where Queen was trying some stuff. I

1:05:21

think Stay in Power is

1:05:23

a decent song. I actually like Cool Cat.

1:05:25

I'm so glad you played the Bowie

1:05:27

part of it. And Backchat is great, and we were talking

1:05:29

about body language. I think Calling All Girls, I

1:05:32

remember that song. Very interesting. I like that it starts off

1:05:34

with Calling All Boys, but they're like, guys, you guys can't

1:05:36

call it that. We're not ready for that yet, yeah. Nobody's

1:05:38

ready for that yet. Okay, so

1:05:40

before we go, we're gonna do one more song.

1:05:42

This is the part of the show where we

1:05:45

share a new song with you, the one song

1:05:47

Nation. That sounds very

1:05:49

fascist, but. You did sing about the

1:05:52

one song Nation in one of our recent episodes. I

1:05:54

like that one song Nation. I'm

1:05:56

with it. We share it with you guys

1:05:58

and with each other. Luxury. go first what's

1:06:00

your one more song for today? Well today's one

1:06:02

of those days where I'll, my one more song

1:06:05

is connected to the episode. This is for

1:06:07

Queen fans you may already know that Freddie

1:06:09

Mercury has solo records but not a lot

1:06:12

of people do outside of the Queen core

1:06:14

audience and I don't think I've had a

1:06:16

DJ gig in the last five years where

1:06:18

I haven't played this Freddie Mercury solo song.

1:06:21

It's called Love Kills. Oh

1:06:34

gives me chills. Everything about Freddie Mercury

1:06:36

gives me chills. When you have Freddie

1:06:39

Mercury plus the 16th note full-sitting Giorgio

1:06:41

Moroder-y synthesizers that's me. That's everything about

1:06:43

me and music. Fun fact, yeah, David

1:06:46

Bowie was recording with Giorgio Moroder when

1:06:48

he met the guys and worked on

1:06:51

Thunder Pressure. It's all coming together. All the heroes.

1:06:53

Can you imagine all the heroes

1:06:55

in one place? That's right

1:06:57

because Mack was Moroder's engineer from Munich.

1:07:00

There you go. Big team. For my

1:07:02

song I'm good I like

1:07:04

to use my one more song moments to

1:07:06

bring up a song that I don't know how else I

1:07:08

can get it out there. Hey guys this is a cool

1:07:10

song check it out please. This

1:07:13

group is from South Africa. They go

1:07:15

by the name of Seba Kopsad. Seba

1:07:18

Kopsad. It actually stands for Seba

1:07:20

Cape Town and

1:07:23

if you are truly into this you

1:07:26

can find them

1:07:29

by looking up

1:07:31

S-E-B-A-K-A-A-P-S-T-A-D. Seba Kopsad. And the

1:07:33

name of song is Thena and here it

1:07:35

is. Whoo!

1:07:41

That's sweet. So

1:07:51

just a sample of that song. It's a really

1:07:53

cool song. I hope you like it. I love

1:07:55

those jazz chords and vocals. Yeah man sounds fun.

1:07:58

Like those crazy unexpected changes in the chord. I

1:08:00

love that. It's good just now though.

1:08:03

It sounded like the piano player was

1:08:05

Vince Garibaldi from the Peanuts special. Vince

1:08:07

Garibaldi meets Steve Wunder. Yeah man. Yeah,

1:08:09

totally. I like that. In church.

1:08:12

Luxury helped me in this thing. Alright man, well I've

1:08:14

been producer, DJ and songwriter Luxury. And

1:08:16

I'm actor, writer, director and sometimes DJ

1:08:18

Diallo Riddle. And this has been and

1:08:20

continues to be one song. Yeah. We

1:08:23

will see you next time. Thanks for listening.

1:08:25

This episode was produced by Matthew Nelson with

1:08:27

Engineering from Marcus Hall. Full

1:08:29

production support from Jordan Cawley, Casey

1:08:32

Simonson and Alicia Shimada. This

1:08:34

show is actually produced by Kevin Hart, Mike

1:08:37

Stein, Ryan Smiley, Eric Edding,

1:08:39

Eric Weil and Leslie Guam. Hey,

1:08:50

what's going on? Kevin Hart here and I've got

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