EP 4 - Private Dancer - Tina Turner (1984)

[00:00:00] Speaker A: Like, that was a good song before they made it scary. And then when they made it scary was like, oh. And then they made the video and it was like, oh, girl, I'm gagged. So, yeah, I don't know where that came out of. Yeah. [00:00:32] Speaker B: Hello, everybody. [00:00:33] Speaker A: Hello, and welcome to Diva Decoded with Cam and Nelly. What are we covering this week, Nelly? [00:00:42] Speaker B: This week we are covering Private Dancer by Tina Turner. [00:00:47] Speaker A: This is the 1984 breakthrough album of hers with her most famous song, what's Love Got to Do With It. [00:00:56] Speaker B: We just knew that we couldn't talk about divas without talking about the queen of rock and roll, Tina Turner. Obviously, in light of her recent passing, we just also thought that this would be a beautiful tribute to her, her legacy, her artistry, and also do a little bit of a deep dive into her. [00:01:13] Speaker A: Hell, yeah. What do you think of this album? [00:01:15] Speaker B: So I. That's the thing is that I love Tina, and I guess I didn't know her as well as I thought I did because this song was full of so many deep dives, at least to me. I think I know a lot of her hits. I'm a lot more familiar with her hits. And this. I was able to be introduced to her in a whole new light through this album. And, yeah, I think this one was a really fun listen. It also, like, it was just really, I think, refreshing to see how many artists also take inspiration from her just through this album alone as well. [00:01:49] Speaker A: Right. [00:01:50] Speaker B: So I think this one. This one was a fun listen. How about you? [00:01:53] Speaker A: Yeah. Tina Turner is new for me. Like, in terms of my dad diva repertoire, of what I've enjoyed in the past, she wasn't really in there. I know about her, but is she necessarily on rotation? No. So this was kind of like my first real deep dive into her. And, yeah, I. I'd say I liked it. It was good. I enjoyed it. Some songs more than others, and some I felt were quite strong. [00:02:24] Speaker B: Yeah. [00:02:24] Speaker A: So, yeah, I'm. I'm looking forward to kind of diving in with you and seeing what you thought and what song stood out for you. Like, I know you're kind of a ballad. [00:02:35] Speaker B: I do love my ballads, but with Tina, it's a little different. [00:02:38] Speaker A: Yeah. [00:02:38] Speaker B: I love the power with her voice through her upbeat songs. [00:02:43] Speaker A: I think the one that kind of stood out to me the most is most of what? In terms of what I was expecting from her steel claw, that one was, like. I've seen videos of her performing in her amazing stage presence, so it kind of aligned with what I knew of her before this deep dive the most. [00:03:05] Speaker C: So. [00:03:05] Speaker A: And I also thought it was, like, just a really fun song. We're not there yet, but I just wanted to. I just wanted to bring that up because it kind of ties into my prior knowledge. And of course, everyone and their mother has heard what's Love Got to Do with it. So, yeah, that's kind of as far as my knowledge went. And, you know, I probably know songs that I. You know how, like, you know. You know songs, but you don't know it's by, like, a certain artist. [00:03:28] Speaker B: Yes. [00:03:28] Speaker A: You've heard it 100. So I think it's that kind of vibe. [00:03:32] Speaker B: But, yeah, I think why Tina has just been the apple of my eye for so long is that, like, she's just, like, the perfect embodiment of what it means. You can literally start your life again at any moment in the ways that you want to. And seeing this be after trying times for her where she was trying to break out on her own and was struggling and this being her breakthrough and, like, her finding her voice is like. I think that's why this album. This album is super special to me in terms of the messaging behind it and, like, what was surrounding her right during that time. But also, just, like, the pure grit that she brings to every. To every song, to every, like, performance is something that I'm like, I just. I freaking love Tina. And I will say I think this album made me love her even more. [00:04:22] Speaker A: Awesome. That's so cute. Should we get into the history a little bit? For those who don't know her history with Ike and you know, her, their. The end of their marriage and then this album. [00:04:33] Speaker B: Yeah, like, high level. What I can speak on is, like, I know that she. When I think it was like, they had met, like, at a nightclub, and she has. She was at a point where she was. She was hungry to make it. Like, she was willing to do really anything to have made it. And so I think I preyed on that quite a bit, especially knowing that Tina Turner isn't even her name. It was a name that he actually imposed on her. [00:05:02] Speaker A: I read that, and I was kind of gagged. I was like, what? I didn't know that. [00:05:07] Speaker B: I will say that. I'm like. I think. I guess in her, like, the latter part of her life, like, or at least even from this point forward to, like, I like, 1980, 1984, when this album had come out, I think that she had, like, kind of reclaimed that name for herself. But, like, knowing that that is something, like, she Made that she had lived a life where, like, there are men like Ike making decisions for her, even through her sound. I don't know. I know that she was also revered as a sex symbol, which I also. I do think that, like, she definitely probably loved, but I know that also, like, during that time, it was a very. She was around a lot of predatory people, and I wonder how much that influenced her decisions, too. [00:05:50] Speaker A: Right. [00:05:51] Speaker B: So, you know, listening to old songs, like, songs that were. When she was part of the duo, there's a lot of pain that, like, I can. I feel for her, knowing that everything that she was enduring at the time and also just, like, teaches myself as a woman. Like, I know I'm hungry for my passion. I'm hungry for, you know, to make it in my own ways, too. But, like, also just making sure to uphold myself in the best ways that I can so that nobody else is holding myself for me, if that makes any sense. [00:06:22] Speaker A: Yeah, Well, a lot of the time it comes at a price. When you. Because when we were talking about this episode, we were just talking a little bit about Tina and Ike, and you said it was kind of similar to Mariah Carey and Tommy Mottola in the sense where he was kind of pulling the strains and strings and orchestrating everything. [00:06:47] Speaker B: Yeah. [00:06:47] Speaker A: And she didn't really have much input. It's interesting because in the context of Mariah, she wanted to be a sex symbol, and he was totally against that. But it sounds like, from what you've told me, that it was kind of the opposite in this situation. [00:07:03] Speaker B: Well, I actually. I think I'm less about, like, how she didn't want to do it. I don't know if she actually didn't want to do it, but I know that it was. I. What I'm assuming is that it was, I think, heavily influenced by the male figures in her life to have done that. I think she leaned into it. And I think that also, like, you can see it also come out in this album, too. Like, in, like, also her future albums. You can still see that. That sultriness to her and, like, how she was. How she was a sex icon, too. But I think, like, there is a lot more power that she was able to claim afterwards as opposed to when she was. When she was enduring all of that at the time. [00:07:42] Speaker A: Well, also, I did read a little bit about Ike Turner, and it seems like this man was a little nuts or more than a little. He was married 12 times. [00:07:51] Speaker B: Oh, I think 14. No. Oh, was it maybe. Yeah, 12 to 14 times. [00:07:56] Speaker A: Something like that. More than 10. My God. [00:07:59] Speaker B: I. I'm also, like. I'm also careful also, because I'm like, I know that, like, he had, like, suffered from bipolar disorder, and, like, those are all things that, like, obviously contribute to some of his behaviors. But, like, obviously, we know that bipolar disorder doesn't mean that you're abusive. [00:08:16] Speaker A: I. Like, I don't know if it justifies that, you know. [00:08:19] Speaker B: No, no, no, no, no, no. [00:08:20] Speaker A: You're still responsible for your actions. [00:08:21] Speaker B: Absolutely not. Yeah, but he. Yeah, he was not good. He was not a good. You know, Como said, you say person. [00:08:33] Speaker A: Yeah, well, he was. I did read he was physically abusive, and I think in heads where he said, yeah, I slapped her a few times and punched her a few times, but I wasn't. Yeah, I never beat her. I was like, what. [00:08:44] Speaker B: What are we. What are we talking about here? And I think also just, like, my heart always goes out to Tina, because I remember it's so. It's so messed up, like, looking back to the. That we were looking at, like, we're watching when we're younger, because I fully remember watching, like, stuff like Mad TV or, like. Like these, like, comedy shows or, like, a lot of comedians. That was the. That was the. Like, the punching bag. Like, she was the punching bag. Every joke was about her. [00:09:13] Speaker A: Every joke being, like, about domestic. [00:09:15] Speaker B: Domestic violence. And, like, it was something obviously, like, it. It's You. You see it now and you're like, how the. Did this fly? You know? But I'm like, God, awful, awful, awful. Which is why I went up for people being like, oh, my God, I wish I grew up in the 2000s. I'm like, you know what? You know what? Please bite my tongue. [00:09:40] Speaker A: The. The 2000s, I mean, as a child were wonderful, but I obviously didn't see any of that. Any of that craziness. But if you were a woman, girl. [00:09:51] Speaker B: Oh, my God, good luck. What was that one show? I forget the guy's name, and maybe I don't even want to say his name. But, like, it was a show where they would have women and probably girls. Honestly, like, I'm not. I wouldn't be surprised if some of them are underage. [00:10:05] Speaker A: Are you talking about the plastic surgery show? [00:10:07] Speaker B: Was it that where they would put a paper bag over their face? [00:10:09] Speaker A: Oh, no, that was a different show. I saw a clip of that, and it was. I guess that's what they call a butter face. [00:10:15] Speaker B: Butter face. Yeah. [00:10:16] Speaker A: But it was like. It was like I. I saw a tiny clip of that, and they took the bag off the girl's face. And she was still a beautiful girl. She just didn't have her hair and makeup done. So I'm like, we're gonna, like, say, this is someone who's ugly. She's gorgeous. [00:10:32] Speaker B: She is gorgeous. [00:10:33] Speaker A: Like, what? [00:10:33] Speaker B: And also, what are we doing? Like, what is this entire concept? And I. That. I. That guy deserves to go. That's all I'll say. [00:10:42] Speaker A: But, like, who comes up with these fucking shows, man? [00:10:45] Speaker B: Like, I'm like, why can't we just do a show like Diva Decoded where we just talk about divas? Like the fuck? But, yeah, I really do love Tina, and she is just. Sorry, what a transition, eh? Yeah, I just. I really love Tina, and she had always been somebody that I've wanted to hug. I've wanted to just hug and just listen to her sing. Like, I wanted a personal concert from her with all of her favorite songs. And unfortunately, I couldn't make it to Switzerland. [00:11:18] Speaker A: Yeah. Well, was she. Was she doing many shows before she passed? [00:11:22] Speaker B: I don't think so. [00:11:23] Speaker A: That's the thing with these legacy artists. It sucks because I love people who were touring a lot in the past, and it's like, how am I ever going to see them? Like, the only one that I can really still kind of see is Mariah, but I got to take my ass to Vegas. But, like, it would be worth it, though. It would be. And I'm going to do it. I just gotta have the funds, darling. But we're not. [00:11:45] Speaker B: We'll make the funds through this show. [00:11:47] Speaker A: Yeah. [00:11:47] Speaker B: Well, I see you guys are gonna fund us. [00:11:49] Speaker A: Yeah, fund Cam's trip to Vegas to see Mariah Carey. But I have seen her twice for Christmas concerts. But I would love to see her for, like, a regular show. [00:11:59] Speaker B: Yeah. [00:11:59] Speaker A: Cause, like, I don't love her for her Christmas music. But anyway, we're talking about Tina Turner. [00:12:03] Speaker B: Tina Turner, babe. [00:12:05] Speaker A: I always find a way to bring up Mariah, and you always find a way to bring up Sister Act 2. [00:12:09] Speaker B: We'll find a way. We'll find a way today. So, as mentioned before, as well, like, we know that we couldn't talk about divas without not talking about Tina. And we actually went. We were trying to decide on which album would make the most sense for her, and there were several that we could have chosen from. But I know this one is also so highly revered and also just the story behind it, too. This being her breakthrough album post, everything she had to endure was something that we. That we felt would just do her true justice. I think also in light of her recent passing, too. I think this would. This serves as a perfect tribute to her and, like, how she was able to discover her sound in her own way. So I think, at least for me, like, this is something that. When you look at the track list, and I was listening to the 30th anniversary version, where there were a lot more songs on it, and you can see how much she was. She had been like. You can see the payoff for all the struggles that she was. That she was enduring. And I think that this album in its entirety is something that needed to be done right now. [00:13:24] Speaker A: Absolutely. Do we want to get into the track list? [00:13:28] Speaker B: Let's do it. [00:13:36] Speaker A: So, just to clarify, there are many different versions of this album. There seems to be a US version, an international version, a 1997 version for some reason, a 30th anniversary version, a 40th anniversary version. So we're going to be covering the international version, 10 tracks, and kind of go from there. So, yeah, first track. [00:13:58] Speaker C: Let's get into it. [00:13:59] Speaker A: The first song is I Might have Been Queen. How'd you feel about this one, Nelly? [00:14:04] Speaker B: I felt this one was an interesting opener for the album. This one wasn't as much of a highlight for me, I will say. But I do think it was, like, funky. I liked the funk to it. The funk element to it. It wasn't necessarily bad. Like, I just. I don't think it was a highlight as opposed to other songs. [00:14:22] Speaker A: Right. [00:14:23] Speaker B: But I do like it felt like a kind of track that you would hear on like, a. Like an 80s, like, heist sort of movie. Yeah, the midway point in the movie where they're trying to find the detectives trying to figure it out, or the thief is trying to get away. But, like, not like, the actual heist part, like, where they're being chased, as opposed to just, like, you know, they're just corroborating the scheme and they're like. [00:14:53] Speaker A: A montage of the scheme. [00:14:55] Speaker B: Yes, yes, yes. This montage moment. This is definitely a montage moment, which is why I'm like, oh, I never think of a montage moment as an opener. I always think of it like the midway point. [00:15:04] Speaker A: Yeah, no, that makes sense. I. Yeah, I don't know if, like. Because when I first listened to it, I was kind of. I don't know what I was expecting, but I was happily surprised, so. And I thought it was good and I thought the melodies were interesting, but I. I mean, I do think there are other songs that I enjoy more on the album, but I don't Know, it's like. It's a. It's a cute moment. Is it like necessarily a standout for me, though? No. [00:15:31] Speaker B: Yeah, same thing. [00:15:33] Speaker A: But yeah, it's. It's good. [00:15:35] Speaker B: She cute. She did her little thing. [00:15:37] Speaker A: Yeah. [00:15:38] Speaker B: You know, that's fair. We agree. Do you have anything else to say? [00:15:42] Speaker A: No. [00:15:42] Speaker B: Yeah, that's real. I. We never. It's usually the first track. We're usually like. But I'm like, this one is the one. We're like, oh, okay, cool. [00:15:53] Speaker A: We'll just wait, girl. Because we got the next one. What's love got to do with it? [00:15:58] Speaker B: Oh, my goodness. Want to get right into it? [00:16:01] Speaker A: Yeah. [00:16:01] Speaker B: What did you think, Cam? [00:16:02] Speaker A: Well, I've known this song for years. Have I? Ne. Has it been in my rotation for years? No, but I've known it forever and I thought it was very cute. It was a moment. It's kind of her signature song. [00:16:18] Speaker B: Yeah. This was the only one on the Hot 100. [00:16:20] Speaker A: Yeah. It was a Billboard number one on the Hot 100, so that was cute. I don't know. I. I enjoyed it a lot, but I actually think I enjoyed some of the other songs on the album more. But this is a really strong track. Great single and yeah, I could see why it's as popular as it is. [00:16:38] Speaker B: Yeah, this one for me, I adore so much. I also just love, like. I don't know if you've ever seen the music video. No, I haven't seen the music video in its entirety. Like, I've seen like clips and it is not at all what I first expected of this music video I pictured. Cuz I think like when I hear the song, I actually. I don't think of the chorus first. I think of the dun dun dun dun. Like the. Like the. Like the dark. The dulc. The dark, sultry vibes is something that I think about. But when you hear the chorus, it's actually a little like peppy. And so I think that's like. I think that's an interesting transition that she had. Like, I guess the team had chosen when they. When they crafted the song. Like it goes from like this like misty cold night, like in an alleyway to like walking down the street, like let's love got to do. Like it's like very peppy with that and it's. Yeah, like at least the clips that I've seen. Again, I haven't seen the music video in its entirety. Like just a girl walking down the street. [00:17:45] Speaker A: I thought it would be something like the album cover. [00:17:48] Speaker B: Yeah, that's. Yes. Exactly. Like, with the cat, the black cat. Oh, my God. We're getting into that. Like, I. I expected a little bit of, like, mischief, like, with this song, but she's just, like, vibing, and that's, like, something really interesting. I personally really, really do love this song. And, like, I think it's part of my top faves. It isn't my fave, but I do. I do really love this one. [00:18:13] Speaker A: Yeah. I mean, I. That's. I mean, now I kind of want to know what your favorite is, but we'll have to wait for that. But, yeah, it's. It's not my favorite on the album either, but it's definitely in my top. Like, it's a. It's a very strong song. And also her voice in it, it's just so catchy. And she sounds amazing. I always love when they reach for that higher notes. [00:18:35] Speaker B: Yep. [00:18:36] Speaker A: And, I mean, we'll get into it with another song on the album where there was a big contrast between the low notes and then suddenly jumps up. But, yeah, I. I think this is a very strong track and deserves to be a signature of hers. [00:18:52] Speaker B: Fo sho, this one. I think it's. I, like, obviously you're looking, like. Looking at things, like, in retrospect, and you're like, this was the song for her. [00:19:02] Speaker C: Yeah. [00:19:03] Speaker B: That people were like, we need to look at Tina, like, a lot more than we have been in the past. Like, was it, like, five years that she was trying to branch out? And I don't know. Like, I just. I also, like. I really like something about her, which is why it has that signature. She has that signature rock sound. Is her grit in, like, just, like, the. The texture of her voice. [00:19:25] Speaker A: Well, let's get into that a bit. Because this. She's very different from the people that we've covered so far. [00:19:32] Speaker B: Yeah. [00:19:32] Speaker A: Because she is not. And I say this with the most affection as possible. She's not a pretty singer. She is there to deliver the performance and bring that emotion, which is perfect for rock music. [00:19:48] Speaker B: Yep. [00:19:49] Speaker A: She's not there to sound crystal clear or perfect. Where I do find she sounds amazing and is very vocally impressive. It's a very different kind of singing than Whitney, for example. [00:20:01] Speaker B: Exactly. I think you hear her voice and you hear the sort of riot in her voice. She's like, I'm gonna make you listen to me one way or another. She's like. We were talking. Having a little bit of talk, actually, discussion about revolution earlier. And I'm like, you hear. This is the type of voice that Would lead a crowd. Which is why, like, she was such an incredible performer. Because, like, literally, as you mentioned. Yeah. She wasn't aiming for pretty when she was singing. She was aiming for, like, I'm gonna make you hear me. And I think her. That choice for that is what landed her exactly where she was. And just being like. There also is power in the slight, the subtle imperfections. There is power in the. The rough, too. Like, I. I get to be rough and still be heard in the ways that I need to be. [00:20:51] Speaker A: For sure. It reminds me of when we were talking about in Rhythm Nation, Black Cat, you know, and different genres demand different types of singing. Because if you look at Janet Jackson, Listen to our Rhythm nation album. Absolutely. Listen to our Rhythm nation episode. [00:21:10] Speaker B: Listen to both. [00:21:11] Speaker A: Yes. We have. We just have a cover album of Rhythm Nation. But yeah, she really brings it in that song. It almost sounds like a different singer in black cat versus something like Ms. You much or love will never do without you. But the song requires it and she was able to deliver. So I. I think. I think because it's a different kind of music. It suits it so well. And yeah, it's even what's love got to do with it? It's kind of a slow song. It's not like a. It's not like a bop, you know, but it is. It still hits like one, you know, so it's very. It's a very interesting song. It's a mid tempo. Usually signature songs aren't mid tempo. They're up tempo or they're ballads. So I was kind of like, this is so interesting. [00:21:54] Speaker B: Yeah. [00:21:55] Speaker A: And you know, what about this song makes it what it is and as popular as it is. And also, I'm not gonna lie, I'm one of those bitches trying to be different. Because when I hear a song and it's such a big song and then I'm listening to it right up next to other, more unknown songs on the album, I'm like, okay, well, my expectations were so high for this song that I actually like this other one better. [00:22:21] Speaker B: You know, Cam is different, guys. [00:22:22] Speaker A: I'm. Yeah, I'm not like the other boys. But yeah, I don't know. I don't know what it is that makes me feel that way. But yeah, just if I don't know if you're going to be a number one, like, you really have to be number one and like this one is. But that being said, it's not my favorite on the album. [00:22:39] Speaker B: I wonder why number one, though. [00:22:43] Speaker A: I don't know. I don't know what about this song. Like, I do. Because it's a great song. But yeah, something about this song really connected with the general public and is what made this a breakthrough album. [00:22:55] Speaker B: Maybe it was. Was it, like, released first? [00:22:57] Speaker A: Yeah, I think it was the second single. [00:22:58] Speaker B: Oh, interesting. Interesting. [00:23:02] Speaker C: Yeah, the. Oh, shit. It's the third single. [00:23:05] Speaker A: Oh, you know what? [00:23:06] Speaker C: So it's the first single released in the us, but the third single overall. [00:23:11] Speaker A: It had two singles before in the. [00:23:13] Speaker B: Uk, so also the first two are covers. [00:23:16] Speaker C: Oh, that's true. [00:23:17] Speaker B: So this is the first original. [00:23:20] Speaker C: Okay. [00:23:21] Speaker B: That was released as a single. [00:23:22] Speaker A: These, like, region single releases. There's seven singles from this album, but they're all different regions or region exclusive. [00:23:29] Speaker C: And it's so like, I've never seen. [00:23:32] Speaker A: A record usually, like, sometimes they'll put out a different single in the UK. [00:23:35] Speaker C: Versus the us but most of the singles are specific. [00:23:40] Speaker B: Yeah. [00:23:40] Speaker A: To certain regions. So this is really interesting. That being said, do you have anything. [00:23:44] Speaker C: Else to add to? [00:23:46] Speaker B: Last thing I'll add is whatever. People are, like, trying to determine who Beyonce's mother is, because I know Beyonce is so many other people's moms, but I'm like, Beyonce's mom is obviously Tina Turner and Don't Stone Me because these are two completely different songs. But, like, whenever I hear School and Life by Beyonce, I don't know why, but I think of what love got to do with it. I can't even say it's production because it's just literally so different. But I think, like, maybe the, like, the power because, like, the baby 21. Like, I think of Tina so much, and it obviously makes me think of what love got got to do with it. But yeah, I all that to say what I'm saying is that I'm like, I feel like this is a song that birthed a lot of artists as we see today. And yeah, this would have been Beyonce. Would have been three at the time of this album's release. Let's move on to the third track, which is Show Some Respect. [00:24:44] Speaker A: What'd you think of Show Some Respect? [00:24:47] Speaker B: Yeah, that's okay. [00:24:50] Speaker A: I do think it was stronger than the first track. At least I remember it more. But is it like, oh, my God, like, this is the best song? No, but it's there. It's like, average. [00:25:03] Speaker B: I think my favorite part of the entire song was her wailing leading into the instrumental part. I will say, I think part of my. Some of my favorite things about her songs is, like, how much attention she gives to the instruments. The majority. A lot of the songs have an instrumental bit, and it's whether it's like, a guitar solo, a drum solo, like, whatever. I freaking love that. And so Rocky of her, but, like, I love the way she, like, into the instrumental bit. I really, really did love that. But this one wasn't really a highlight for me either. I don't know what I would prefer between this one and the first one, but I think this one, I think they were trying to go for something catchy. [00:25:46] Speaker A: Yeah. [00:25:47] Speaker B: And it was like, respect. Like, it kind of sticks with you if you, like, sing it with, like, sing it more and more, which is, like, fair. Come on, let's get this album up off the ground, you know? But it didn't really hit for me. [00:26:01] Speaker A: Yeah. I like the production. I think the production is cute. I like those booming drums that were kind of characteristic of the 80s. I do think it sounds somewhat dated, but that's not necessarily a bad thing. But I wouldn't say it's timeless. [00:26:16] Speaker B: Yeah. [00:26:16] Speaker A: At all. Like you were saying, I think it's catchy, and I do enjoy it. Like, it's a good song. I saved it. When we go through, I'll, like, save the ones I like. [00:26:25] Speaker B: Yeah. [00:26:25] Speaker A: And I'm like, okay. I love that these are cute, but. Yeah, but I. So I thought. I thought it was good, but it didn't, like, stick with me where it's like, I need to hear this again. [00:26:37] Speaker B: Yeah. No. And it felt more like a parent talking to a child. Like, show some respect. It, like, felt like I was getting scolded, and I was like, I don't know how I feel about that. I don't know. [00:26:49] Speaker A: If Tina was parenting me, I'd be pretty excited. [00:26:51] Speaker B: Hey, that's true. That is true. She is mom. But, like, I also, like. I as much. I'm like, I fear Tina, but I don't want to be scared of her. [00:27:01] Speaker A: Yeah. I mean, I envisioned it more of, like, you're talking to a man, and I got to show me some respect 100%. [00:27:08] Speaker B: That is. I. That was, like, the message that she was trying to portray. But I'm like, with the tune of felt. I mean, obviously, like, she probably. She probably felt like she had to talk to him like, she. He was a child. But it felt like it was like mom to child. And I was like, okay, real Disney Channel original movie come through. But yeah, this one. This one wasn't very much a highlight for me, which is fine, because I feel like there's some other ones that I really vibe with. [00:27:37] Speaker C: All right. [00:27:38] Speaker A: The next track on the album is I Can't Stand the Rain. What do you think, Nelly? [00:27:42] Speaker B: You know what's so funny? When I. I guess I didn't make the connection that this was her song, or at least, like, this was a cover that became her song, actually, because it was originally recorded by ann Pebbles in 1970 something. But I. I guess, like, growing up, you know, you mix up a lot of artists, and I literally thought this was a song by Jill Scott. Jill Scott or, like, Erykah Badu. And it felt like neo soul. I guess maybe I heard a cover by one of them or something. Maybe. I don't know. I might be lying on them. But, like, I. I guess I didn't make the connection that this was something that she had recorded in 1984. This song felt very experimental. [00:28:29] Speaker A: Yeah, it's kind of sparse, the production. Yeah, like, that sound. It kind of sounds like dripping water, like the. Like that percussion and. Yeah, it was. It was kind of weird, but not in a bad way. Yeah, like, kind of, like, kind of. It's an odd duck, but it's a good song. [00:28:49] Speaker B: I will say. I love the brass stings. Like, like, so fricking good. [00:28:56] Speaker A: I love that shit. When it's like, oh, we're going to do a big hit moment. Yeah, like, anything with a. Yeah, I love that shit. [00:29:03] Speaker B: It's going to. It, like, it hits every time. And sometimes I struggle with breathiness. But I love her. I can't stand the rain. Like, hey, like, her throwing in the H and the word rain, I think was such a cool choice. I like this one. I don't know. I just. Sometimes I love when, like, artists hop on weird beats and, like, I imagine this beat being offered to somebody being like, what the fuck? And then she's like, wait, let me hop on real quick. [00:29:31] Speaker A: Let me make this. [00:29:32] Speaker B: Let me do this. And when I heard the beginning, I was like, okay. I was like, it's going for rain for sure. Like that. But, like, I think her vocals definitely, obviously carry this song. And, yeah, I liked it. It wasn't, like, my favorite from the selections, but I did like this one. [00:29:52] Speaker A: Yeah. Initially, it didn't resonate with me, and then I do think it's more memorable. When I. When I came around to the album more and more times, I was like, okay, this is cute. [00:30:04] Speaker B: Yeah. [00:30:04] Speaker A: But, yeah, it took me a few lessons. [00:30:07] Speaker B: That's real. [00:30:08] Speaker A: To kind of get into it more. [00:30:10] Speaker B: That's real. What I love about this song, too, is that it's one of the Few. If not maybe the only one that I can think of that has actually an abrupt cut at the end as opposed to a fade out. Oh, yeah, this one is like, we're done. And I'm like, I like that. I appreciate that. I think that adds more of like a timeless approach to it. I wouldn't say this one is. I think this one maybe was a lot more momentary. But like, I do love that choice to be like, let's end it here. Let's not drag this out. [00:30:40] Speaker C: I love a good hard stop. Fade outs are so boring. Like, it's so. It's so played out. [00:30:45] Speaker A: Not like sometimes, yeah, it's cute. But like, if you're going to give. [00:30:50] Speaker C: Me a fade out or a hard. [00:30:51] Speaker A: Stop, I'd rather the hard stop anytime. And you know when you perform the song live, you're going to have to make a hard stop anyway. [00:30:57] Speaker B: Exactly. That's true. [00:30:58] Speaker A: It's. Yeah. [00:30:59] Speaker B: Unless you do a medley of never. [00:31:00] Speaker A: Ending songs where you lip sync, period. [00:31:03] Speaker C: People who lip sync phages out. So awkward. [00:31:06] Speaker B: Yeah. [00:31:06] Speaker A: They like try and pull the mic away from them and like, no, it doesn't work. [00:31:10] Speaker B: Give us one, Cam. [00:31:11] Speaker A: I'm looking at you, Mariah, and you, Seline. [00:31:13] Speaker C: I'm sorry. [00:31:13] Speaker A: I'm not gonna lie. [00:31:15] Speaker C: I love those divas. But they had got to preserve their voice. [00:31:18] Speaker B: That's true. [00:31:19] Speaker A: They're not doing it convincingly. [00:31:20] Speaker B: It's okay, you'll get them next time. [00:31:22] Speaker A: Yeah, okay. [00:31:23] Speaker C: Sorry. [00:31:24] Speaker A: What do we think about Private Dancer? Nelly? [00:31:26] Speaker B: You know, I love a good ballad. Yeah, I frickin love a ballad. Yeah, this one was devastating. [00:31:33] Speaker A: Yeah. [00:31:33] Speaker B: Like listening to lyrics. I'm just like, girl, oh boy. You were going through a lot. I think for me, the decision to like have the music kind of defy the lyrics in a way was like such a nice choice. Like a brilliant choice to be, like to give like a sultry, sexy vibe. And she's like, fine, I'll be your private answer. Like, I will give you what you want. And I think it paired like very nicely with that of how she felt like she's always had to perform in a way. [00:32:07] Speaker A: Yeah. [00:32:07] Speaker B: To be seen. It also was kind of giving abba. I don't know why this song, like, it specifically kind of reminded me of abba. I don't know which song specifically. [00:32:17] Speaker A: I'm one of those bitches. I never got into abba. [00:32:19] Speaker B: I really only know. Sorry, y'. [00:32:22] Speaker A: All. [00:32:23] Speaker B: I. I know. I know ABBA through Mamma Mia. And even then, I don't really know too many tracks. I'm so musical theater girly down bad. [00:32:32] Speaker A: I don't like Dancing Queen. [00:32:33] Speaker B: You don't like Dancing Queen? [00:32:34] Speaker A: No, I said, I know, like, Dancing Queen. [00:32:36] Speaker B: I was like, what do you mean you don't like Dancing Queen? [00:32:38] Speaker A: I'm just saying, like, for no reason, period. [00:32:41] Speaker B: I also loved, like, the hint of disco, too, that we got a little bit, like, part way through that. I'm like, oh, this. And I think it also, like, paid homage to. Because I think she was trying disco for a bit before this album. She had tried it for a little bit, but it. It didn't do well, so she went back to rock. And I think that was, like, kind of like her fulfilling her dreams in a way, like, to add a little bit of twist in that. I think it was really, really cool. But, yeah, I feel like the lyrics are giving, like, blues a little bit, in a way. And this, the product, like, the music itself was, like, giving, like, dark, like, sex, dark feminine vibes. And the lyrics were pretty devastating to me. But I really do love this song. [00:33:24] Speaker A: For me, this was a highlight of the album. And we talked about this a bit before on the podcast. I more listen to the music than the lyrics. [00:33:35] Speaker B: Yeah. [00:33:35] Speaker A: Lyrics still very aware of. But sonically, like, this is such a pretty song. And at first, I kind of didn't know where they were going with it because we start out hearing a different tone of her voice than we've heard before. Very low. And then even for the first chorus, it's still low. And then for the second chorus, she jumps up the octave, and we start to hear that bright part of her voice. And for me, that's when the song really came together, and I was gagged. I was like, this is beautiful. It's soft rock. I wouldn't say it's adult contemporary. I mean, I feel like kind of a staple of rock is having these really interesting melodies. [00:34:20] Speaker B: Yeah. [00:34:21] Speaker A: That have a certain flavor to them, and the song really delivered it. I love any good title track immediately. If you're a title track, like, you know, that's gonna help you. So I thought this was a great song to represent the album. [00:34:34] Speaker B: No, absolutely. What you said was so true. I'm like, this was the perfect representation of the album and also the timeliness of it, too, of her being like, let me give you. Let me give you what you want if you're not accepting anything, like, let me just be your private dancer Let me be your symbol that you need me to be I think was so representative with. Literally, like, representative of all the tribulations trials and tribulations that she endured, which I've talked a bunch about. But just, like, I feel like it was very timely. [00:35:02] Speaker A: Well, maybe, too. The reason why, even sonically, like, this is such a good song is because she can relate to it and because it is part of her story. Yeah, a lot more than show some respect or, you know, that kind of thing. Other songs we've heard on the album so far, so. Yeah, I, I just thought it was gorgeous. I loved how long it was. I was like, yes, give me more. [00:35:25] Speaker B: Yeah. [00:35:27] Speaker A: But yeah, I, I, I, I really, really enjoyed it and was the standout for me. [00:35:32] Speaker B: Yeah. I really, really do love this song. I'm glad we agree. [00:35:35] Speaker A: Yeah, I was like, if you don't like Private Dancer, like, then what are we doing here? [00:35:39] Speaker C: Yeah, this is like, this is such a good one. [00:35:42] Speaker A: And so different from what we've heard so far. [00:35:44] Speaker B: Exactly. [00:35:45] Speaker C: All right, shall we get into the next track? Let's stay together. [00:35:49] Speaker B: Yes. [00:35:50] Speaker A: Okay. What do we think? Nelly. [00:35:52] Speaker B: J' Adore. J'. Adore. J' Adore. J'. Adore. I am obsessed, obviously, with the original. I say, obviously, like, you all know me, but you should know me by now. I love Al Green. Al Green. [00:36:09] Speaker A: I don't know him. Her? [00:36:11] Speaker B: No, him. I need. I need him bad. And he's somebody that was a little bit in, like, I might be speaking out of turn. He was like, in between disco and Motown. [00:36:28] Speaker A: Okay. [00:36:29] Speaker B: Sort of vibes in. In his music style. I don't know how I would actually describe his genre specifically, but he is somebody that, like, this. This is the type of. He was the type of artist that you would go and dance out, too. Like, you would go and see him perform and, like, there'd be dancing on the floor. And this song specifically is just something like a song that I'm like, I, I've pictured a dance moment in my head to it, and she perfectly encapsulates. If I, if I were to do a cover, I would do it in her way. Like, I would, I, I, she. The way she was able to, like, bring her element to it was just so, so beautifully done. I would say masterfully done, actually, even the beginning, because the original song, it starts off straight into music. [00:37:22] Speaker A: Right. [00:37:23] Speaker B: But hers feels like. Like a. Like a cry in the wind, like in the beginning of the song and then leading into the music of it. And just. I love the vibe of this and when I listen to it, because this is also, like, this is my first time listening to this cover. I've actually never Listened to this cover before. [00:37:38] Speaker A: Okay. [00:37:38] Speaker B: I only know the original, and so, like, I was like, this one. It feels like she has something to prove. Like, it feels like she's. Like. She's coming out of the bat swinging. And then we learned that this is her first single from the album. [00:37:49] Speaker C: Yeah. [00:37:50] Speaker B: And I'm just like. Exactly, like, it feels like she's like, I got something to bring to the table, and you guys have been shutting me down for so long. Let me show you what I got. And I think it's just so. So beautifully done. And this is a major highlight of the album for me. [00:38:05] Speaker A: Okay. Yeah, I. I enjoyed this one. It's a. It's a very different vibe from what we've heard so far. To me, it sounds more pop than the previous songs, which are more rocky. So kind of a different vibe for her, which I appreciate. I always appreciate getting different flavors and different sounds from people. I mean, would I say it's, like, one of my favorites? Like, I don't know if it, like, stands out that much to me, but that's just my personal opinion. [00:38:37] Speaker B: As we know, Cam. It gets to be wrong at least once. [00:38:41] Speaker A: I. You know, maybe I need to listen to it more. Like, I don't dislike this song in any way. I think it's. I think it's very well done. But I just paid attention, maybe because Private Dancers, right before this, I just paid more attention to that one. But, yeah, I. I don't know. It's not as much of a standout for me as Private Dancer, but I definitely think it is better than some of the earlier tracks on the album. [00:39:09] Speaker B: I would have loved to have seen her do a duet with this. I would have loved to have seen her perform with Al Green. Like, actually, like, this song specifically. I mean, not that she needs it. Like, she. I per. I personally believe that she did this so beautifully as a solo, but I think, like, there's a lot of blending of worlds within the song. That would have been really cool to see as a duet. [00:39:30] Speaker A: It was hard to pin what genre this is. Yeah, it's like, it's, like, not quite rock. It's not quite pop. It's like. [00:39:38] Speaker B: There are some disco elements to it, too, I think, like, with the bongos, too, like, that do, like, in the background, I think would have been. [00:39:45] Speaker A: There's, like, an interesting kind of string sound. I don't know if it's strings or if, like, that's the right way to describe it in the background, which is like a. Like, more of a consistent sound. Throughout, which is interesting. So, yeah, it was kind of giving, like, New York City, 70s, 80s vibes. So I don't know. It does give me a specific image in my head because before I started doing this podcast with Nelly, I didn't really think of things and visuals. And then she's like, I feel like I'm on a lake in the summertime in 1976. [00:40:17] Speaker B: Yes. [00:40:18] Speaker A: Wearing a blue dress, like, so. Oh, you are wearing a blue dress. [00:40:25] Speaker B: I wish you guys could see. Oh, my God. All heads would turn. [00:40:28] Speaker A: I was gagged when I saw Nelly. [00:40:29] Speaker C: I was like, okay, you look so good. [00:40:32] Speaker A: But, yeah, no, I. I did enjoy it, but I. [00:40:36] Speaker C: For me, there was a few. [00:40:39] Speaker A: I would say it's in my top. [00:40:40] Speaker C: Four or top five. [00:40:41] Speaker B: Okay, you know what? Fine. Literally fine. [00:40:44] Speaker A: I don't dislike it. [00:40:46] Speaker B: I personally, and I know that you guys will agree with me because I'm always right. But this one, I think, is so good and so, so, so good. And I. I see why this was chosen as a lead single. I do think it actually was a smart decision to have the lead single be a cover. [00:41:04] Speaker C: Yeah, well, you know, I'm sure trying. [00:41:06] Speaker B: To make a comeback. [00:41:06] Speaker A: Well, yeah, in the uk, for some reason, covers do really well there. Like, I know for Mariah. Her. I think she is three number ones there, and one of them is all I want for Christmas. So I don't know if I'd count that. That's not a cover, by the way. She wrote that with Walter Afanasieff. [00:41:22] Speaker B: Thank you. [00:41:23] Speaker A: But her other two number ones are without you, which is by Harry Nielsen. [00:41:29] Speaker C: And against all, it's Take a Look. [00:41:31] Speaker A: At Me now with Westlife, which was originally by Phil Collins. [00:41:34] Speaker C: So take a look at me Now. [00:41:37] Speaker A: Cause that's thin. And he so fucking good. I don't even know if that's their words. [00:41:42] Speaker B: It's okay. [00:41:42] Speaker A: You coming back to me? [00:41:44] Speaker B: Oh, yeah. [00:41:47] Speaker A: Sorry. That being right in the listener's ear is crazy. But, yeah, for some reason, covers do really well there. So I don't know. They're like, we like to hear stuff we've heard before. Let's hit again. [00:42:01] Speaker B: Simon Cavill. I. I'm really bad at accents, unfortunately, but it's okay. I'll let Cam take a lead on that list. [00:42:08] Speaker A: This in the stuff we've had. [00:42:10] Speaker B: Oh, no, never mind. [00:42:11] Speaker A: We know this is good. [00:42:14] Speaker B: Oh, my God. [00:42:15] Speaker A: Okay. [00:42:15] Speaker B: Sorry, British people. [00:42:20] Speaker C: That being said, are we ready to. [00:42:22] Speaker A: Move on to the next track? [00:42:25] Speaker B: Yes. Let's move on to Better Be Good to Me. Cam, take it away. [00:42:30] Speaker A: This one sounds like an 80s movie. Like, it sounds like. Okay, it's morning. The paper boy is throwing his. [00:42:37] Speaker B: Yeah. [00:42:38] Speaker A: Onto the lawn. Yeah. Onto the lawns of people. You know, a nice opening shot. A dolly shot. Very. Of the time. And we're about to be introduced to, you know, whoever the. The lead character is. [00:42:54] Speaker B: That's a single mom who works two jobs, who loves her kids and never stops. [00:42:58] Speaker A: We gotta write. [00:42:59] Speaker B: We. [00:42:59] Speaker A: Okay. We gotta write a script. [00:43:01] Speaker B: Hey, we're doing it right now, actually. Who's writing this down, please? [00:43:04] Speaker A: Yeah. [00:43:04] Speaker B: Audience. I100. I100 see that. I just wanted to say that. Continue. [00:43:09] Speaker A: But no, it's totally giving that. Yeah, it. It. I really enjoyed this one. I think. I think it's a great song. And it's kind of like the best parts of the 80s, sonically. [00:43:20] Speaker B: Yeah. [00:43:21] Speaker A: So. And you know me, I'm like, you know, I'm a sound. A sound girly. That's what I'm here for. So, yeah, I really enjoyed this one and was definitely one of the stronger ones for me. [00:43:32] Speaker B: Yeah, I liked this one. Now that we're talking about visuals, babe, I picture this opening number of a film about a rock star. Literally Tina Turner, imagining that the opening scene is her performing at a concert. [00:43:48] Speaker A: Oh. [00:43:48] Speaker B: And so, like, the one where it's like, Come on. Like, the audience interaction with it. I'm like, I fully see it. Like, concert moment. And then everybody's like, tina, Tina, Tina. And then she's walking down the hallway and she, like, takes off her wig and she's like, oh, my God, give me a cigarette. Like, she is troubled. She's a troubled rock star. [00:44:07] Speaker A: But she's bringing the energy. [00:44:08] Speaker B: But she's bringing it. And nobody knows her troubles. Nobody knows what's going on behind closed doors. Are we talking about her biography right now? Maybe it is. [00:44:15] Speaker A: We're talking about the. Yeah. [00:44:17] Speaker B: Angela Bassett leading film. I, I, Yeah, I literally just picture this being like the opening number of a concert film. [00:44:26] Speaker A: Yeah. Even if it was like a TV special, like, or even like an opening for a tour, this would work very well. [00:44:31] Speaker B: Yes. [00:44:32] Speaker A: It's very high energy. This would have been a great album opener. [00:44:34] Speaker B: Yeah. [00:44:35] Speaker C: As opposed to what we got, which. [00:44:37] Speaker A: Is I Might have Been Queen. [00:44:38] Speaker C: What the is that song title? [00:44:40] Speaker A: I Might have Been Queen. [00:44:42] Speaker B: I Might have Been Queen. I Might have Been Queen. [00:44:45] Speaker A: I Might have Been Queen. [00:44:46] Speaker B: Not a queen. Queen. I Might have Been Queen. [00:44:48] Speaker A: Queen. [00:44:49] Speaker B: I Might have Been Queer. [00:44:49] Speaker A: She. She reads that. Queen. [00:44:52] Speaker B: Queen. Yeah. I actually would have preferred this as an opener. [00:44:56] Speaker A: Yeah. [00:44:57] Speaker B: Yep, yep. I. I would have Liked this as an opener. I also think that, like, even still on the topic of concerts and I'm concert deprived, picking up where we left off. Final note, I'll say is this also reminds me of a big number in the middle of the show where she's like, right before she's about to do, like, a major costume change or, like a set design change, where she's like, I need to get the audience hype. And she's like, come on. Like, it's like. I imagine this is a major, major moment in the concert, but, yeah, this one was a fantastic song. [00:45:34] Speaker A: Yeah, this one. It has too much energy to not be performed live. So I would love to see a live performance of this one. I think that'd be really fun. [00:45:42] Speaker B: Yeah. [00:45:44] Speaker A: But, yeah. So what do you think of Steel Claw? [00:45:48] Speaker B: I loved this one. [00:45:49] Speaker A: This one was fudgeing sick. [00:45:51] Speaker B: Like. And I also just. You know, I'm always going to be hype when you start off with it. Wow. Like, you got me. Like, you immediately got me. It also felt like I was on a racetrack. [00:46:01] Speaker A: Yeah. It was so. Like, we were talking about energy with the last song. Shit. This is like, this amps up. You can imagine her dancing. You imagine her really giving it. So, you know, we talked a bit about the song in the opening. [00:46:13] Speaker B: Yeah. [00:46:13] Speaker A: But, yeah, this. It's very rock, it's very fun. It's not aggressive, but it's just. It's just a good time. It's just a good time. [00:46:23] Speaker B: I think this is Proud Mary's Sister. [00:46:26] Speaker A: Oh, that's what it's giving. It's kind of giving that vibe. Because I was like, yeah, it's. It's. It's. It's very much giving. Like, hell, yeah. [00:46:35] Speaker B: Hell, yeah. [00:46:38] Speaker A: I don't know what I was trying to say there. [00:46:42] Speaker B: But that's so good, though. That is so, so good. And you know what? It also reminds me of Sister Act. Like, so when she's, like, performing Sister Mary Clarence on stage. Like. Like, what the. With the hair? Like, everything. I just need to throw in Sister act there. [00:46:56] Speaker A: Yeah. [00:46:56] Speaker B: For a moment. And I mentioned both. I meant. I kept it ambiguous because, like, she performs. Obviously, she performs her entire medley in the first one, which I'm thinking more of, but like, the second one, too, she performs like, a nice medley. [00:47:08] Speaker A: This was also giving, like, River Deep, Mountain High kind of moment. Like, that's what that. That's what that was making me think of. It kind of reminded me of some of Celine Dion's covers because she has also Love Can Move Mountains. She does her own cover of River Deep, Mountain High. I know it's covers, so it's kind of, like, redundant to bring her up. But, you know, it has that vibe that kind of, you know, let's shuffle and dance. Let's move our feet. [00:47:31] Speaker B: Yeah. [00:47:32] Speaker A: Okay. Let me hear you scream. [00:47:34] Speaker B: Come on, girl. [00:47:35] Speaker A: Everyone in the back. [00:47:37] Speaker B: Like, something that was really interesting about this song that felt really relatable is, like, the idea of, like, dancing through sorrow. And that's what the lyrics were giving. [00:47:48] Speaker A: Again, the lyrics, I totally went over my head. [00:47:51] Speaker B: You know what's so interesting, Cam? I'm also like, you. Like, I'm like, I. I need a good beat. That's all I listen to. But I'm like. I think, like, when we started this, it's made me listen to lyrics a lot more. [00:48:02] Speaker A: Huh. [00:48:03] Speaker B: Because I'm like, at the end of the day, sometimes I bop to songs and I'm just like. I don't even know what I was just walking to. I have no idea. But, like, sometimes the lyrics are so important when it comes to, like, pairing, I guess, getting into the messaging behind it, obviously, but, like, literally, I think there's a line in there, but she's like, yep. Did a line or something like that. [00:48:23] Speaker A: Like a Coke. [00:48:24] Speaker B: Yeah. [00:48:25] Speaker A: Oh, she. She. She a Coke fan. [00:48:28] Speaker B: Cook fan. I think that she. I'm not too sure if she struggled with addictions, per se, but I feel like she might have experimented. [00:48:37] Speaker A: Okay. [00:48:38] Speaker B: I think, obviously, like, I think being with Ike. Yeah, I. Because he was me. Like, he was heavy in addictions. [00:48:45] Speaker A: Everyone in the line in the bathroom. Trying to get a line in the bathroom. [00:48:49] Speaker B: Wait, is that a line from somewhere? [00:48:50] Speaker A: It's from We Can't Stop by Miley Cyrus. Everyone in line in the bathroom. [00:48:55] Speaker B: Oh, my gosh, Miley, you were always relevant. You were always relevant. Even when we're talking about Tina Turner. [00:49:03] Speaker A: I love her. [00:49:04] Speaker B: Yeah. Like, it's. I think she might have been influenced that way, too. But again, I'm not. I'm not. I don't. I'm not too sure. I haven't read that part into her. But, like, yeah, like, her talking about. Just, like, the struggle she was facing is something in the song, but, like, to such an upbeat, heavily upbeat. To, like, just dance through sorrow. [00:49:26] Speaker A: When people talk about cocaine and songs, it's crazy to me because even, like. Even, like, Miley, as we were talking about, she's like, yeah, we were doing lines. It's like, whoa. Like, we're just okay with saying that, you know? Like, do you Everyone do your thing. But damn. Like, it's crazy. They can't get in trouble or anything. [00:49:45] Speaker B: That's what I mean. I. I'm so green to that. Like, I'm so, like, guys, I'm like a goody goody two shoes, where I also thought I was like, wait, oh, my God, you're gonna get arrested, because I'm such an idiot. But I'm like. I guess, like, there is a level of freedom with music. Because, like, obviously, also in songs, like, you know, there are a lot of songs where they're talking about bodies and, like, how many kills they got, too. [00:50:12] Speaker A: Yes. [00:50:12] Speaker B: So I'm like, I. I guess there's like, a level of, like, this also isn't me admitting anything. This is me just talking about it. Theoretically. [00:50:20] Speaker A: Yeah, it could be fictional. Who knows? [00:50:22] Speaker B: Yeah. [00:50:23] Speaker A: But, like, damn. [00:50:24] Speaker B: I know. [00:50:26] Speaker A: But no, great song. Like, I was saying, it was giving me River Deep, Mountain High. Like, definitely. So definitely a highlight for me. Again, a different flavor from Tina. Something that's very distinct on this album. Doesn't sound like anything else on the album, which I always appreciate. Give me variety. [00:50:45] Speaker B: Yeah. [00:50:46] Speaker A: New variety. [00:50:47] Speaker B: This one. This was. This brought the flavor. This. I. Yeah, like I said, I'm like, this literally felt like I was on a racetrack. I don't know if I'm driving. I feel like somebody else is driving, but I'm like. Like, I'm having the time of my. [00:51:02] Speaker A: Life when I hear this song. I think of her smile. Like, that's what. That's what the visual. It's kind of giving me and her just having fun on stage. That's kind of. That's kind of what it makes me think of. So I think it's very Tina in that sense. Because, yeah, when I imagine her, that's what I. That's what I see. So, yeah. I love this song. Great song. [00:51:25] Speaker B: Love it. Love, love, love, love. The Beatles. Get up off the ground. Okay. Your song just got taken. [00:51:33] Speaker A: Yeah. [00:51:33] Speaker B: And done so much better. Holy crap. [00:51:37] Speaker A: Yeah, I. Okay. When. When I listen to this, I had no idea. No idea. And I know Help by the Beatles. Like, I feel like it's a pretty standard song that people are aware of, but I listened to this whole song multiple times, and I never made the connection that it's the same song. [00:51:56] Speaker B: I know, I know. Literally, it wasn't until, like, we were looking into the singles, like, doing deep dives at each song, too. Writers. John Lennon. I was like, wait, when did they collab? And then I was like, wait, holy crap. This is a completely different song. I know that they're going to be some Beatles stands listening to this. And I hope you get off the ground, too, because Tina ran you over anyways. But, yeah, I feel like this. [00:52:27] Speaker A: I was gagged. [00:52:28] Speaker B: This is incredible. I also just love ballads. So, like, I just. [00:52:32] Speaker A: Yeah. Making this a ballad is such an interesting idea as well, because even I was thinking about it, it's such a relatable song in the context of a relationship needing something from your partner or even just a friend. Like. But specifically, this kind of resonated with me is talking about a partner. It's so universal and relatable. And I. Like, I said it never. It never connected with me that this is a Beatles song. [00:52:56] Speaker B: Yeah. [00:52:56] Speaker A: But I think it's. You know, she may have kept the same lyrics, but this is her song. You know, she basically rewrote it. Listen, just the performance and how she did it and how, like, the arrangement difference, it's so different. [00:53:07] Speaker B: Well, that's the thing. Is it just even song, a cover, like, literally, I was like. I think that's what made this. This just feels like her song. Because, like, she literally completely, like, disbanded, like, dismantled a song and made it herself. [00:53:20] Speaker A: Yeah. [00:53:20] Speaker B: Like, made it for herself. Which is why I'm like, obviously, like, when people sing covers, oftentimes it's like, because they like the song and they think that it sounds really nice. Like, their voice would sound really nice on it. But I'm like, this was a song that, like, I feel like she ghost wrote. I feel like she was in the writer's room when they were writing the song, and she's like, I'm gonna sing your song better in 30 years. [00:53:44] Speaker A: Yeah, that's 20 years. [00:53:45] Speaker B: 20, whatever. [00:53:47] Speaker A: Yeah, the Beatles was the 60s. [00:53:48] Speaker B: Yeah. So, like, 20 years later. [00:53:50] Speaker A: But I was also kind of surprised because it's. She's a rock artist and this originally is a rock song. The Beatles are rock. So I was kind of like, why wouldn't she just keep it? But I think it's so much better this way. Like, at the same time. [00:54:05] Speaker B: Well, I also think that's still rock in a way. [00:54:08] Speaker A: I don't know. This is very, like, ballady. I feel like ballads are a lot more ambiguous in terms of what genre it is. As opposed to up tempos, like uptempos. It's very much like, okay, like, this is a pop song, but, like, yeah, when you slow it down, especially at this time, it's a lot harder to tell. So I just kind of took it as a ballad as opposed to it being like a rock ballad, but I don't know. Soft rock in general is kind of hard to distinguish. That's true pop music. [00:54:38] Speaker B: Well, I think that they're. I think she stayed true with, like, the rock elements through a. Just her voice in general. But also, like, I think that, like, when you hear, like, the guitar stings, I'm like, that. I feel like that is what distinguishes. Distinguishes it apart from, like, a regular, like, pop ballad or anything like that. Like, I feel like this is still, like, add some rock elements to it. But again, I think that's also just something really cool about Tina. Is that how devoted she was to, like, making it clear that, like, she is the rock diva. However, let me show you everything I got, you know, And I feel like it is hard to have a voice as, like, raw as that and have it blend so well over multiple songs and not have it, like, sound like it stands out too much. But she does it so well. And I think that's something that's like, you gotta. You gotta give her flowers for that, for sure. I really do love this song. [00:55:37] Speaker C: So this is the one that wasn't. [00:55:39] Speaker A: Included in the US and is specific to the international edition. [00:55:45] Speaker C: So keeping that in mind, it makes. [00:55:46] Speaker A: Sense because it's a Beatles cover. [00:55:48] Speaker B: Yeah. [00:55:48] Speaker A: But, yeah, just want to keep that in mind. [00:55:50] Speaker B: I love the drums on this track. I love how it like it. She's able to carry along with the drums. Like neither of them are overshadowing each other, but they were. They were both working together to give the full power. And I love a drum moment. I really, really, really do. As much as I love an electric moment, I love. As much as I love a bass moment, I love. As much as I love a brain Brass woman, as she, like, included in I forgot which song it was now because we've been talking on a tangent. But, like, I really do love the drums in this. I also feel like there's an element of gospel to the song a little bit with the choir. And it. I feel like it also resembles the idea. I'm like. I'm wondering if she was trying to seek, like, spiritual help in a way at some point in her life. And, yeah, this all I'll say again is John Lennon, Paul McCartney. I'm so sorry, babe, but I don't know you. [00:56:45] Speaker A: But, yeah, I think. I think she did a great job with help and making it her own. [00:56:49] Speaker B: Absolutely. [00:56:50] Speaker A: Should we move on to the next song, the final track on the album 1984? [00:56:54] Speaker B: Yeah, let's do it. Not great. [00:56:59] Speaker A: I Like, did not like this one at all. [00:57:02] Speaker B: You know what it reminded me of? Ghostbusters. [00:57:04] Speaker A: Yeah, it's. Oh, my God, that's so true. [00:57:07] Speaker B: Yeah, I Like, this is. [00:57:08] Speaker A: No, it's giving, like, bad part of the 80s. You know how, like, when you were a kid, you used to look at stuff from the 80s and kind of cringe. [00:57:16] Speaker B: Yeah. [00:57:17] Speaker A: And then now it's like, oh, the 80s were awesome. It's like, it's giving the cringe part of the 80s where it's like, oh, this is not it. [00:57:24] Speaker B: It's just. Maybe it's because it reminds me so much of Ghostbuster. I'm like, I feel like, who. Ha ha ha, ha, ha. Like, Halloween ghoul. That's just not like, okay, it feel. It also kind of felt like I was sitting. Like I'm sitting at a school assembly. I think that's. That's where the cringe comes in. Is that, like, they're trying to do something cool for the students, and the students are like, this is cringe. I don't know why this kind of, like, felt it. And it's. It's clear that they're trying to solidify the time era and being like, guys, it's 1984, but inherently made it so dated, which is never like. It's not usually a problem. But I'm like, I think it does not have replay value. [00:58:01] Speaker A: Yeah, it's kind of like a Thriller and shows some respect. Had a baby and, like. And, like, the baby came out like. [00:58:11] Speaker B: Oh, my God. It is giving Thriller, but, like, not in a good way. [00:58:14] Speaker A: No, it's giving like, it's giving. Like, this album came out two years ago. Like, Thriller was so huge. We need to do something spooky, and we have five minutes to do it. Okay. What year is it again? Okay. Yeah, let's. Let's make that the title. Okay. Let's just throw it on the end. Maybe no one will hear it. [00:58:32] Speaker B: Yeah, I. It hurts my heart because I, you know, I love you, Tina, but this one, I'm like, I. I. It feels like this wasn't her decision. [00:58:40] Speaker A: Every artist has some skips. I'm like, not gonna lie. Mariah has some skips. Whitney has some skips. What was the Whitney skip? [00:58:48] Speaker B: What is a Whitney skip? [00:58:49] Speaker A: We, like, told me the one. The one where what's his face sounds like a pedo. [00:58:53] Speaker B: Oh, Germaine. [00:58:55] Speaker A: Germaine. Yeah. When he's like, my precious. Yeah, I will throw you in the oven. [00:59:01] Speaker B: And that's the thing. It's always. It's because Of. It's because of the other person, which is why I'm like this song. I'm like, this is not her. This was not her that made a decision to release this. I feel like she was forced. Her hand was forced with this song. [00:59:12] Speaker A: Yeah, I. It. Yeah, it just didn't. It didn't resonate with me at all. I don't know. I would have been mad if I was. If I got the US Version and it had this instead of Help. Yeah, I knew about Help. Oh, my God. [00:59:25] Speaker B: Yeah. [00:59:25] Speaker A: What are you doing? [00:59:26] Speaker B: Exactly. [00:59:27] Speaker A: This is giving, like, bonus track, if anything. [00:59:30] Speaker B: This is giving School Edition. I just think it was like, a. [00:59:35] Speaker A: What School Edition. [00:59:37] Speaker B: Like a school edition of this album or like, where they're releasing in schools. Yeah. Kids. Bob. 1980. Like, witchy. Like, it's. No, it's not. It's not. It's not hitting for me. [00:59:48] Speaker A: It has to be a good song. You know, if you're gonna. If you're gonna pull off that, like, oh, so scary. It needs to be a good song. Thriller is a good song. Thrillers was originally Starlight. Not nothing to do with scary, and it was still a good song. Listen, go listen to the demo. Starlight. Starlight. Son. [01:00:07] Speaker B: I have not. [01:00:08] Speaker A: You should. It's. It's interesting to hear it with different lyrics. But, yeah, I like, that was a good song. Before they made it scary. And then when they made it, scary was like, oh. And then they made the video and it was like, oh, girl, I'm gagged. So, yeah, that comment came out of. Yeah, I. In 1984 should stay in 1984. [01:00:34] Speaker B: Like, come on, guys. Like, like. And also, this is, like, supposed to be the album Closer. [01:00:40] Speaker A: Yeah. No, you could have closed. You should have closed with. What's the one? Bear Claw. Metal Claw. [01:00:46] Speaker B: Metal Gel. Gel Claw. [01:00:48] Speaker A: J. J. [01:00:48] Speaker B: Or Steel Claw. [01:00:51] Speaker A: Steel Claw. [01:00:52] Speaker B: Yeah. I feel like it should have ended with Steel Claw. [01:00:55] Speaker A: Yeah, I think that would have been better, but that's okay. [01:00:58] Speaker B: I also wouldn't mind if Better Be Good to Me actually ended it, too. [01:01:03] Speaker A: Is that the one that was, like, 80s movie? [01:01:05] Speaker B: Yeah. Like the. Come on. Like, the audience interaction, I think also could have. It's so funny. I feel like, like, that song we placed at many different points of a concert. [01:01:14] Speaker A: Just play it multiple times, literally. [01:01:16] Speaker B: Just replay. Like, that could be a. That would be a great encore song too. [01:01:19] Speaker A: Yeah. So let's hear it again. [01:01:21] Speaker B: Great. [01:01:21] Speaker A: But, yeah, that finishes the album in a. Like, this is probably the worst album closer we've covered so far, which is unfortunate. I'm so sorry, Tina. Rest in paradise. But yeah, no, this isn't. This isn't it. [01:01:35] Speaker B: But it's okay, Tina. Like, I will. I will see you again at some point, and if you want to, you can sing it for me. But I have other songs that I want you to sing for me. [01:01:44] Speaker A: Yeah, no, we got to. We got a list, but it's not on the list. [01:01:46] Speaker B: I'm also down to perform for you. I just won't perform this one. I will say, like, obviously we won't go into it because this was the out, like, the. We did the 10 tracks. But I know that, like, the 30th edition, like, she has some other fun songs on there. [01:01:59] Speaker A: Do we have some shout outs? [01:02:01] Speaker B: Ball of Confusion, she covered that. It's an original song by the ten Temptations. And that one was so, so fun, which was. And this was like, perfectly giving Sister Act 2, because there's a time there's a scene with the nuns and it's everything. But loved that one. I. I loved so much. You should go and listen to. I loved. I wrote a letter as well. And then Keep your hands off my baby like Jolene's sister. [01:02:30] Speaker A: I wish I had listened to the bonus tracks. I'll have to get into those because, yeah, sometimes we'll do an episode and then it's like, actually, there are these tracks you didn't hear that are really good. And it's like, who. Like, who makes these decisions to put the forgettable ones on the album and take these off? Like, these go unreleased. Like, I feel like unreleased music is so interesting because, like, whether a song is good or not is so subjective, and a label can guess what's good and what's not, but, you know, they really don't know what's going to resonate with the fans and the general public. So I think that's such an interesting part of music. Yeah. And with these anniversary releases, you kind of get to see. You kind of get to peek behind the curtain of what was recorded, but what didn't quite make it onto the original release. [01:03:17] Speaker B: Exactly. [01:03:18] Speaker A: Okay, so we're going to talk a little bit about the climate of the music industry when this was released. Nelly, do you know of any other really prominent black females that were, you know, number one at this time? Because Whitney had not come out yet. [01:03:33] Speaker B: No. [01:03:33] Speaker A: And Janet was still doing her first couple albums before she found her footing with control, like Donna Summer. Her really big album was Bad Girls, and she had. I know. She definitely had hot stuff and Bad Girls. I went number one. Off of that album. But I can't really think of any other black females that were super huge at that time in terms of black males. We had Michael Jackson, who had the biggest album of all time, Thriller. So I could see whether, like, why they kind of threw 1984 on there, because they're like, okay, we're gonna. We're gonna kind of try and follow this trend. [01:04:11] Speaker B: Yeah. Like, I know that Bad Girls was, like, in the set list back in the 70s, but I feel like she did have a bit of a, like, a resurgence in, like, 1982. [01:04:20] Speaker A: She had. She had some. She had some hits. [01:04:22] Speaker B: And I will say that I'm like. I feel like their timing of, like, them being revered as, like, Queen of rock and roll, Queen of disco, was. Were so close to each other, which I. Which I think is really cool to see. But I think that this was Tina's time. This was Tina's time to shine. Sade also, like, she. She had a prominent album with the. I know it had Smooth Operator on it. I can't remember the title of the album during this year, too. So it was there. There is some, like, rise to fame around the time, but I feel like this was, like, Tina's. I think Tina made use of this time to, like. Which, you know, it's unfortunate because they'll let out one black person at a time to, I know, prominence. But I think in terms of, like, black women during this time, I think this was, like. This was Tina's time to shine. [01:05:08] Speaker A: And this was right before Whitney. [01:05:10] Speaker B: Yeah. [01:05:10] Speaker A: Like, Whitney was the next year with her debut, so it was. It was kind of perfect timing. And, you know, she also was able to kind of develop her sound away from Ike and kind of go into more of a rock moment. [01:05:26] Speaker B: Yeah. [01:05:27] Speaker A: So, yeah. [01:05:28] Speaker B: Which is, like, also just so fitting with the idea of, like, rebellion, too. Just being like, I'm branching away from what was imposed on me. Tina, I could talk about you forever. I really could. [01:05:40] Speaker C: So, that being said, should we move on to the album success? [01:05:44] Speaker B: Yes. As we mentioned before, this was her breakthrough album post. It was about five years where she was trying to branch out on her own. And it took a lot of grit, took a lot of strength for her to do so, but she was able to make this album be her breakthrough in what she's probably most known for as well. Knowing that what's Love Got to Do with it being the only number one hit, like, on the Hot 100. I think this is. That's the song that people think of the most which in turn, this album also kind of encapsulating the success of that too. And also just showed how she will body a cover. She will for sure she will take, take it over. And I think that a lot of these artists, because of how good she was, like, can't even be mad. You really can't be mad. So. But yeah, all in all, I think this album redefined what rock looks like. [01:06:49] Speaker C: A little bit about the album success. It went to number three on the US Billboard 200, number two in the UK, number one in Austria, number two in Canada. Oh, and okay, number one in Europe, which is amazing. If you're big in Europe, you're big in like so many countries, girl. It has sold 12 million copies worldwide. And what's Love Got To Do with it was her only US Billboard number one hit, and rightfully so. What's Love Got To Do with it was also a big hit worldwide. So a lot of success for this album. I think catering singles to certain markets helped a lot because the actual album charted higher in the UK than it did in the us which is, I think, really cool. All right, so the singles, these singles are interesting. Like we said, depending on the region, you got different singles. The lead single in the UK was Let's Stay Together and then it was Help. And then it looks like worldwide. [01:07:49] Speaker A: They followed up with what's Love Got. [01:07:51] Speaker C: To Do with it and then it was Better Be Good to Me and then it was Private Dancer in Europe and then it was I Can't Stand the Rain in the UK only. And then finally Show Some Respect in the us. [01:08:05] Speaker B: Interesting. [01:08:06] Speaker A: It's such a. [01:08:07] Speaker C: Like I've never seen an album release songs like this. [01:08:10] Speaker B: I also like Show Some Respect was a single. I guess I didn't take that in. [01:08:16] Speaker A: It's kind of crazy. [01:08:16] Speaker C: This is only a 10 track album, so I guess most of them would be. Which makes sense. Yeah, but the same time it doesn't make sense. And let's Stay Together was a pretty big hit in the uk. That's the lead single peaking at number six. What's Love Got To Do with it was also a big hit in the uk, peaking at number three in America. Better Be Good To Me peaked at number five. Private Dancer peaked at number seven. So a lot of overall success in the us. [01:08:45] Speaker B: Oh my gosh. How could I forget? When I was talking about B side songs to the 3030 year anniversary. We Don't Need Another Hero. The Thunderdome version. We don't need another. Here. [01:08:58] Speaker A: No way. [01:08:59] Speaker C: That's her. [01:08:59] Speaker B: Yeah. So Good. [01:09:04] Speaker A: You can. [01:09:05] Speaker B: So good. [01:09:05] Speaker C: You can see too. Like, it really kind of made her. [01:09:10] Speaker A: Able to chart really high. [01:09:11] Speaker C: Because We Don't Need Another Hero, which technically isn't on the album, but was released the following year, peaked at number two in the US and was a number one hit all over the world. And then Typical Male, which is from her next album, peaked at number two. [01:09:27] Speaker A: So these are really high, high peaks. [01:09:31] Speaker C: You know, Number two is really good. [01:09:33] Speaker B: Yeah. [01:09:34] Speaker A: So I think she's really. She really slayed the 80s. She really slayed. [01:09:39] Speaker C: In general, number ones are hard to get us Billboard number one Hot 100. Not everybody has, period. That's a reference to Mariah Carey Shade to Nicki Minaj on American Idol. [01:09:51] Speaker B: Yeah. [01:09:51] Speaker C: When Nicki didn't. When Nicki didn't have a number one. [01:09:54] Speaker B: How could I forget that? Oh, I loved the rivalry. Like, I really loved. [01:09:59] Speaker C: That was so extra. [01:10:00] Speaker B: I loved that. [01:10:02] Speaker C: Like, I think Nikki said she'd shoot. [01:10:04] Speaker B: Her something like that. [01:10:06] Speaker C: I was like, well, so funny, so crazy. But, yeah, a lot of success, a lot of commercial success worldwide from this album, which is not an easy thing to do. It's one thing to break it in the US but to break it worldwide is another. So it just goes to show how. [01:10:25] Speaker A: Universally loved she was. [01:10:26] Speaker B: Yeah. [01:10:27] Speaker A: In terms of the artwork, we actually. [01:10:29] Speaker C: Have something interesting today with the artwork because there are two artworks. There is one which is the US Version and associated with earlier pressings of the album, and. And there's one which is now, I guess, become the official album cover or was the international cover, because we were talking about how there's a US Version. Oh, yeah, There's a international version. [01:10:53] Speaker B: Well, I'm used to the one with the black cat. Is that the international version? [01:10:58] Speaker A: The black hat. Oh, the black cat. [01:11:00] Speaker B: Yeah, the black cat. [01:11:01] Speaker C: So the black cat, I'm assuming, is the international version. It's what's most associated with the album nowadays. But the alternate album cover, which is the US Original release cover, I actually think is more of a slay. I like that album cover so much better. [01:11:18] Speaker B: Interesting. [01:11:19] Speaker C: I think it's more iconic with that leg stance. It's really giving, like, bitch, I'm a fucking slay you and I'll get my number one. [01:11:29] Speaker B: I do love her stance there. I think it's so hot. Like, so. So absolutely hot. I think I might like the black cat version better. [01:11:38] Speaker A: What about it? Is it the. [01:11:40] Speaker C: Is it the cat? [01:11:41] Speaker A: Is it the artistic? [01:11:42] Speaker B: I think just because for me, like, the idea of, like, I'm ready, like, I'm I'm getting ready to take the stage. Like, her putting a lipstick on, like, this is her moment. She's getting ready for, like, I think it, like, I think it mirrors the messaging a little bit more. The black cat being, like, mystery, like, adding a little air. An era of, like, you don't know what you're gonna get from me yet. And I think it's super cool. I'm wondering if there's, like, an era of, like, also superstition added to this too. But that's another thing, too. But, like, yeah, I think. I think I might like this one better. I feel like the other one makes sense for, like, this is me. [01:12:21] Speaker A: Yeah. [01:12:21] Speaker B: But I. I feel like we're still at this point in the game. We are still reaching the air, the Reaching the era of knowing exactly who Tina is. [01:12:33] Speaker A: Yeah. [01:12:34] Speaker C: It's interesting, too, because the alternate album cover was also the what's Love Got. [01:12:40] Speaker A: To Do With It? [01:12:40] Speaker C: Single cover. So it makes sense. And I do think it's. [01:12:46] Speaker A: I don't know. [01:12:47] Speaker C: To me, it's like, I remember seeing this image more than the one with the cat. But that being said, like, I can see the vibe. It's just like this one. It's like, look how hot I am. [01:13:01] Speaker B: Yeah. Like, legs are insane. [01:13:03] Speaker A: Yeah. Like, look at me. [01:13:05] Speaker C: I'm wearing all black and I'm slaying. [01:13:08] Speaker A: And this one's like. [01:13:09] Speaker C: It's a little bit less, like, in your face. [01:13:11] Speaker B: That's true. That is true. I can see what you mean, because I'm like, she is somebody that doesn't hold back. Like, she's giving. She's throwing it on, putting it all on the table. I don't know. I feel like maybe it's because I'm just used. I'm. I'm reverse. I'm actually more familiar with this one with the black cat. I don't know. I. I don't know. [01:13:30] Speaker A: They're both great. [01:13:31] Speaker C: Yeah, they're both great. [01:13:32] Speaker B: She looks phenomenal in either one. [01:13:34] Speaker C: Yeah. [01:13:35] Speaker B: So I'll take either one. [01:13:36] Speaker C: I'm like, we're not complaining. [01:13:38] Speaker A: We just get. We're. [01:13:39] Speaker C: You know, we rarely get two album covers. I mean, now we do, but at this time. Well, now we get by my six different versions, collect them all. [01:13:49] Speaker A: No Tino Shade. But it's true. [01:13:51] Speaker B: Real. [01:13:52] Speaker C: So it's like, back then, it was like, okay, here's the. [01:13:55] Speaker A: Here's the album. [01:13:56] Speaker B: Yeah. [01:13:56] Speaker C: And if you get a different cover, because it's a different region. So now it's like everyone kind of gets the same thing that's true. But yeah. Should we move on to some of the producers of the album? [01:14:06] Speaker B: Let's do it. [01:14:08] Speaker C: So I'd say one of the most prominent producers on this album. He's all over this album. Is Terry Britton. I don't know if I'm saying that right. He is from Britain. He did produce what's Love Got to Do with it and won a Grammy award for song of the year. Some of the other songs that he worked on, a favorite of mine, Just Good Friends off of Bad by Michael Jackson and also includes Stevie Wonder. That is such a good song. Just Good Friends gets taken a dump on all the time as being the worst song from Bad. But no, it's actually a fire song. The production's amazing and Stevie Wonder and Michael Jackson sound great on it together. So let's get into the impact of the album. When we were talking about the climate of the music industry at this time. [01:14:53] Speaker A: We were trying to find a black female artist that was as big as Tina Turner before this. And we really couldn't do that. So do you think in any way it kind of paved the way for. [01:15:04] Speaker C: Someone like Whitney the following year, do you think? [01:15:06] Speaker B: Definitely. I think also knowing that like rock and roll as we know was co opted by that point, so whenever people did think rock and roll, they didn't think of somebody like Tina. And I think it definitely allowed for artists, specifically black artists, specifically black female artists to come after her and be able to create their own sound in the ways that makes sense for them as well. I think like touching ba. Like touching upon what I had said before about like her daughter being Beyonce. I think that like, there's definitely a certain sound that like also can't be replicated from her. It can only be inspired by her. And she is somebody that like, is one of one. Like her impact is, as I said, an umpteenth amount of times. You can't talk about divas without talking about Tina because Dina, Dina, Tina is that girl. And her impact is felt decades later. And it didn't just start also in 1984. Yeah, right too. So I think that there's a. There's a. There was a fresh new sound with her that like, is so refreshing even years later. So yeah, I think her impact is felt, was felt in 1984 as much as it is today. [01:16:29] Speaker C: And with her recent passing too, you. You always kind of see an outpouring of love for these people. For when it was Whitney, it was people. We're loving Whitney. Same with Michael. [01:16:40] Speaker B: I Was wearing all black for a week when Whitney passed. [01:16:44] Speaker C: See, when. When Whitney passed, I wasn't super aware of her. First time I remember hearing anything about it was on the Glee episode because, oh, my God, Glee. They were like. They did a whole episode for her when she passed away. And then I was like, who's Whitney? Like, I didn't. I didn't know. [01:17:00] Speaker A: Like, I didn't grow up with it. [01:17:03] Speaker C: And like, I didn't grow up with Mariah. I didn't grow up with Selene. So this was stuff I like, I discovered. [01:17:08] Speaker B: Yeah. [01:17:09] Speaker C: As I got fruitier and fruitier. [01:17:11] Speaker B: Yeah. [01:17:15] Speaker C: So, yeah, that. That's kind of where that came from. But yeah. And then I was like, this shit hits. [01:17:22] Speaker A: Like, this is really good. [01:17:23] Speaker C: So anyway, I don't know how that ties into anything we were talking about, but yeah, I'd say. I'd say this is her signature song for a reason. Her breakthrough album. And, you know, without this album, I don't know if we would. If she would be a household name in the way that she is and be as. As well known and loved as she is. So. For sure, yeah, real mainstream success with this album and it's well deserved because it's a great album, great songs. So. [01:17:53] Speaker A: Yeah. [01:17:54] Speaker B: Love you, Tina. Now it's time to rank the album. I'll start off with my bottom dough. You know, surprise, surprise. Unfortunately, my least favorite being 19, I won't say too much again because I feel like I already shot on it. [01:18:10] Speaker C: We dragged this song, but it deserved it. [01:18:16] Speaker B: Unfortunately. [01:18:17] Speaker C: So there's like, there's such a high level of quality on the rest of the album. So this like, brings it down and I'm like, you didn't need to do that. [01:18:24] Speaker B: No. You know, my second least favorite would be Might have been Queen. I was going back and forth between that one and Show Some Respect, but I think, like, this one lost points because it's the opener for me. [01:18:37] Speaker A: Yeah. [01:18:38] Speaker B: I just. It shouldn't have been the opener. That's all I'll say. [01:18:42] Speaker C: Yeah, that's fair. I actually have a very similar list to you. My east favorite is 1984. I already took a dump on it. I'm not going to layer another bit on top. So I'd say, yeah, that's definitely my least favorite. And then my second least favorite would be Show Some Respect. I actually do kind of like the opener better than Show Some Respect, but, like just a little bit, you know. Yeah, it's kind of a toss up, you know, they're very similar songs. [01:19:11] Speaker A: Yeah. [01:19:11] Speaker C: So I don't know. Usually you don't put the filler at the beginning, though. [01:19:14] Speaker B: Yeah, that was in the end choice. Yeah. [01:19:17] Speaker C: But yeah, definitely the three weakest are Show Some Respect, 1984, and. [01:19:22] Speaker B: Which is a shame because I'm like. [01:19:23] Speaker C: Might have been the queen. [01:19:24] Speaker B: It's literally the opening and closing ones are my bottom two. [01:19:30] Speaker C: It's so important. Put your filler in the middle. No one will notice. [01:19:32] Speaker B: Yeah, no one's gonna notice except for us. [01:19:36] Speaker A: Yeah, we go through everything here at. [01:19:38] Speaker C: Diva Decoded, but yeah, I'd say those are my least favorite. [01:19:43] Speaker B: On a lighter note, my top three was incredibly difficult to pin down. My third one has gotta be what's Love Got to Do With It. It's. It's that girl for a Reason. Like, it's so good. It's so definitive. And yeah, I've already praised it enough, so I'll leave it at that. My second one being Better Be Good to Me. You know, I love this one so much and I just. Even the image, like, I just love when a song puts me in so many different places. Like visually, like, I'm like. I had so many scenarios as you heard to the song. And yeah, it is really that girl. And then the top one has really got to be let's Stay Together. Like, that one was fantastic. To me, it was a standout just because I'm like this. I knew this was a cover and it still was fantastic and is my number one. How about you, Cam? I'm Scared Girl. [01:20:43] Speaker C: Let's say together as your number one. [01:20:44] Speaker B: Yes. Oh, my God. Now I'm scared. [01:20:48] Speaker A: That's a choice then the choice. [01:20:51] Speaker B: Where would you place it? [01:20:53] Speaker C: Well, I'll give you my. I'll give you my top three. So coming in at number three is Better Be Good To Me. [01:21:00] Speaker B: Okay. [01:21:00] Speaker C: I thought it was a really fun song. Very of the time, but in a really good way. Nostalgic fun. Great tune. [01:21:08] Speaker A: Yeah, just. [01:21:09] Speaker C: Just a bop. [01:21:10] Speaker B: Yeah. [01:21:10] Speaker C: And then my number two is Steel Claw. To Me. [01:21:14] Speaker A: Yeah, it's such a. [01:21:14] Speaker C: It's such a fun one. So much energy. Very much who she is, at least as a performer. So, yeah, just lends itself very well to her and is a great high energy, happy sounding song. [01:21:30] Speaker B: Still claws in my top five. For real. [01:21:32] Speaker C: I'd say other ones that are in my top five. What's Love Got to Do with it and. [01:21:38] Speaker A: Help. [01:21:39] Speaker C: Yeah, sorry, I. [01:21:40] Speaker B: That's real. [01:21:41] Speaker C: Maybe the one you like would be like the next like one below that. [01:21:43] Speaker B: Don't piss me off. [01:21:45] Speaker A: Like I said, don't piss me off. [01:21:46] Speaker B: It's okay. [01:21:47] Speaker C: And then my number one is Private Dancer. [01:21:50] Speaker B: Okay, I can't argue with you. [01:21:52] Speaker A: Wait, what's Private Dancer for you? [01:21:54] Speaker B: I would probably put Private Dancer number five. [01:21:58] Speaker C: Oh, girl, Private Dancer is amazing. [01:22:00] Speaker B: It's private. Dinner is a great. It's amazing. I'm telling you. It was so hard to pin it down, but I'm like, I gotta. I gotta do the ones that I would go. I know for a fact I'm gonna go back and listen to, like, right after this. [01:22:11] Speaker C: Private Dancer just gives me, like, such a crazy, like, story in my head, so. And then also, it's. Sonically, it just sounds so iconic. Like, you know, something sounds like a hit. [01:22:22] Speaker A: What's Love Got to Do with it. [01:22:23] Speaker C: Was like, just below that number four, but not quite there for me, just because it's like, girl, this is the only number one. That's it. [01:22:31] Speaker B: That's true. I feel like there definitely. There's room for more. [01:22:34] Speaker A: So. [01:22:35] Speaker B: For real. For real. [01:22:36] Speaker C: That's kind of where I'm coming from with that. Not just trying to be different, you know, you are. No, I just like. Like, if you're. If you're gonna put. If it's a signature song, and I, like, really don't connect with that much. I don't know. Leaves you kind of high and dry, you know? I have no expectations for any other song on this album other than this. [01:22:55] Speaker B: One song that is true. [01:22:56] Speaker C: Doesn't quite meet them. So it's like. [01:22:59] Speaker B: But maybe that is a marker of. Of a good album. [01:23:03] Speaker C: I mean, it is a really strong album. There's only one bad song. There's only one skip on the whole album. So that's true. [01:23:10] Speaker A: That's pretty good. [01:23:12] Speaker C: All right, now the time has come for you to lip sync. [01:23:16] Speaker A: Sorry. [01:23:17] Speaker C: For us to. [01:23:18] Speaker B: For your life albums. [01:23:22] Speaker C: So some of our grading systems, for those who don't remember DVD Coded, revolutionized the pop stratosphere and is timeless. Forgotten Flop, an underrated album that we feel deserved much more. At the time, it didn't reach what it should have. Passable platinum albums we feel are okay, but isn't necessarily a highlight or an artistic failure. Momentary Magic was a huge success at the time, but has since faded into obscurity. Bloated blockbuster, overrated album with big success we feel is undeserving and timeless. Classic that speaks for itself. So what would you give this one, Nelly? [01:24:02] Speaker B: I just. Pure bare bones. I would give this maybe Momentary Magic, but what I'm saying is that I don't think it's the idea of fading into obscurity. I don't think it's because it's. People don't talk about it. I don't think that's true. I do think that it's still the album for a reason. [01:24:24] Speaker A: Mm. [01:24:25] Speaker B: But I think that there are a lot of. There are a lot of songs in this album that you don't hear in mainstream. [01:24:31] Speaker A: Yeah. [01:24:32] Speaker B: There are a lot of, like, deep cuts within this album. And again, correct me if I'm wrong. Obvious. No, actually, you don't have room to direct me, audience, because you don't have a mic. Yeah. [01:24:41] Speaker C: You're not in this. Like, only I can disagree. [01:24:44] Speaker B: And even then. No, he can't. But I feel like the re. Like, retweaking the idea of obscurity a bit in this is that I think it's. I think Momentary Magic only applies because of the amount of songs here that I'm like, how have I never heard this before? And it might just be subjective. Obviously people will be like, how do you not know Private Dancer? Or whatever. Not Private Dancer. Actually, I did kind of know Private Dancer. I don't know one of the other ones, but I think it's more so on the idea of it's there. The focus is on, like, one or two songs from this album when the focus should be on nine. I will leave out the last one, but there should be a lot more focus on the other ones. [01:25:26] Speaker C: I would also, I think, have to give it Momentary Magic. It's a great album. I think it paved the way for a lot of black artists, female black artists in the. In the pop music world. But I don't, like. I don't really see people go, this was a great album. You know, people talk about the song. If anything, what's Love Got to do with it? And that's kind of my awareness of. That was my awareness of this album as someone just a part of the general public before we delved into it and covered it on this show. But I do think it is a really solid album, you know, just because something. You know, it was widely acclaimed at the time, which is why it's Momentary Magic and well loved at the time and still today. But is it as timeless or as groundbreaking as something like Whitney Houston's debut or, you know, Mariah's or whoever? I don't think quite. But I do think it is a really solid album with a really talented vocalist and performer, and it's great music. It's great music. [01:26:32] Speaker B: I will say I think that part of. Also, why People. You wouldn't see as many people talking about it. Because I'm wondering if this would. This would. This would like, border slightly the lines of like, what is considered alt quotation marks. I think, like, obviously with rock influence, you know, a bit of the alt scene, like, you gotta have to be like a music head. [01:26:56] Speaker A: Yeah. [01:26:57] Speaker B: To like, know a lot of these songs or even know like, more about the albums. But I think also something really cool about Tina is that, like, it wasn't. I see actually a lot of influence from non black artists too. Like, like, or at least for non black artists too. Like, when I. When I was hearing some of their songs, I was hearing some like Cyndi La Lopper as well in there, I think is really cool. So I think that she did influence the alt scene just a little bit too, like, in general. But yeah, I think, like, Momentary Magic would be the most fitting just because I think. Yeah, everything we said was that, like, it's. It's something that did feel of the time a lot of the times when you hear the songs. [01:27:35] Speaker A: But in a good way. [01:27:36] Speaker B: But in a good way and like, in a very positive way. And we feel that it should be talked about. Like, I feel like there's like, as you mentioned, I know that you love Private Dancer and I did too. Like, we should talk about the title track. Like, the title track is amazing. I think what Love Got to Do with these Deal Number three, My Heart and I think it's fantastic and. But like, yeah, I feel like there are definitely some other songs that were really. That were very deserving of. Of the hype too. [01:28:04] Speaker A: Yeah, there were a lot of big singles from this album, so that's wonderful. But in terms of lasting the Test. [01:28:12] Speaker C: Of Time, in terms of, you know. [01:28:13] Speaker A: People talking about it, remembering it, it's really just love. What's Love Got to Do with it, which is kind of unfortunate. But, you know, I feel lucky to have gone to listen to this album and learned about it and become a. [01:28:26] Speaker C: Fan of Tina and I. I'm excited to see where she goes with her next albums and to cover her. There's so many people to cover, so it's hard to even. [01:28:37] Speaker A: Like, when we eventually get into the next season, we're going to cover a different era. Stay tuned. So. But that brings a whole new generation of artists. So now not only do we have these artists that we've already covered who are still producing great music, we have all these new artists to cover as well. So it's like kind of a difficult. Kind of difficult to to pick and choose what we should do. But that's why you should support the podcast. [01:29:02] Speaker B: Absolutely. [01:29:03] Speaker A: More episodes. [01:29:04] Speaker B: Cuz, you know, we're going to get into our baroque era. [01:29:08] Speaker A: We're in the baroque period. [01:29:10] Speaker B: Like, come on, let's talk about. Let's talk about some Beethoven. Yeah, like the diva. But I feel like. [01:29:19] Speaker A: Was he deaf? Which one was the deaf one? [01:29:21] Speaker B: Beethoven. [01:29:22] Speaker A: So how did he do that? [01:29:23] Speaker B: He was deaf, I think vibrations or something like that. [01:29:27] Speaker A: Girl, I know. [01:29:28] Speaker B: Maybe he was lying. [01:29:29] Speaker A: He's full of shit. [01:29:30] Speaker C: No, wait. [01:29:31] Speaker A: Sorry. [01:29:35] Speaker B: Sorry. To this man. Well, that concludes Private Dancer. Thank you so much for tuning in. Excited for you, for you all to join us next week where we're gonna have a heavy hitter once again. [01:29:47] Speaker A: That's all we're gonna say. [01:29:50] Speaker B: I'm excited, I'm titillating, and I feel like a witch. And I think it's because of her final job. [01:29:55] Speaker C: I'm. [01:29:56] Speaker A: I'm wet for this next. Sorry, don't keep it. I'm ready for the next album. [01:30:01] Speaker B: I kind of want him to keep the wet. [01:30:04] Speaker A: Okay, sorry. [01:30:05] Speaker B: You decide, Blake. [01:30:06] Speaker A: Actually, yeah, up to you. [01:30:07] Speaker C: No, no pressure, but yeah, no, I'm. [01:30:10] Speaker A: So excited to delve into next week and go from there. So thank you for listening to Diva Decoded. [01:30:16] Speaker C: Follow our Instagram, which is in the. [01:30:19] Speaker A: Show notes or whatever the description, I don't know. And have a great night or day, whatever it is, whatever time you're listening to this. [01:30:26] Speaker B: I hope that you finish washing the dishes. I hope that you finish reading a bedtime story and have this next to it. [01:30:33] Speaker A: We hope whatever random task you're doing is a little bit more enjoyable. Yeah. [01:30:37] Speaker B: I hope that you're able to get through your work day a lot easier. [01:30:40] Speaker C: Well, oh, my God. [01:30:41] Speaker A: I listen to podcasts at work all the time. [01:30:42] Speaker B: It's so nice. [01:30:44] Speaker A: It helps. [01:30:45] Speaker B: Well, with that. [01:30:45] Speaker A: I love my work, though. I do, I do, I do. [01:30:48] Speaker B: I. I feel like, honestly, there's always like, as much as, like, you can live a job, but it's still like a job. Right? So, like, you're like, I need something to make this a little bit more exciting. [01:30:55] Speaker A: Yeah, that's true. [01:30:56] Speaker B: That's real. And with that, I'm Nelly. And I'm Cam. [01:31:01] Speaker A: And thank you for listening to Diva Decoded. [01:31:04] Speaker B: Bye. [01:31:05] Speaker A: Bye. [01:31:14] Speaker B: Before we end, we'd love to shout out our lovely team behind this podcast. [01:31:19] Speaker C: First, we'd like to shout out our amazing editor, Blake Walker. [01:31:22] Speaker A: Thank you so much. [01:31:23] Speaker C: You do all the dirty work and. [01:31:25] Speaker A: We really, really appreciate you. [01:31:26] Speaker B: We love you, Blake. We'd also love to shout out our lovely social media manager, Angelica Ortega. So everything you see visually, it's her. [01:31:34] Speaker C: Yeah, she's killing it. [01:31:35] Speaker A: Thank you so much for listening. My name is Cam Barbeau and I'm Nelly Deverilles. You've been listening to Diva Decoded. [01:31:44] Speaker C: I'm looking forward to covering her more. [01:31:46] Speaker A: In the future, see where she goes. [01:31:53] Speaker B: Oh, my God. I was like, what the fuck? Oh, my God. [01:31:58] Speaker C: So what that was. We meant to just keep that for later, and then it accidentally played while. [01:32:04] Speaker A: We were recording, so we're just gonna leave that in. [01:32:05] Speaker B: Thanks, Blake.