Remember those afternoons spent hovering over the record button, waiting for the perfect song to hit the airwaves? Join Jim Bois and Show Producer Jimmy Guthrie as we embark on an audio odyssey, reliving the lost art of mixtape mastery. We share tales from the trenches of recording radio gems and crafting heartfelt compilations. It's a heartfelt tribute to the personal soundtrack of our lives, punctuated with anecdotes that'll have you dusting off your tape deck.
The airwaves of WLIR 92.7 weren't just about the music; they were the lifeblood of an era that shaped our sonic sensibilities. We wander through the influence of new wave music, guided by the likes of program director Denis McNamara, and revel in the station's pivotal transformation that brought bands like New Order, Men Without Hats, U2 and The Smiths into our world. The episode isn't just a history lesson—it's a conversation soaked in nostalgia, celebrating the communal spirit of the music scene and the indelible mark left by radio and MTV on our collective musical identity.
Wrap up your listening session with a bang as we pay homage to Led Zeppelin's seismic impact on blues and rock, alongside a salute to the unmistakable era of 80s heavy metal. From the mystique of Led Zeppelin IV to the headbanging anthems of Motley Crue, we dissect the sounds that defined a generation. As we conclude our musical journey, we invite you to let the spirit of music carry you until our next audio encounter.
Please Like and Follow our Facebook page Music In My Shoes. You can contact us at musicinmyshoes@gmail,com.
Remember those afternoons spent hovering over the record button, waiting for the perfect song to hit the airwaves? Join Jim Bois and Show Producer Jimmy Guthrie as we embark on an audio odyssey, reliving the lost art of mixtape mastery. We share tales from the trenches of recording radio gems and crafting heartfelt compilations. It's a heartfelt tribute to the personal soundtrack of our lives, punctuated with anecdotes that'll have you dusting off your tape deck.
The airwaves of WLIR 92.7 weren't just about the music; they were the lifeblood of an era that shaped our sonic sensibilities. We wander through the influence of new wave music, guided by the likes of program director Denis McNamara, and revel in the station's pivotal transformation that brought bands like New Order, Men Without Hats, U2 and The Smiths into our world. The episode isn't just a history lesson—it's a conversation soaked in nostalgia, celebrating the communal spirit of the music scene and the indelible mark left by radio and MTV on our collective musical identity.
Wrap up your listening session with a bang as we pay homage to Led Zeppelin's seismic impact on blues and rock, alongside a salute to the unmistakable era of 80s heavy metal. From the mystique of Led Zeppelin IV to the headbanging anthems of Motley Crue, we dissect the sounds that defined a generation. As we conclude our musical journey, we invite you to let the spirit of music carry you until our next audio encounter.
Please Like and Follow our Facebook page Music In My Shoes. You can contact us at musicinmyshoes@gmail,com.
Speaker 1:
Cordier.
Speaker 2:
Got the feeling and it's out there growing. Hey everybody, this is Jim Boge, and you're listening to Music in my Shoes. That was Vic Thrill kicking off Episode 11. As always, I'm thrilled to be here with you. Let's learn something new or remember something old. So, jimmy, let me ask you a question.
Speaker 1:
Okay.
Speaker 2:
Back in the day, did you ever make tapes, whether it was, you know, cassettes, tape in them off?
Speaker 1:
the radio. I made so many tapes. I loved my tape deck.
Speaker 2:
So were you doing it off the radio or I started out off?
Speaker 1:
the radio. I had that little tape deck that I don't know. It stood up vertical and the cassette popped out the front and it had an FM radio and cassette deck on it and a speaker and I loved recording the radio because I was just like I'm getting these songs for free.
Speaker 2:
Yes, not only were you getting them for free, but I was also thinking I'm putting them in an order that I'd like.
Speaker 1:
Yeah, Well, you didn't always know what was coming, so a lot of times you'd have to hit record and then, if you didn't like the song, you go back and you like, start over with the next song.
Speaker 2:
And I did the same exact thing. That's funny, but I would do that and I might let it go and then stop it, rewind and play. Well, let me get it to the right spot, have it ready, and then the next song comes on the radio and that let's go with that pause, like really quick.
Speaker 1:
Well, that's the thing. Is that letting go of the pause? That's like my first intro to audio engineering, because I figured out that I could edit my songs that I had on vinyl. So there was, there was this band called Chelsea. They were one of my favorite like first wave English punk bands, and they had great songs but they didn't really sequence them very well Like their. Their choruses went on twice as long as they should Like. They needed to trim things up and so I figured out with the pause button I could pause it and then, when it got to the right point in the chorus if I did it just right, then I could make a recording of the song the way I wanted to hear it Wait a minute.
Speaker 2:
So, if I'm understanding you correctly, you were making your own remixes.
Speaker 1:
Yeah, is that what you're saying, Sort of yeah yeah, I mean it was. I wasn't layering things on top of each other, but I was. I was cutting out sections and like okay, yeah, this is when it should go to the chorus, and then I'd pause, and then I'd wait for the chorus, and then I'd you know, and you got to get the timing right. It's like playing an instrument or something kind of.
Speaker 2:
So did you play it for your friends or for yourself?
Speaker 1:
Yeah, I played it for friends. Um, I was always making mix tapes for friends and people would be like when are you going to make me one? So you know that I'd have to make another friend one, and whenever I would do those songs particularly Chelsea, I would I would have to do the edit and you could. You had to redo it every time you made a new tape and so I got pretty good at it and that that was the beginning of. Oh, I can manipulate audio. I like this.
Speaker 2:
That's a pretty cool story. I like that, thanks. I remember buying a dual tape deck for my parents for Christmas. Not that they needed it or wanted it, but I thought it would work out well for me because then I could make mix tapes and then make copies of them that I could give out to people and make it a little more simpler than what I was doing.
Speaker 1:
That's kind of like Homer Simpson buying Marge a bowling ball that fits his hand, like you bought your parents a cassette deck so you could use it and it was their Christmas present.
Speaker 2:
Yes, it was, and it worked out really well. At least you didn't rent it to them.
Speaker 2:
No, I did not, and I still have it. So that's the good thing, that's the good thing. So yeah, I used to make tapes too. Definitely enjoyed making them off the radio or getting an idea, getting an album from a friend and kind of making a copy of it and maybe some of the songs I didn't like I would leave out. So I might make a tape that was all one band and I'd start with one album, leave out the songs I didn't in, then go to the next album and then kind of go all the way through. So both sides, or maybe I might make one side one band, one side another.
Speaker 1:
What bands did you do that with?
Speaker 2:
I did that with the police. I did that with Jane's Addiction. I remember actually I had Jane's Addiction on one cassette one side and then on the other side I had Van Halen Fair Warning and I just love listening to both of those back to back kind of yeah, that's a cool combo I wouldn't have thought of.
Speaker 2:
I had Squeeze on one of them. I mean I had so many, you know it's like you have so many you can't even think of some of the cassettes. But I really enjoyed doing the radio. I really liked listening to it and making something and I liked having where the DJs would talk and they would say something. So growing up I listened to a radio station, wlir 92.7, and it was a great station. It played kind of rock, played some new music stuff that was coming out from Britain and then in 1982, a decision was made by the program director at the time, dennis McNamara, to make it a new wave station and it was fantastic, great decision. It affected a lot of people with music that they listened to and they played everyone from Men Without Hats. They played David Bowie, also Heaven 17, elvis Costello, peter Schilling, the Ramones, naked Eyes, the Romantics, durand, durand, u2, the Sex Pistols, the Buzzcocks so many different bands that you didn't necessarily hear on other stations.
Speaker 1:
Yeah, was it a college radio station or a commercial?
Speaker 2:
It was commercial. It was a commercial radio station.
Speaker 1:
That was really ahead of its time. I mean, I guess that's the New York area for you to have cooler radio stations than I had in Atlanta.
Speaker 2:
Yeah, back in I think it was 1982, they were playing kind of a mix of rock as well as some new songs that were coming out from Britain, and they made a decision let's go all in and let's get these records, let's play these new wave, let's change the station, let's call Dare to be Different. You know a whole new persona for them as compared to what they had been before. And it worked because myself, a lot of people that I grew up with, loved the station. They promoted a lot of the shows that we would go to. I remember going to CU2 in 1985 and them thanking WLIR, saying you know, without them helping promote them, you know they wouldn't be where they are, and so that's kind of cool. You know you like things like that. That's great. So the station changed hands at one point and it became WDRE, still at 92.7.
Speaker 2:
And I recently had a memory showed up on Facebook and it was from January 14th 2009. So this is 15 years ago and the memory is my status and it says is listening to the 92.7 WDRE Top 200 Songs of the 80s on cassette of course, number 157, psychedelic Furs, heartbreak Beat, which is kind of funny because as I was driving over here. I heard on the radio Heartbreak Beat right before I came in here and that seems to happen a lot that things that we might be talking about. I hear it. It's just kind of crazy how it works out that way. So, 157 Psychedelic Furs, heartbreak Beat. We've talked about the Psychedelic Furs, you know, quite a few times. You know on the show. 156, talking Heads this Must Be the Place We've talked about that album. Speaking in Tongue. That is a great album. 155, falco de Commissar. Are you familiar with that song?
Speaker 1:
Oh yeah.
Speaker 2:
What a great song. I mean fantastic song. I mean really, really, really love that song.
Speaker 1:
Wasn't there also a German language version of that one?
Speaker 2:
We listened to the German language, we didn't listen to the English one, so WLIR would play the German one most of the time, not the English one.
Speaker 1:
Again for our German fans. They're loving this.
Speaker 2:
Yes, I believe they are. 154 Thompson Twins Doctor Doctor, which came out 40 years ago, came out in 1984. 153 the Clash Radio Clash. Oh yeah, number 152 Went in Rome the Promise A good song. If you're not familiar with it, it is a really good song. I'm not. 151 Madness One Step Beyond. That's a great song.
Speaker 1:
That was one of the early music videos on MTV and this thing we had in Atlanta called VMC. When they had 30 music videos it was all they had to keep rotating. One Step Beyond was one of those early ones.
Speaker 2:
And it was a good one. I enjoyed watching it and again, I think for me a combination of MTV, WLIR really set me on the path of a lot of the music that I listen to today, Because I was that dude sitting in the chair right in front of the TV with MTV on nonstop and when I didn't have it, I had my boom box with WLIR on you know, walking the streets of Levittown, New York. So the next one 150. Roxy Music, Avalon Another great song 149. New Order, the Perfect Kiss, number 148, Heaven 17,. Let Me Go.
Speaker 1:
Are we going through all these Jim?
Speaker 2:
No, but we're going to get to that. We're going to get to that. 147, the B-52s Private Idaho. I love it, A fantastic song. I mean that.
Speaker 1:
Athens, Georgia is very own.
Speaker 2:
Athens, georgia, very own, and they were fantastic. What a band.
Speaker 1:
I loved that. I loved that record so much. Wild Planet.
Speaker 2:
Yes, I mean, the first one was a great one too. First one came out in 1979.
Speaker 1:
It was great Wild. Planet was better In my opinion. I don't know. I love them both.
Speaker 2:
That's a good thing about music we can all have opinions. There's no winners or losers. I know, jim, I'm sorry. No, that's all right.
Speaker 1:
One more, not trying to win.
Speaker 2:
Oh, if you're trying to win, then music is not the place, unless you're in a band and you're going against other bands. But when we're talking about it.
Speaker 1:
You only go against other bands, though.
Speaker 2:
You don't think so.
Speaker 1:
I don't. That's not the way I think you would know because you've been in bands.
Speaker 2:
I haven't, so I don't know.
Speaker 1:
No, I think you support each other.
Speaker 2:
That's good. I like that Because I know the Athens scene did support each other back in the day, whether you had REM or you had the B-52s. You know who.
Speaker 1:
Pylon came out of that Pylon, yeah. There were a lot of great bands back then.
Speaker 2:
Mercy.
Speaker 1:
Land were some of my favorites in the later 80s. There you go, the violets, my band the violets. Let's do a little plug there.
Speaker 2:
Speaking of that, it's kind of funny that you said that a listener reached out to me to let me know that their son was listening to the show and actually looked up the violets and started listening to them.
Speaker 1:
Oh great, yes, All right. So we've gone from 37 to 38 monthly listeners. There you go, boom.
Speaker 2:
There you go. Everybody's a winner. I take that back. There are winners in the world of music.
Speaker 1:
Yes, I'll take that win 146,.
Speaker 2:
Getting back to our countdown the Smiths there is a light that never goes out. 145, inexcess never tears apart. I absolutely love that song. It's one of those songs from Inexcess where I really feel that it comes from the heart I've talked about it before where there's songs that you can feel them singing it and what they're going through, and to me that's one of those songs. 144, the Bangles Hazy Shade of Winter. 143, talking Heads Wildlife. 142, omd and Ola Gay. 141, you Too, Gloria. That's a great video. That was on all the time when I first started watching.
Speaker 1:
Was it the Red Rocks performance?
Speaker 2:
It was the actual video that they did. It's kind of like on a barge.
Speaker 1:
I think it was. Do you remember then?
Speaker 2:
Yeah, and then 140, duranduran Planet Earth, I love that song, love it. And 139, erasure Actually Erasure Sometimes. So I finished listening. All right, I'm posting as every song comes on, I'm posting it. So on Facebook, new song starts and it says what it is. So I finished listening and posting these updates and later that night I update my status with is Watching Lost. There used to be a television show, lost, and I loved it. I thought it was a great show. So I get a bunch of comments talking about Lost and I don't understand it, or this is a great season. And then I get this comment Thank God, you stopped giving us a song by song update and memory about every top 200 song of the 80s and started watching TV. I and Facebook, thank you. And this came from our episode four guest, chris Cassidy.
Speaker 1:
Oh wow, Chris Was the person.
Speaker 2:
Yes, and this was the episode where we spoke about the Nirvana MTV unplugged performance. So I looked at it, this memory, the other day, and I'm reading it and I'm like, oh, that's cool, that's cool. But when I saw his comment I just started laughing. I thought it was hysterical that he would do that, and I find it that most people must think that, because I was five songs into it and you had the same reaction to it If you hadn't ended when you did.
Speaker 1:
I was gonna say, well, we're out of time, folks.
Speaker 2:
Well, I understand that. I definitely do. But again, wlir, wdre a ton of songs. That was a sample of some. I mentioned some of the other bands. It was really cool growing up where it was a main radio station. It wasn't a college radio station, it wasn't something that was small, it was something where we listened to it all the time and all of my friends and I had my boom box and when we didn't drive we would walk down the street and we're listening to the songs and it was really cool and a really good place to be and I'm glad that I'm able to talk about it and that, living through a lot of those times, I think that was the greatest place to be and I'm glad I did.
Speaker 1:
So what we had in Atlanta was the Georgia State Student Station Album 88. So that was where you got plugged into whatever the new stuff that was out was.
Speaker 2:
What is that?
Speaker 1:
W-R-A-S, r-a-s, yeah, and back then, talking like early 80s, they just had a normal signal. You could get it pretty much in Metro in Atlanta, but then they went to 100,000 Watts in the late 80s so you can get it all over the whole state in Alabama and now they don't really play new music as much. It's like an NPR affiliate, but back then it was the place to get new wave punk, alternative, whatever it was called at the time music.
Speaker 2:
Well, at least there was a place I think that everybody needs that place to have the opportunity to be exposed to new things. And for me, being exposed to this definitely I'm not gonna say it changed my life. I don't wanna be too dramatic but it changed a lot about me because of listening to new types of music, going to different types of concerts, meeting new people and eventually ending up doing music in my shoes. All these years later.
Speaker 1:
Yeah, and let's face it, pop music in the 80s I mean there's no winner or loser, but pop music in the 80s was not my jam, so it was great to have something, that a radio station that played stuff that I liked. And maybe you feel the same way and I agree, yeah. But hey, those Whitney Houston fans, you guys won too. Everybody gets a trophy.
Speaker 2:
I wanna dance with somebody. ["tropical Music"]. So the Almond Brothers band had an instrumental song called Jessica Entered the Billboard charts top 100 songs January 19th 1974. So we're looking at 50 years ago. It's from the album Brothers and Sisters and it was written by Dicky Betts, who play guitar for them, and it featured a new member, chuck Lavell, on piano. So, jimmy, you remember that song.
Speaker 1:
Yeah.
Speaker 2:
So it's a great song. I love the way that Dicky Betts plays guitar, but the piano solo by Chuck Lavell is fantastic. I mean, it's really, really good. And what people might not realize about Chuck Lavell a side note on him is while he was with the Almond Brothers until 1976 when they had their initial breakup, he ended up becoming the musical director and the keyboardist for the Rolling Stones and he's been with the Rolling Stones since the 1982 European tour.
Speaker 2:
I did not know that. He helps pick the songs, he gets the music for them, he gets the band to, you know, do all of the practices and have them ready, and he's been doing that since 1982. So to have a guy that was with the Almond Brothers because the Almond Brothers are a great band, whether you like them or don't like them I think in the history of music they've done some really good things. They did some cool things. You know they were one of the first bands that would have a really long residency at a facility. They used to do, beacon theater, where they'd go 20, you know, 20 plus nights at the beacon and they would do it, you know, every year. A great, great band, chuck Lavell, a great keyboardist. But to think that he not only was with the Almond Brothers but now he moves over to the Rolling Stones and he's been on. I think he's been on every album, except for maybe one. That just blows my mind, that because he doesn't have that name where everybody's kind of following him.
Speaker 2:
you don't know what's happening you know, I think that's really super cool, so I do like that. Let's move over to January 12, 1969. So on January 12, 1969, Led Zeppelin's debut album, titled Led Zeppelin, was released. To me, a really heavy bluesy rock record is like kind of how I would describe it, and I think Robert Plant's vocals were just perfect for each song. I think that the type of music there's other bands that have tried to play music like that and the vocalist, it just didn't, you know, mesh up really well, but I think Robert Plant was dead on for them. You know John Bonham, a monster on the drums, John Paul Jones between bass and keyboards, and then you have Jimmy Page on guitar and he starts off the album with you know, yeah, yeah, exactly, you know, and you know, good times, bad times, only single. Jimmy Page didn't want to release singles off of the album but they actually released good times, bad times. Babe, I'm going to leave you you shook me Dazed and confused.
Speaker 2:
I think Led Zeppelin is where I definitely got a good taste of the blues. We've talked about the Rolling Stones doing the blues, but Led Zeppelin did the blues in a whole different way, Changed it up a little bit, and if you listen to Like you Shook Me. It's a muddy water song. Willie Dixon had a hand in writing it. I mean it is just like so cool. Like I listened to it last night, probably six, seven, eight, nine times last night, just going over and listening to it, and I remember when I first heard the songs off the album what it was like to me because I had never heard anything like that before. And it was just, it was so cool listening to it.
Speaker 1:
Now, when I was like in high school in the mid-80s, everybody, like people that were into music, all had to know Led Zeppelin, whether it was, whether you were into metal or punk or you know maybe not the pop music fans as much, but anybody that was like, hey, I'm a high school student and I'm into music like everybody, loved Zeppelin. And I didn't even know then how old that first album and most of the albums were Like. To me it sounded current. It was like such a great antidote to the stuff that was on the radio and I loved Led Zeppelin. I had no idea really that the album was 15 plus years old. Yeah, good times, bad times, gosh, that is such a great song.
Speaker 2:
It really, really is. I mean a great album, great debut album. You know, sometimes people release debut albums and the technology that they have We've talked about this before the studio that they were in, the producer, whatever it might be the sound just isn't there. There's something missing. But on this album it sounded like they were in the best studio that you could possibly be in and got the greatest sounds out of every one of the instruments. That's right Days that confused. Again, I love listening to it. I just love. There's so much about them. When you listen to John Bonham it's almost like he's a separate instrument. And I know he is a separate instrument, but it's a separate instrument that you're listening to. It's not just some fill that's in the background. And then you can sit there at times and you just want to do the air drums, because all you care about at that moment is the drums that he's playing.
Speaker 1:
Yeah, he's amazing and he's not like you know. They talk about playing to a click when drummer's like a perfect meter and everything is perfectly lined up. And his stuff is never perfectly lined up. He plays completely by feel and that's what makes it sound like John Bonham.
Speaker 2:
Yeah, exactly, I mean, I don't think that you could say it any better than what you just did. That is really what it's all about Communication breakdown another great song. Love it. When they did these songs, it just you could feel what they were doing, you could hear it, what they were playing and ultimately, you know it got out to so many people because a lot of people were looking for something like this and they could understand it and it was just great and it wasn't just a flash in the pan. They had Led Zeppelin II, led Zeppelin III, we could go on and on. So I have a question for you.
Speaker 1:
Yeah, led Zeppelin IV. I always thought that was almost like a white album situation where it was literally just called Zoso. But now if you look online it's just called Led Zeppelin IV. But I don't remember being called that back then.
Speaker 2:
I don't think that it was.
Speaker 1:
All right.
Speaker 2:
So I think that one of the cool things with this album is that it kind of helped usher in album oriented rock that became popular in the 60s. So album oriented rock was just not playing these hit songs off a record, but kind of going deeper into the records, finding what was there and playing it. So while Led Zeppelin didn't release a lot of singles, we all know a lot of the songs because of album oriented rock. That's right, all right. So I don't have a lot more to say.
Speaker 1:
So the AOR.
Speaker 2:
Well, well, folks, all right.
Speaker 1:
So the AOR station in Atlanta was 96 Rock and 96 Rock, I mean going from memory. I think they started about 1974, 75 and it was the place to go for rock and you would hear Zeppelin all the time, you'd hear the who, the stones you know, and that's that's where I got to know a lot of that music.
Speaker 2:
And that's understandable. And when I had moved here, 96 Rock was, you know, the big rock station, still in Atlanta and they had a thing you got a card.
Speaker 1:
It was like a credit card and it was called a 96 Rock Card and you could use it to get discounts somewhere. I don't know if you know, but people loved having that in their wallet, especially like when I was 11 year old kid or something like hey, I've got a 96 Rock Card.
Speaker 2:
You think you're the coolest person in the world when you're 11 and you have something like that. Yes, I know what you're talking about.
Speaker 1:
Yeah, just put it on my 96 Rock Card.
Speaker 2:
Oh yeah, here you go.
Speaker 1:
Hey, the first song that 96 Rock played, guess a who song.
Speaker 2:
Bobo Raleigh.
Speaker 1:
Yes, One guess wow, there you go nice, nice.
Speaker 2:
I like that. Hey, let's move up to January 84,. All right, 40 years ago. Kind of staying with rock, quiet riots, bang your head, metal health okay.
Speaker 1:
It'll drive you mad, I'll tell you.
Speaker 2:
It will. It entered the Billboard Hot 100 songs and its peak position was number 12 on February 11th, and they previously had recorded that song. What was that song that they recorded before?
Speaker 1:
it Come on, feel the noise Come on.
Speaker 2:
feel the noise Both of them.
Speaker 1:
Did you know that?
Speaker 2:
was a cover. I did know that it was a cover and I know that they weren't really thrilled to be doing it in the first place. But it's a good thing that they did, because that's what got them on the map.
Speaker 1:
I found out it was a cover. Like five years ago, when I saw the Slade performance on top of the Pops or something from like 1971, when they did come on, feel the Noise, it blew my mind because I knew that song from when I was a teenager.
Speaker 2:
It's funny when you find out different songs are actually covers that you had no idea, and especially as you get older, you're like how did I not know that before?
Speaker 1:
Here's a funny one. So have you ever heard the Sex Pistols cover of Steppenstown? Yes, the Monkey Song. So then Minor Threat, the DC punk band did Steppenstown on there. I think it was on their first record and Ian McKay said later he had no idea that that was a Monkey Song, he thought it was a Sex Pistols song.
Speaker 2:
I think it was written by Neil Diamond. It was, who knows, at that point in time, oh you know what I think Neil Diamond did.
Speaker 1:
I'm a Believer and I think Tommy Boyce and Bobby Hart did Steppenstown.
Speaker 2:
You know what you are right. You are definitely right on that one. You are the winner in this one.
Speaker 1:
Oh, I wasn't trying to win.
Speaker 2:
Oh, that's good, but Minor Threat. I remember watching this documentary back in the day Another State of Mine and Social Distortion. It was about them when they first started and kind of tracking across America and a van and they ended up staying with Minor Threat. If you ever get an opportunity, check out this documentary. Another State of Mind.
Speaker 1:
I don't think I've seen it, though I'll definitely check that out.
Speaker 2:
So do you remember the song Looks that Kill by Motley Crue? Yes, would you believe that that's 40 years old now?
Speaker 1:
I mean kinda.
Speaker 2:
I don't know. I guess sometimes I don't want to think I'm as old as I am so.
Speaker 2:
I don't think of it, but it came off their second album Shout Out to the Devil. Also on that album was Too Young to Fall in Love was another single. I love both the videos. You know it's heavy metal but it's 80s heavy metal which can be poppy in style, so I guess it's kind of like a pop metal type thing. I listened to it a bunch last night and to me I guess it was a little heavier back when it came out than what it sounds like to me today.
Speaker 1:
Right, yeah, isn't that funny.
Speaker 2:
Yeah, I mean, I like it.
Speaker 1:
They were imitated. So much though I mean I have to give props to Motley Crue that they were kind of the they weren't the original metal band certainly I mean that would be Black Sabbath but they were as far as the 80s hair metal, glam metal stuff, like they were legit, and then all the a lot of the other stuff kind of copied them.
Speaker 2:
Well, definitely poison, I feel. Yeah, you know, tried to copy them with everything that they did. Well, that is it for episode 11 of Music in my Shoes and I'd like to thank Jimmy Guthrie. Jimmy, very good show. I appreciate all of your insight and input today. Thanks, Our show producer and owner of Arcade 160 Studios here in Atlanta, Georgia, and a big thrill for podcast music. If you have a question or comment, you can reach us at musicinmyshoes at gmailcom. This is Jim Boge and I hope you learned something new or remembered something old. We'll meet again and until then, keep the music playing. ***ethe Music***.