When Jon Peters asked me to write the theme for the second one, I didn’t want to do a parody of “ I’m Alright.” I didn’t want to do an imitation of that. How easy was it by that point to write a soundtrack song? Was "Nobody's Fool" an easy, formulaic Loggins soundtrack song to turn out from your perspective? I loved the anecdote that you never saw the second Caddyshack movie. That’s what I wanted to bring to “Danger Zone.” They had a very clean, but aggressive rock thing where they could cluster chords together and you would hear more notes than just ones and fives. They brought a musicality to that kind of rock and roll. How much were you inspired by the Police back in the day? I added all of the inversions and then we extended the bridge out. So I added a lot of two chords, open voicing things, where they just had like 1-4-5. When I was working with Tom Whitlock and he showed me what they had, I felt like I just wanted to bring more of a Police vibe to it, chordally.
#HARD TRUCK 2 KING OF THE ROAD SOUNDTRACK LICENSE#
Did you take any creative license with this new version? Giorgio Moroder had the bulk of the original "Danger Zone" completed when you came in to sing it. I had to use like five guitars to get that vibe that the original had with only one guitar. I to emulate myself until I found exactly where in my throat I was singing from, so I could come as close to that voice as possible.
I sent that to my left ear and I sent my voice now to my right ear. We took the original vocal and put it on two tracks.
It was a harder song to sing now in the original key and in the original way. They’re all going to want to hearken back to the original.īut what I learned from the original, I learned that my voice was higher 36 years ago or whatever it is. So if there’s a third Top Gun someday, it will probably be in the opening of that movie. It really works, I mean, the way he did it, putting it in the opening of the scene. He really wanted to use that as the marker for bringing the audience fully focused back to that original vibe. I didn’t get to, because Tom was so in love with the original version. I wanted to use that huge theater sound system in the mix itself. I really wanted to re-record the song to capture that 5.0 surround thing that theaters are doing.
One of the things that the original song felt like to me, it was like a big mono. You recorded a new version of "Danger Zone." What did you rediscover about the song as a result of that? Watch the Video for 'Danger Zone' by Kenny Loggins I think it’s funny, but it works in that song. That’s what I was trying to bring to “Danger Zone.” When I listen to it now, I hear myself go, “ DAYN-ger ZOH-ahn,” in that total Tina accent. I mean, name three other acts that do it anywhere near as intensely as she did it. Her gospel and R&B history, combining with her love of Rod Stewart and the modern rock and roll at the time created a level of intense R&B rock and roll. I mention in the book that I was very into Tina Turner at the time and the way she pronounced things. What do you remember feeling after the original version was recorded? It’s like the god of money is sitting beside me. That’s right in alignment with everything in the book, where I just happened to be down the street and they need a singer for “Danger Zone” and shit like that. The way the pandemic kept pushing the Top Gun: Maverick release further and further lines up nicely. You're having a fresh moment with " Danger Zone," which is great timing for your book.
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