100 - The Zombies - Odessey and Oracle - Wayne Federman

Summary

Podcast Summary: The 500 with Josh Adam Meyers – Episode 100: The Zombies - Odessey and Oracle (with Wayne Fetterman)
Release date: July 8, 2026

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Overview

This landmark 100th episode of "The 500 with Josh Adam Meyers" celebrates Odessey and Oracle by The Zombies, listed as #100 in Rolling Stone’s 500 Greatest Albums. Host Josh Adam Meyers is joined by comedian, musician, and longtime friend Wayne Fetterman for a rich, hilarious, and insightful deep dive into one of rock’s most storied “cult classics.” Amid personal banter and music-nerd tangents, Josh and Wayne discuss the album’s creation, tragic commercial flop, eventual cult status, and enduring musical legacy, while reflecting on show milestones and careers forged in the spirit of “never quitting, even when nobody’s watching.”

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Key Discussion Points & Insights

1. Setting the Scene: The Unlikely Success of Odessey and Oracle

• The episode kicks off by acknowledging that Odessey and Oracle wasn’t an immediate success; the band broke up before it achieved cult status.

“This is an album so good that when it came out, people said, 'I'm not buying this.' The story of this band... it’s crazy... then you break up because no one gives a [shit] and you get regular jobs.”
– Josh (03:36)

• Wayne is introduced as the “Zombies of comedy” – not always the headliner, but hugely influential (08:29).

• The original guest was supposed to be Gene Simmons, but he canceled last minute, which fuels joking throughout.

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2. The Podcast’s Own Milestone

• Celebrates reaching episode 100 and breaking into the “bottom 100” of the Rolling Stone list.
• Reflection on the journey, gratitude to collaborators, and a plea for listener support to keep the show going.

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3. Love, Art, and the Perennial Breakup Theme

• Discussion on writing breakup songs, fueled by Josh’s own attempts at songwriting and heartache:

“70% of popular songs are about love. So your breakup... that stuff will really work for people.”
– Wayne (11:19)

• Reference to Ethan Hawke’s philosophy: heartbreak as a truer part of life, risking loss for deeper meaning (12:06).

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4. Brief Sports/Pop-culture Tangent (14:00–24:45)

• NBA, WNBA, World Cup, and random comedian jerseys—classic, tangential Meyers banter.

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5. Album Deep-Dive: Odessey and Oracle in Context

• Odessey and Oracle wasn’t an instant cultural event; it became a storied “pebble on the beach of music” — not seismic, but exquisite (39:50).

• The album’s initial commercial failure is contrasted sharply with its late-blooming influence.

• Anecdotes of how it languished in obscurity until a DJ in Boise, Idaho, and an assist from music legend Al Kooper led to a hit single, “Time of the Season” (54:00).

“A DJ in Idaho starts playing ‘Time of the Season’ on a loop, and that becomes a hit. ... There’s no one touring to take care of this Zombies thing. And there’s a crazy company in Michigan putting out two fake zombie bands to tour...”
– Wayne (45:53)

• Musicians Dusty Hill and Frank Beard (later of ZZ Top) fill the Zombies’ void in a “fake Zombies” touring group.

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6. Production and Innovation

• The album was recorded at Abbey Road (then EMI) Studios using the same 4-track recorder as Sgt. Pepper’s.
• Rod Argent pulls in a Mellotron—a proto-sampler, used by the Beatles—adding lush, baroque textures.

“A lot of the lush sounds... that’s all Mellotron from a rented Mellotron. Not the John Lennon one.”
– Wayne (66:42)

• Notably, the album was produced on a limited budget; constraints fostered innovation and tight arrangements (92:30).

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7. Cultural Impact and Musical Connections

• The Zombies’ network of influence: Argents’s later band Argent, their bass-driven sound, ties to other cult-favorites like Big Star and Nick Drake.

• The episode draws parallels to “bands/comics who only get recognized long after quitting”—like Van Gogh, or comics who broke big posthumously.

• Discussion of how “Time of the Season” transcends eras, landing in movies, commercials, etc.

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8. Personal Reflections on Artistic Legacy

• Both Wayne and Josh reflect on “how many people with real talent give up before getting a break,” and the role of luck, timing, and persistence.

“... Life and art have no real direction... sometimes garbage gets taken to the top. But what sticks around?”
– Josh (55:17)

• The Zombies become an emblem for believing in the work even if the world hasn’t caught up yet.

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Notable Quotes & Memorable Moments

• On the Album’s Cult Status:
  “It’s just like a pebble—this shiny little pebble… the one pebble that’s, like, super shiny. That’s what it is.”
  – Wayne (39:50)

• On Not Giving Up:
  “You have to be herpes, not gonorrhea. They don’t want you; they try to Valtrax you, and you gotta flare up and create something and not be on their genitals.”
  – Josh (17:45)

• On Musicians Getting Paid:
  “They played to crowds of like 30–40,000 people a night in the Philippines and then realized that tiny fee while their manager was making thousands. … They came home with no manager, no record company, and no money.”
  – Josh (79:27)

• On Artistic Constraints:
  “This is just a great example of… sometimes, if you have these constraints, you really creatively can jump.”
  – Wayne (92:35)

• On the Song “Time of the Season”:
  “The opening of that song is one of the quintessential moments in music… and nobody in the band even liked the song. Clive Davis didn’t want the song released. It’s crazy, right?”
  – Wayne (33:05)

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Essential Album Facts & Timeline

• Release and Recording:

  • Recorded mostly at Abbey Road (then EMI) Studios, late 1967.
  • Notably made with a minimal budget (approx. £1000).
  • First time EMI rented out their studio to an outside act without a contract.

• Key Players:

  • Producer: Self-produced by the band.
  • Engineers who worked on Sgt. Pepper's also worked on this album (35:52).

• Commercial Reception:

  • Huge flop on initial release; The Zombies disbanded before the album charted.
  • Gained success when “Time of the Season” became a hit in the US (thanks to Al Kooper & a DJ in Boise, Idaho).

• Legacy:

  • Cited as an inspiration by generations of musicians and songwriters.
  • Known for lush harmonies, unusual (for pop) chord changes, and timeless single “Time of the Season.”
  • Inducted into the Rock and Roll Hall of Fame in 2019 (82:35).

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Track Discussion

• Favorite Tracks:

  • “Time of the Season” (Wayne, 86:20)
  • “Care of Cell 44,” “Friends of Mine” (Wayne, 86:20)
  • Josh: Enjoyed the whole vibe but particularly “Time of the Season.”

• Least Favorite:

  • “Maybe that Butcher's Tale is a little much for me… but I don’t… that’s me.”
    – Wayne (88:29)
  • Josh: “No skippers, really.”

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Timestamps for Key Segments

• Podcast & Album Introductions/personal asides: 02:45–14:00
• Love & heartbreak/writing songs: 10:00–13:30
• Sports tangent: 14:00–24:45
• Album deep-dive begins: 24:45
• Album’s decline & re-rise discussed: 25:28–33:50
• Production details/Abbey Road/Mellotron: 33:45–67:45
• Influence & musical afterlives (fake bands, “Time of the Season”): 41:43–55:15
• Broader legacy, cult status, and artistic persistence: 73:58–95:26
• Favorite/least favorite tracks: 86:07–89:15
• Final reflections and sign-off: 91:05–95:47

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Tone & Style

The episode features the irreverent, comedic banter and musical enthusiasm for which the podcast is known, with personal stories, irreverent metaphors (often graphic!), and deep love for “underdog” albums. Wayne matches Josh in both encyclopedic knowledge and comedy, with moments of gentle mockery, humility, and real musician insight.

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Conclusion: Why Odessey and Oracle Matters

Wayne and Josh conclude that Odessey and Oracle’s story reflects a central paradox of art: commercial success and lasting value rarely align immediately. The Zombies poured everything into their moment, vanished—and had their biggest triumph when they weren’t looking. The same lesson, they reflect, applies in comedy, in music, and life.

“Meaning isn’t found in the outcome. … This band pushed a rock and let it roll down the hill–and it went up another hill… 50 years later, the world caught up.”
— Josh (94:32)

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Further Guest Plugs

• Wayne Fetterman: See him on HBO Max in the new Larry David series (EP6), read his book The History of Stand-up, and follow him @instafetterman and waynefetterman.com.
• Josh Adam Meyers: Support the show via Patreon, follow his music/standup updates (@JoshAdamMeyers).

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Next Week

Sly & The Family Stone – There’s a Riot Goin’ On (1971), #99 on the list.

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For Listeners

If you haven’t yet, listen top-to-tail to Odessey and Oracle. You’ll find a shiny pebble that just won’t fade—and might just change your sense of what a “classic” sounds like.

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End of Summary

Transcript

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[Enrique Palazzo]

hey fleece army, we need your help to make the 500 even better by telling us a bit more about yourself. Go to www.surveymonkey.com R3TWX8YD for a quick listener survey. It only takes a few minutes and directly supports our team. To show our appreciation, we're giving away two 50 gift cards to lucky participants every single month. So head to www.surveymonkey.com Rs and RA/3 the number T as in Tony, W as in woman, X as in Xerox and 8 as the number y as in yellow, d as in dog. I'm saying this, we're gonna put the link on our website if you can't see that, that was a lot. But this is your chance to win. It helps our show. We really appreciate it. We want to know more about you because you know so much about me. So yeah dude, do it. Www.surveymonkey.com R3TWX8Y D that's a mouthful, but it's there. The 500.

[Wayne Fetterman]

The 500.

[Enrique Palazzo]

JM been walking us down through that

[Wayne Fetterman]

2012 edition, so it ain't nothing to you.

[Enrique Palazzo]

Hundreds more to go and in need of a friend. The King of peaceful angelo Talking the 500 until the end Talking the 500

[Wayne Fetterman]

until the end with my man JM

[Enrique Palazzo]

on the 500 Talking the 500 until the end Let me try with pleasured hands to take you in the sun to promised lands to show you everyone is the time of the season for love. It's so cool. I actually sampled this song recently. Oh, what is it everybody? It's Time of the Season is by the Zombies from Odyssey and Oracle from 1968. It's also number 100. We brought Holy Happy Days are here again. We broke into the hundred, my friend. We've been doing this even though they thought we'd quit. We broke a hundred. Let's take a second. We broke a hundred. You thought we were gonna quit? We're making no money, but we're still doing this. Good or bad, man. I'm finishing this up. This is probably why it's turning you off. That's why we don't have numbers. I cuss so much, guys. Congratulations to me. Congratulations to jt. Congratulations to Alex, Emily, dj, Morty Coyle, Pete. Remember Pete? Peter. I don't even know what he's working on anymore. Adam. Oh, my God. I used to argue with Adam all the time. Le a dog. We had Emily Laford at one point. So many Melissa Chis said. So many people. Bart Colman at Spotify, Darklord, Spotify. So many people that helped us. And we broke through 100 on the only podcast where a comedian is going through Rolling Stone magazine's list of the 500 greatest. And guess what? It's called the 500 with me. My name is Enrique Palazzo. Congratulations, everybody. We are doing it for the people. The fleece army that's been listening to us. Thank you so much. You know, please give us more money because we can't afford editing anymore. I am not really on the road. I am in Pittsburgh doing the Mario Lemieux foundation goddamn comedy jam. I have a jam. Not a jam, Sorry. I have a shimmy at. In LA at the Comedy Store on July 22, August. I don't know where I'm going to be, but if you want to help me out right now, guys, support my YouTube and my Instagram and my TikTok at Josh Adam Myers on all of them. I am making daily music at Electric Leca Land Studios here in New York City. I built a studio. I'm having so much fun making the music and it's kind of my new thing and I'm consumed by it. So support, support, support. Because if you don't support the artists and the venues that you love, Live Nation will buy them and ruin them. Actually, I don't believe that fully because Live Nation gives me a lot of tickets, but, man, oh, man, dude, it's going to come down to Amazon, SpaceX and Live Nation that are going to own the world. Maybe Apple, but eventually Live Nation will get into cell phone. What am I talking about? You know what I'm talking about. Each episode of our podcast is on YouTube. I hope you guys are watching it. Subscribe the 500 podcast, and if not, we have Patreon we need your help, guys, for this final 100 support. Patreon. $5 a month gets you this and 5 fit 25 gets you merch. I think Jeremiah, that's a. That's one of your questions. You're at a. You're in a. In a cabin and goddamn Ibiza. Patreon.com backslash the 500 podcast. And like I said, I am still on the road, kind of. I have more dates I'm gonna release, but just right now, because I can't sell tickets. I am not on the road, but that's why I'm making the music. All right, you want to get to this? Let's get to the. The guest is Wayne Fetterman. Obviously we had Gene Simmons booked for this. We'll talk about that. But, you know, he. He canceled literally almost at the last second. What a bummer. But I thought that was so cool. I was like, why is Gene Simmons want to do the Zombies of all records? And there's a main reason, because this record is one of the greatest success stories in music history. There's albums that change music. There's albums that define generations, and there's album that everybody owns. This is not one of them, the only one. But this is an album so good that when it came out, people said, I'm not buying this. The story of this band. I mean, it's. It's crazy months. Making an album, working hard, and you. You literally make one of something that people consider the greatest pop album of all time. Perfect. And. And then you break up because no one gives a. And you get regular jobs. And all that's going to be discussed in this podcast with Lil Wayne Fetterman. My God, isn't that crazy? Wayne Fetterman is the Zombies of. Of comedy. He smashes mic stands like the who, but he. He also has high blood pressure. I really enjoyed this record. I'm excited for you guys to listen to this episode. Anytime I have Wayne on, it's always a pledge. So let's get to it. You know, I don't think Wayne has anything we're talking about all that, but, you know, watch or watch his new series, the one on the Larry David one on HBO Max. It's great. I watched it last night to go to bed and Wayne is in it.

[Wayne Fetterman]

Yay.

[Enrique Palazzo]

Rate, review and most Importantly, subscribe to the 500 listen free on all platforms. Anyway, your pods. Email the [e-mail] follow the Facebook group run by Crazy Oven. And for all things podcast related, the 500 called thing. Go to the website, the500podcast.com. Oh, nothing left to say, but here we go. Should I do it the way not left to say but here we go with number 100 Odyssey, an oracle by the Zombies. Enjoy. Guest today. Guest. What am I talking about? Like. Like the guys from the Zombies are here. Oh, you do start recording. God damn it. We always. Always hit record, Kyle. Always hit record for all the people that missed it. We just. We just. We just had a good time. Raz and I wrote a song that I think I can sell to Jelly. I think I can sell. I think I could sell this song. It's like, I played it for a couple people and they're like, this is really great. Like, it's. If it's so gay because it's about a. It's about, like getting back with a girl after you've broken up with her. So you're like meeting at the edge of the world to start again, but there's no place go because you already know the ending. And I'm trying to write about a breakup, and I was like, I've never had my heart broken, and when I did, I was too young to get it. So I'm trying to write the lyrics in the verse. It's really funny because I. I'm trying to guess what it would be like. I'm like, I don't. Because I can't write my firsthand experience, which is like, you left me and then I put cigarettes out of my arm and I went to a rave and did care to me. Like, I can't. I can't. Like, you know, they don't. People won't get that, but I think they'll get the breakup stuff, so. So. Josh Adammeyer speaking.

[Wayne Fetterman]

No, too just. There's an incredible. It's not breakup song, but there's an incredible song on this album we're going to talk about about a guy who's waiting for his girlfriend to get out of prison.

[Enrique Palazzo]

Been there, done that.

[Wayne Fetterman]

You have. You had.

[Enrique Palazzo]

Oh, my God. Dude, I'm all. I'm all into those jailed sweeties, dude. I love my favorite things to watch online right now are. Are one people not complying with the police. My favorite thing ever. I. I love. I love Sovereign Citizens. I actually did a song to the Beatles. Good day, sunshine. It's sovereign citizens. You think you know the law. Then you meet a cop and union. He says, get out, but you do not comply. Then he beats you within an inch of your life. Sovereign citizens. Yeah. You guys aren't really in a good mood right now, man.

[Wayne Fetterman]

No, I'm just listening to you.

[Enrique Palazzo]

You know who's loving it? My stalker. You know who's loving it? My.

[Wayne Fetterman]

No questions, nothing. Just keep talking about your music.

[Enrique Palazzo]

You know, 70 of popular songs are about love. So your breakup.

[Wayne Fetterman]

Yeah, yeah, yeah.

[Enrique Palazzo]

That. That stuff will really work for people.

[Wayne Fetterman]

Yeah, that theme, that love theme has been definitely used. Generation after generation. It never goes old.

[Enrique Palazzo]

Well, I think it. I think it's because, you know, I love. There's this. And I. And I think as well, I'll try to bring us back to the record. And I mean. And you really see it. I see love. Like I haven't been really in love, but I see the way that my stalker looks at me and he wants to have sex with all my holes, every hole. You know how many emails I got from him in the last week? Dude, pictures of you. Are you kidding?

[Wayne Fetterman]

No.

[Enrique Palazzo]

All right, abort aboard. Why do we have editing? Why don't we. Why can't we afford editing right now? Yeah, it's. But I. That's the thing is that like love. Love is a. There's a Ethan Hawke. I wish, I wish I could find the quote and if I say it, I'm gonna it up. But he, he says something. This girl interviews him and he says, I'd rather be the one who's the winner. The person that, that does a breakup or gets their heart broken. And he's like the heartbroken. It's because it's the true feeling of life. I'm this up. But it's like, it's. It's always like, you know, it's that thing about dogs where I see. It's like if you get it, you can either want a two way in life, you can either not have a dog and, and your. And your shoes are going to be in the same place and there's no fur in your house and, and you know, and it's like you don't have to rewire your life or you can get a dog and realize that you're one of the bravest people in the world because this thing is going to give you the most amount of joy that you've ever experienced, but then also the biggest amount of heartbreak. But you know that going into it. And I think we know that when it comes to love, that 90% may. I mean, I don't know what the statistics would be. What would you say, like how many relationships that we date until we meet someone that we marry? What, like 40%? I don't know, like. Like end in. Because I would say it's. It's got to be. Most people aren't meeting the love of their life on the first person. Except for Johnny Quinn and Lisa Shaw, the two top realtors in the Charlotte area. And if you're looking for a house, Quinn Team Real Estate, whatever the they're called, will do it for you. This is free advertising. You know that. Well, thank God we have eight people listening to the show right now because they see Wayne Fetterman's back on. They're like, again, Wayne. Jesus Christ. What happened to Gene Simmons?

[Wayne Fetterman]

I'll leave. I'll leave. No.

[Enrique Palazzo]

God, we need you.

[Wayne Fetterman]

No.

[Enrique Palazzo]

Wayne, come back. Lots of ball soup.

[Wayne Fetterman]

Come back.

[Enrique Palazzo]

I need it back. Laney waiting. Can I. Before we even get started with the record, can we talk. Can we talk NBA for a second?

[Wayne Fetterman]

I'd rather talk America 250, but go ahead. We can talk.

[Enrique Palazzo]

We can do both. How we feeling about the draft? Were you. Because I know you're. You're more of a WNBA guy, obviously, so you would know, like, Schlamika Coleslaw got drafted number one. She's a Jewish black woman.

[Wayne Fetterman]

I've already been to. I've already been to a game. I have a new favorite team in the wnba. Who?

[Enrique Palazzo]

The. The New Orleans Bleeders.

[Wayne Fetterman]

No, it's the. It's the ones. It's the Toronto Tempo. Toronto Tempo.

[Enrique Palazzo]

Oh, that'll be successful.

[Wayne Fetterman]

Marina Mabry.

[Enrique Palazzo]

Yeah.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Oh, yeah.

[Wayne Fetterman]

She's a brand new franchise. Brand new franchise.

[Enrique Palazzo]

Jt, Shut the front door, dude. You don't know anything,

[Wayne Fetterman]

bros.

[Enrique Palazzo]

It either. A beaver on a mushroom escapade in the mountains with, like, hot. Every girl he hangs out looks like Rosalia, who.

[Wayne Fetterman]

I just feel like this has been an incredible. I know you want. I don't care about the draft. I care. I mean, obviously you guys got the first pick and all of that, but I only care about regular season and games, which is why I'm into something called FIFA World Cup.

[Enrique Palazzo]

Oh, yeah. Big game tonight, dude.

[Wayne Fetterman]

Big Monday Night Football. Monday Night Football.

[Enrique Palazzo]

And can we once again. Listen, I'm not trying to. If. If you are a Republican with what I'm about to say. I am not trying to piss you off, but God damn, can that dude just stay sports and let us have one thing that's not political? Like, I'm the reason that guy came back. It's like, all right, dude. Like, he did that with the Knicks when he showed up at the game and they lost that game. They would have won. They would have swept the spurs. He took all the fun out of it, man. He took all the fun out of it. Because you gotta listen. I'm not trying to, like, listen. I think he's the best. I think he's the greatest president of all time. I just got MAGA tattooed on my tramp stamp. I don't think there's ever been a better president. It was maybe him or Nixon. Yeah. Right up there. And I can't wait. I can't wait for J.D. vance to be president. I cannot wait. Oh, my God. Don't give us somebody that knows the job. Give us a Ohio. There's the best thing I ever saw online after he, like, said, like, something really stupid. Somebody wrote. Now I see why your mom traded you for oxycontin. Oh, poor guy. Oh, thank God. Thank God my stalker is a democratic socialist.

[Wayne Fetterman]

There you go.

[Enrique Palazzo]

You're safe.

[Wayne Fetterman]

So that's it. So I've just been into all of, like, the Wimbledon, which is Wimbledon, which is going on over in England. I've been loving that little wnba, obviously, fever World Cup.

[Enrique Palazzo]

How great. I think the best story of the year is. Was it Carpe Verde? Oh, yeah, Cape Verde. Like, I mean, that goalie, that. That's what I love about the world, you know, and it could be. Dude, you can bring it to music where it's like an unknown person. Just that guy, like, that wrote that song about, like, well, liberals and the damn Republicans don't give a about us. And, like, next thing you know, he's like, on Rogan. He's like this guy from a small town, and it's just. We get excitement.

[Wayne Fetterman]

My favorite of that recently is Billy Strings. Are you familiar with him?

[Enrique Palazzo]

Yeah, but what did he do? He got caught by Chris Hansen.

[Wayne Fetterman]

Just, like, was high on whatever some sort of drugs, wrote dust, plays dust in a baggie or whatever that song is in front of his buddy, and now he's selling out arenas.

[Enrique Palazzo]

Yeah. Oh, dude, you know what this is?

[Wayne Fetterman]

I mean, he's very, extremely talented. But.

[Enrique Palazzo]

But I think this is what's so cool about about the World because it's like, you really don't need. You know, I always say in my career, I've had to be herpes, not gonorrhea. I have to be herpes. You have to. You can't. They don't want you. They try to Valtrax you, and you gotta flare up and create something and not be on their genitals. You have to go on their list.

[Wayne Fetterman]

Why do you raise?

[Enrique Palazzo]

I am. But that's what I'm. No, no, no, dude, that's what I'm saying. The best. It's a great analogy. It's apt. It's very apt for the way the industry. I mean, you know, I got a couple people in my corner, you know, Bill Burr, Wayne Fetterman, Robbie Prawl. I mean, they're all important people. Jelly Roll. I mean, can I keep going? Jesus Christ, Josh, homie. But J.T. j.T.

[Wayne Fetterman]

Vance.

[Enrique Palazzo]

J.T. vance.J.T. bands. But the thing that I'm trying to get to is, like, you know, I mean, I was. My social media was dead. It was dead. I was losing followers for three years.

[Wayne Fetterman]

Talk about your music. We will.

[Enrique Palazzo]

Dude, listen, man. It's the Zombies. This record. We'll get there. We've got all the notes. We talk for a little bit, and then people go, ah. It's. They're catching up because they're buddies. We enjoy each other's time. But, bro, I'm so proud of this, dude. I'm just saying. Making funny, quasi racist songs. Did you guys hear. You haven't heard it yet? The Jews are the enemy. My Randy Newman. Racist Randy Newman.

[Wayne Fetterman]

No, you talked about it the last time we were on, dude, when we were doing the Cream. Fresh Cream.

[Enrique Palazzo]

It's.

[Wayne Fetterman]

We're doing Fresh Green.

[Enrique Palazzo]

Oh, my God. Well, that. What a perfect. What a perfect album to talk about that. I didn't even realize the connection between racist Randy Newman and racist Eric Clapton. He is. We could say he's not, but he is. He's demonstrated it on stage. Oh, my God. He's like, there's too many brown people here in London. And they're like, can you just play cocaine? Like, we just hear cocaine, dude. I'm telling you, if you're out there, I'm talking to you, stalker. Actually, maybe I shouldn't cut this out. Ah, damn it. We have no budget.

[Wayne Fetterman]

You can't cut things out. Keep your head in the game, man.

[Enrique Palazzo]

Do it live.

[Wayne Fetterman]

Do it live or do it. Do it live?

[Enrique Palazzo]

They're telling you. Jt, we might need an editor because Wayne says the N word very liberally. Way too many times. Way too many.

[Wayne Fetterman]

He.

[Enrique Palazzo]

He opened up and said, what's up, you White House? I was like, jesus. He's like, yo, you're watching that soccer. Damn. Never mind. All right. Yeah. Love Wimbledon, dude. Love Wimbledon. This is. This is the. This is the greatest thing that can happen when all the fun sports end and baseball's in its, like, lull. Because baseball is awesome. From, like, September on after the All Star Game. Was when it counts. And like we give a. And every game is like. It's like chess, but is. But you know when you get excited about like. Oh, like what's the free agent signings?

[Wayne Fetterman]

Yeah, yeah, yeah. I'm not a real Prague now prognosticator. A more reactor to things.

[Enrique Palazzo]

Are you on here?

[Wayne Fetterman]

No, I'm not a pronouncing gator, but

[Enrique Palazzo]

I thought it was. I thought it was you and the wizard of Oz. I love.

[Wayne Fetterman]

I love the games. The actual sports. I love the actual sports. I mean, I've been very happy. Been very. Actually went to a Dodger game on Friday the 3rd. The 3rd of July. Right before the big thing. Who. The last day of 249. Right? Is that right? Am I doing that right?

[Enrique Palazzo]

I think so, yeah.

[Wayne Fetterman]

Yeah, dude.

[Enrique Palazzo]

Until we played the game, it was

[Wayne Fetterman]

a little team called the San Diego Padres and they came up to LA to lose to the Dodgers 4 to 3. Otani pitching and hitting, doing the. Doing the holes thing he does every day, that guy.

[Enrique Palazzo]

I can't. I. I really don't want them winning again. I know, that's. Look, look, man, it's just a New York team. No. God. Dude. Bro. Bro, I. You know how much I collect jerseys. Like I have a Patrick Ewing Knicks champion jersey and I would not.

[Wayne Fetterman]

Wait a minute, wait a minute. There's no such thing as a Patrick Ewing next championship jersey.

[Enrique Palazzo]

Not. I didn't say championship. You didn't let me finish.

[Wayne Fetterman]

That's what you just said.

[Enrique Palazzo]

I did not say championship. I said hear me out. Just hear me out. Dude, maybe if I up. I'm sorry. I woke up eight minutes ago.

[Wayne Fetterman]

Okay, okay, okay. I'm just. I'm literally just reacting to what you're saying, Wayne. I don't know why else. I don't know how else to do this way.

[Enrique Palazzo]

I could have slept until 5pm today, but I got on, woke up, I

[Wayne Fetterman]

realized it's three hours earlier here, huh?

[Enrique Palazzo]

Yeah, but you get up at like 5am not true. You start doing. You start doing like swimming pool aerobics with like. With like women with fibromyalgia. It's raining, man.

[Wayne Fetterman]

Wayne.

[Enrique Palazzo]

Fatima. All right, what I was about to say. What I was about to say before you cut me off is that I am such a DC Die Hard fan. I didn't give a. If the Knicks won. I. I didn't care. I mean, I wanted them over the spurs because. Because honestly, The spurs have five championships in the last 26 years. 27, I think when 99 was the first one. And so they've experienced it. But living in New York and being a. I feel like I am a true New Yorker, because I cuss a lot, and I tell people to move if they're too slow and blah, blah, blah, blah. But. And I love it here. I would. I would never in a million years, like, wear Nick's merch during the run because. And I go to the gym, and I wear these jerseys, and every time I wear them, I'm wearing a. You know, I'm wearing a Spurs, or I have a Dennis Rodman spurs, or I'm wearing a. You know.

[Wayne Fetterman]

Sean, what's the oldest one you have? What's the oldest one?

[Enrique Palazzo]

Minute Bowl. I've been Minute Bowl. Washington Bullets.

[Wayne Fetterman]

Washington. Okay.

[Enrique Palazzo]

I have a. I have a Rick Brunson, Jalen Brunson's dad's temple jersey.

[Wayne Fetterman]

That's pretty good.

[Enrique Palazzo]

Because my way.

[Wayne Fetterman]

That's also Bill Cosby's. Oh, my.

[Enrique Palazzo]

Dude. My dad was in school with Bill Cosby. They had classes together, and my dad was always like, God, it was always. I'm always tired after I sit next to Bill. I'm like, oh, he's so sad. You mind if I talk to you about my grade? I know I made him Jamaican, if Bill Cosby is Jamaican. So the moral of the story is, it's because I don't want anybody coming up to me at the gym going, nick's. Yeah, we did it. Because I'm gonna be like, I'm a Wizards fan. I just like Jers. You know what I mean? Like, yeah, I like John Starks. I like Charles Oakley. I like Trills Bewell. But, I mean, and I love Jalen, but I'm just not. I'm not. And I'm trying.

[Wayne Fetterman]

What about Trent Tucker?

[Enrique Palazzo]

How deep do you go, Denise? Wasn't he married to Loretta Lynn?

[Wayne Fetterman]

You're thinking of Tanya Tucker.

[Enrique Palazzo]

Oh, yeah. I don't remember him, but I do remember Chris Duhan. Yeah, dude, I could go deep. But you know what else I can go deep on? There's an album. An album that changed music. But when I say that. When I say that. When I say that, people. There are albums that define generations, and there's albums that everybody owns, and then there's this record, Odyssey and Oracle by the Zombie. It's pronounced Zombitos. An album so good, from all the research I've seen, is that when it came out, almost no one bought it? No.

[Wayne Fetterman]

Correct. Correct.

[Enrique Palazzo]

Yep. And this is probably one of the greatest success stories in rock history, because, dude, if. If I'm not. If I'm not wrong, jt, correct me if I'm wrong, because I know you probably do not have these stats up on your. On your computer. Or do you. I'm looking at Wikipedia. No, you don't have to look at. Great. Yeah. We didn't get any information from Wikipedia. This show is very anti Wikipedia. We are all from the research of the great. The great. No, dude, come on. Don't say that. We don't. Just. Just cut that out, please. God. What I'm trying to say is it's. This is. I think this is the hundredth episode. I think this is the. We've finally broken down to the bottom hundred.

[Wayne Fetterman]

Oh, it is. Okay.

[Enrique Palazzo]

What a great way to have you on for the bottom hundred. Who needed Gene Simmons? That's who was booked.

[Wayne Fetterman]

Oh, my God. What happened? What was the excuse?

[Enrique Palazzo]

I don't know. Dude, you do this. This happens a lot. This happens a lot with Emily. Emily would be like, guys, guess what? I got Theodore Roosevelt. He can do next Tuesday. And that's it. You're like, really? And then she's like, sorry, can't. Better get Wayne. I'm like, what? Guys, guess what? I got God. God. And not the Christian God. I've got the Hindu God Vishnu. He can only do next Thursday from 1pm to 1:20pm you got to keep it tight, okay? His publicist will be online. Sorry, he's gone. We got David Wild.

[Wayne Fetterman]

Yeah. Huge James Brown fan.

[Enrique Palazzo]

Yeah. It's like, guess what, guys, We've got Mussolini, Hitler, and Stalin and the recently dead Ayatollah. Here's the thing. It's a roundtable. They can only do it live in Des Moines, Iowa, at 1pm Three months from now. Even though the album comes out in seven years, can you be available? Guess what? Lekka is gonna talk like a dog. And she's. Dude, she's gone, dude.

[Wayne Fetterman]

She.

[Enrique Palazzo]

She was like, it's too hot here. So she peaced out. She's like, also, who gives a. About the zombies. No, Emily, by the way, we love you. I want to say this about the record and. Because I definitely, when I saw this, so deep on the list. This is another one of those. Like, come on, man. Like. Like, what about Tears for Fears Songs for the big chair? What about Jellyfish? Your favorite record, Wayne, don't think I

[Wayne Fetterman]

forgot it is one of my favorite. But this album is pretty good, and the story of it makes it even better.

[Enrique Palazzo]

Well, that's the thing, is that I. I just. I do. I. I think when I What I love about this podcast. And I guess let's. Let's talk for a second about just how important. I mean, got eight at 800, 400 episodes. That's. People didn't think we were gonna last. I didn't think we were gonna last. Thank you, Senator Al Franken.

[Wayne Fetterman]

Exactly.

[Enrique Palazzo]

And that guy on the street. And the guy on the street who just happened to be there saying, listening to the Mike. Love John Stamos record. Thank you to Emily for keeping the booking going. Because it means it. Dude. It's like. It's. And dude. Wayne, thank you. I. I mean this sincerely, dude, I love you. I. I enjoy this. I look forward to this. I know when you're on, I can do no research and just enjoy my friend. Thank you. Morty. DJ Morty Coyle. I love you to death, buddy. You are one of my confidants. And the excitement we had in those first, like, 50 episodes, preparing, like, we were Leonard and. Was it Leonard and Bernstein or.

[Wayne Fetterman]

Or. That's one guy. That's one guy.

[Enrique Palazzo]

Who's the other guy? Who's Leonard? It was Bernstein and Abdul.

[Wayne Fetterman]

Raul Spurstein and Sondheim did write west side Story together.

[Enrique Palazzo]

Yeah. Then, dude, I made a song where I. I sampled Rhapsody in Blue by Gershwin Speaking.

[Wayne Fetterman]

You know who else covered Gershwin? The Zombies. Jeremiah. How. How deep did this album drop in the second.

[Enrique Palazzo]

Oh, good question.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

I bet you this stayed low, dude. I bet you.

[Wayne Fetterman]

Oh, no, no, no, no.

[Enrique Palazzo]

You don't think so?

[Wayne Fetterman]

I don't think so because it's like. It's white guy music.

[Enrique Palazzo]

That told me nothing.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Jeremiah, I'm gonna send you. I want to send you my Rhapsody in Blue, and I want you at the end of the episode to play it. Okay.

[Wayne Fetterman]

Don't play zombie songs.

[Enrique Palazzo]

No, I'm not. Do not play zombie songs. I'm gonna send it to. I'm gonna send it to the 500 peeps. Okay.

[Wayne Fetterman]

Okay.

[Enrique Palazzo]

Because I can't actually. You know what? Let me just do this. You wanna. Do you wanna. So. But, dude, you're. You're of the. You know.

[Wayne Fetterman]

Did you find out, Jeremiah, how much it dropped? This is a good piece of information.

[Enrique Palazzo]

Oh, Jared, what did you think of my. The techno song, the dance song that I made? Wasn't it good? Your song, it is fun. I told you. It reminds me of, like, 18th Street Lounge. Sort of like, that hook is great. Everybody I played it for is like, dude, like, I have DJ friends I'm sending it to. They're like, clean it up. And then that's I'll play this. Yeah, bro. I'm gonna start selling music, man. I'm start selling this music. Can't get booked to the. Can't get booked to the comedy seller. So what does he do? He became. He becomes the. The DJ Khaled of comedy. So he just keeps going down the list. In the original 2003 list, it was 80th because we have this one 100 that we're doing on our 2020.

[Wayne Fetterman]

The last of the triple digits lasted triple digits.

[Enrique Palazzo]

The new 2020, the woke list, we like to call it. The album was ranked 243.

[Wayne Fetterman]

So that's what I'm talking about.

[Enrique Palazzo]

Oh, yeah. What you talking about? Willis. Good call, dude.

[Wayne Fetterman]

And speaking of Willis, you know, and I'm gonna bring it up, you know, there was a number of deaths in the music industry that are around this album, but. Yeah, yeah, exactly. At the end of June. Yeah.

[Enrique Palazzo]

Well, what you told that story. The what didn't you tell a story of meeting Clive Davis in Italian restaurant or something? Or am I making that up?

[Wayne Fetterman]

I'm making that up. It's just not me.

[Enrique Palazzo]

I met Clive Barker. I met Clive Barker, the guy that wrote Hellraiser, at a. At a. At a sex party in. So Clive Date.

[Wayne Fetterman]

Yeah. But Clive Davis is definitely a key part of this story. Died, by the way, on the very day we were recording fresh cream in LA on my birthday. We did 22nd.

[Enrique Palazzo]

We did not meet him. But when me and Bill went to go see Barry Manilow, we took mushrooms. Clive was there. He was like. They were like, he's. Barry's gonna be down in a second. He's meeting with Clive and we saw like Clive walk by.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

I mean, one of the most important

[Wayne Fetterman]

people did not believe in this album. Clive did not believe in this album.

[Enrique Palazzo]

Well, yet this is like.

[Wayne Fetterman]

Yeah, it's really interesting. And he's head of Columbia, you know, he is the guy.

[Enrique Palazzo]

I mean, this is the guy. This is. Clive is a guy. And I think this record, when, you know, when you start doing the research and you listen to it, you realize that this is. It's really that research where you find out it's one of the greatest success stories in rock history. It's like, you know.

[Wayne Fetterman]

But I think even more than. Yes, it's not one of. I mean, it's. Look, it's, it's. It's. Again, it's going down the list. It's already now at 248 or something like that. But the song that breaks the album, the time of the season. I do feel the opening of that song is one of the quintessential moments in music. Like, just that song. Like, you don't have to hear the song, any of the lyrics, anything like that. And none of. Nobody in the band even liked the song. Clive Davis didn't want the song released. It's crazy, right?

[Enrique Palazzo]

It's such a good song. You know what I'm gonna do with it? I'm gonna make. I'm gonna sample it tonight and send it to the two of you, and we're gonna. That's gonna be the final song on this episode. Unless Emily's got some weird band.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

I mean, it's like what I've researched.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

About them. This is like. Like this record. It's like they spent months making this. What many musicians probably consider, like now one of the most.

[Wayne Fetterman]

By the way, Made in predominantly. They did a couple tracks in an Olympic, but mainly made at what is now called Abbey Road Studios. You have been there. Oh, yeah, Josh, you have been there.

[Enrique Palazzo]

Oh, I know at the time it

[Wayne Fetterman]

was called EMI Studios, called Abbey Road 68.

[Enrique Palazzo]

68, dude.

[Wayne Fetterman]

But that's all right.

[Enrique Palazzo]

I'm saying when it came out. When it came out.

[Wayne Fetterman]

Yes. Yeah. Oh, of course.

[Enrique Palazzo]

Thank you, Jesus. Don't make me feel that dumb on my own show.

[Wayne Fetterman]

No, but I'm saying. But what's interesting, and there's so many interesting things about this album is it's the first time and outside somebody who didn't have a record contract with EMI was able to rent their studios to make a record because EMI was. A lot of bands were now using other outside studios to record their songs. I'm going to talk to you, Paul McCartney, who recorded hey Jude. That's Trident, because they had an eight track recorder. And guess who didn't. Emi. Abbey Road Studios. There was a real thing going on there. Sidebar, Sidebar. I'll allow it.

[Enrique Palazzo]

You'll allow it. Thank you. Paul McCartney does listen to this podcast. And by. By Paul McCartney. I mean, my stalker's fourth personality.

[Wayne Fetterman]

So what are the other three personnel? All right, let's do it. Let's talk about you.

[Enrique Palazzo]

There's Lou Reed. There's John. John Kale. There is. Oh, my God. Yes. Dude. Who's the woman that keeps losing the Oscar? What's her name? Diane Warren.

[Wayne Fetterman]

Yeah, yeah, yeah.

[Enrique Palazzo]

She's got a special.

[Wayne Fetterman]

She got a special Oscar last year.

[Enrique Palazzo]

Then there's just like. Then there's just like a black woman named lakeisha. For some reason, he has that one. I don't understand that either, but, you know, she's my favorite.

[Wayne Fetterman]

But you don't think that's interesting that.

[Enrique Palazzo]

I think it's. I think. Here's what I think is interesting about this. I. And dude. Yes. The studios, all of that. I. I think. I think that this because producers of the.

[Wayne Fetterman]

I mean, the a. The engineer and the produ was not the producer, but the engineers are the same engineers that did, I don't know, an album called sergeant Peppers, Lonely Hearts Club Band.

[Enrique Palazzo]

I love when you do that. I love when he does that. It's a thing. You might have heard of it. It's a thing.

[Wayne Fetterman]

Why am I still on the show? I'm done.

[Enrique Palazzo]

Because we love you.

[Wayne Fetterman]

My God. All of my, like, wait, storytelling tricks are exposed.

[Enrique Palazzo]

I love you on a level that love is like, dude, it's like the fact that you did the show on my birthday to me because I didn't know. I was like, man, I wish you would have told me. No, I would have a cake. I would add a gift.

[Wayne Fetterman]

I don't like any of that stuff. I don't want any of that.

[Enrique Palazzo]

But I would have got you much. I would have gotten you a Rebecca Lobo Jersey or something.

[Wayne Fetterman]

June 22, the day Clive Davis died. As we're recording it. Clive Davis, the Last breaths. Thinking maybe, yeah, maybe I should have put out the Zombies album.

[Enrique Palazzo]

I mean, you think, well, that's what's. Dude, can I. I don't know, do you want to tell the story or

[Wayne Fetterman]

is it like, no ask questions? Why don't you Just because I have interest you. What interests you about this album interests me.

[Enrique Palazzo]

No, this is the thing that interests me and this is the thing we've talked about a billion times on the podcast is like, how is this not. If this is not a hit and like, how is a record. I understand why this record should be on here, but once again, it's like there are records that we have gone, I mean, hundreds of episodes back that I think could have been in the bottom hundred. And I'm not judging the 2020 list because I understand it's like they really did a very wide netting of all races and I love that. And I'm excited to tack list immediately after this. Go for a thousand, go for a thou. Oh, dude, we're doing it. Oh, dude, I'd be so excited. I'd be. I can't wait for Wayne to listen to, like, we can't get somebody for. For Lil Wayne.

[Wayne Fetterman]

Gangster Wayne doing Little Wayne. That would be.

[Enrique Palazzo]

Actually, that was. That was Two on the nose. I should have said, we got Missy Elliot, Biggie Small.

[Wayne Fetterman]

Is there somebody small?

[Enrique Palazzo]

We'll get. We'll get somebody. At least one small. But. No, but this out. But this is. What I'm saying is like, why is this record low? And then you go, okay, because this wasn't a blockbuster. This was not like a Bowie record where it's like a cultural event. It's. It didn't immediately even change music. Instead, this became one of those records that like, musicians. This is what I think is so cool, is like. It was just like, passed around like a. Like our Mr. Show tape, JT, you know what I mean? Where it's like, all the friends would be like, dude, you gotta watch this. Or like a porno that Andrew Needleman stole from me once. You know what I mean?

[Wayne Fetterman]

Actually not. It's actually was not like, oh, all the musicians were listening. It was. Again, this is all in the wake of this album called Pet Sounds, which sort of, like, sort of opened up sonically. What you could do on an album inspires your buddy Paul McCartney. I'm talking about your stalker's personality. Yeah. So this is all in this. This. This era. And it's. And it's not. You know, we've talked so much about these scenes, the San Francisco psychedelic scene, the blue scene. And how many times have we talked about the freaking blue scene in. In England, what was going on over there, and then what's going on in Memphis. And this is like. It's just its own weird. It's something called chamber power pop or baroque pop. It's just its own weird little thing. So I don't think it changed music at all, this album. I think it just is. It's just like a. Like a pebble. Like a. It's. This is what it is. Like on the beach of music. It's like this shiny little pebble. You know what I mean? The one pebble that's, like, super shiny. You're like, oh, this is different. That's all it. That's what it is, is. I love it, by the way.

[Enrique Palazzo]

Dude, I was. At first, like. I said I was mad because it was coming off some records that I was, like, really interested in really listening to. And I was like, ah, what the. Are the zombies? But then I got it and I was like, on a drive from. I forget. I was going. I really dug it.

[Wayne Fetterman]

All right.

[Enrique Palazzo]

Put a pin in this.

[Wayne Fetterman]

It's sad.

[Enrique Palazzo]

Put a pin in this, jt, this. I'm gonna need a second of editing. I have to go drop Leka's food down. And I gotta. I'm dying of sweat right now. It's really hot in New York right now, and I thought it was gonna be cool. Give me one second wave. One second, guys, please. Edit this or don't. You got it. I can hit pause commence Ed. Oh, that's our editing. Just pause off, dude. Oh, we're done. My God. All right. But this is how I know. This is how I know that it's. It's important, dude. And I mean, it costs. I know. Wayne hates that. It's. Do.

[Wayne Fetterman]

We had.

[Enrique Palazzo]

We had Gene Simmons booked. I mean, for this. That's pretty. Like. I mean, that doesn't. Dude, it's not a knock on you. Dude, I went from Gene Simmons to you. I didn't ask anybody else.

[Wayne Fetterman]

I like the way you try to spin that as a positive.

[Enrique Palazzo]

Come on, man. I've been watching. I've been watching Tick Tock videos on. On CIA tactics.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Gain their confidence. The. No, but I. This is like one of those records that. That I think is kind of like. Like I said, everybody handed it around and over, like, what, 50 years later? There's not just like one grouping of songwriters, like, every songwriter from people in indie rock to, like, you know, Radiohead and then chamber pop. It all kind of points back here. The way that. From doing this podcast, we had the big star stuff, you know, and it's like when we had these bands, and I'm like, why do they have all three records? It's like, you get it. It's like, there's no REM there's no REM with this. Without this band, there's no. You don't think so what, Wayne, why was that face?

[Wayne Fetterman]

I just. I. I never do the. Like. I just like. Yes, in the wake of it, REM Was popular, but they might have been a band without this, but you know what I'm saying?

[Enrique Palazzo]

Like, I. Dude, it's. It's. Alex Chilton influenced The Replacements. Was the in the Replacements influence.

[Wayne Fetterman]

Didn't we talk about this? With. What was that? Lou Reed Band with Nico. Yeah.

[Enrique Palazzo]

Velvet Underground.

[Wayne Fetterman]

Yeah, the Velvet Underground. Like, same kind of thing. Influential, but it's. We keep going. Yeah. Tell me else. What else you like about this album?

[Enrique Palazzo]

I loved. I loved that. That this record. Odyssey and Oracle, it solved.

[Wayne Fetterman]

Misspelled, by the way.

[Enrique Palazzo]

Is it really? Yeah, it is. I guess it works.

[Wayne Fetterman]

Odyssey. Yeah, yeah.

[Enrique Palazzo]

The album cover.

[Wayne Fetterman]

Because they. They were working on such a shoestring budget with this record deal. Yeah.

[Enrique Palazzo]

Yeah. And I. And then and the music's complicated, but it doesn't. It doesn't. It doesn't sound complicated. Do you know what I mean? It's like how they made it almost feel effortless, like. Like. But almost everything is in this world. And I mean, the. The melodies on this, I thought were, you know, supernatural. Like, I don't know. I. I just. I like, they. They had the chord changes that are in the song. Especially now, as a songwriter, you know, as someone that is of the, you know, ascap BMI world, as I really am, actually, because I wrote the theme song to a TV show, my TV show that no one watched. But I. I think that when he. When it's speaking of pop music. Right. And I get that because as I'm trying to write these songs, I'm doing three chords. Something very simple. Like, it relies on almost like a predictable chord movement. And these songs don't. And there are moments that surprise me so much where it's like, you know, I was like, what? And then. But it doesn't feel weird. They almost feel like the changes in the song almost feel inevitable. And. But then, you know, if you tried to play those chords, like, you would be like, this is hard. And I think that's. I think that's kind of why the musicians got obsessed with this record. Wrong. Right. App.

[Wayne Fetterman]

I mean, I don't.

[Enrique Palazzo]

Nope.

[Wayne Fetterman]

Yeah. Again, I don't. I don't know if the chord changes are that wild, but. Yeah, I mean, people like the album, but it was all because, like, to me, the story of this album is that the band broke up after they recorded, bombed one of the lead singers selling insurance. I think the bass player or the drummer is selling cars when they get a phone call that. Oh, by the way, Date Records. Yes, Date Records. A subsidy of Columbia put out this single. And a DJ in Idaho. Boise, I'm sure you played there. Starts playing Time of the Season on a loop and that becomes a hit. Then it becomes a regional hit, then it becomes a big thing. And then there's no one touring for. To take care of this Zombies thing. And there's a crazy company in Michigan, Bay City, Michigan, believe it or not, that puts out two fake zombie bands to tour. There's not the Zombies, but they're calling them the Zombies. One in California and one in Texas. Guess who is in that Texas band? Who? Two of the three guys. Dusty, I think, and Frank from a little band that they formed the next year called ZZ Top. Those two guys are in the Zombie. I'm doing the quotes for those. The Zombies. And eventually they got. Those bands got shut down. But it's. That's one of my favorite genres of music is the fake band that people put out on the road, by the way, years earlier with James Brown and Little Richard.

[Enrique Palazzo]

But it's like. No, no, no. It's like. It's like Gallagher 1 and Gallagher 2. Right?

[Wayne Fetterman]

Well, it. Yes. I mean, in a way, yeah. I mean, it's not Gallagher. It's not Gallagher, but yeah. I mean, when I was a kid, all those bands, the Coasters, the Drifters, the Platters, there was like eight versions of all of those bands touring the country. Like, what? Oh, this was the cousin of the guy that was in the original Drifters is in this band.

[Enrique Palazzo]

Do we have a. Do we have a reason why they broke up? Was it just because there was no success? Yeah. You want to tell me?

[Wayne Fetterman]

Well, first of all, they had. They were signed to another record label called deca. We've talked about them quite a bit. There's a guy named Dick Rowe who famously turned down the Beatles. Famously had a chance to sign them, turned them down. Didn't think guitar music was going to happen. But this band, it's a. It's a high school buddies put the band together the way you're supposed to do a band, you know, not like some corporate thing. They win a talent contest to end the Zombies because they win this talent talent contest, they get a record deal with deca and they have a hit song, a single one hit wonder called She's Not There. You know, the way she looked, the way she acted, the color of her hair. That song, yeah, really good song that becomes a big hit. They. They don't see any money from it

[Enrique Palazzo]

because record businesses, goddamn Jews taking over. So.

[Wayne Fetterman]

And then deca was like, okay, this is just like a one hit wonder band. We're too busy now dealing with our big artists. They. After the Beatles debacle, they pick up the Rolling Stones, they pick up the Moody Blues, they pick up the who. That's not a question. That is the name of the band. The who.

[Enrique Palazzo]

The who.

[Wayne Fetterman]

And then something called the King, like, they're rolling in it. Deca is doing, like. They recover very well from the Beatles debacle or fiasco. I don't know. What. What do you think is the worst word or what?

[Enrique Palazzo]

Debacle. I mean, what a. What a up, dude. What a. I mean, dude. It's. It's. Listen. And. And I'll say that it's like, it's. That's why I Love that, that. That artist Ray, the British soul singer so much is like her label just buried her record. And like, we're like, no, this is terrible. We're not putting it out. And then she got it back two years later, Self released it and it was one of the biggest. ALB won seven Brit Awards and now she's one of the biggest touring artists in the world. So people make mistakes. Some people just don't see the video.

[Wayne Fetterman]

Davis, like Clive Davis.

[Enrique Palazzo]

You know who he didn't, you know who he didn't. He didn't make mistake on Barry Manilow, bro. Because he loved Barry.

[Wayne Fetterman]

Oh yeah, Well, I mean, come on.

[Enrique Palazzo]

So wait, why did they break up again?

[Wayne Fetterman]

What happened?

[Enrique Palazzo]

Yeah, go.

[Wayne Fetterman]

So they. So deca drops them. Dick Rowe was like, this is just a one hit wonder. They're not gonna do it. It's too weird a band. And they sign with CBS Records in, in England and they get like a thousand pounds. I don't know what that translates to. Dollars. To make their new album, they rent. Yeah, they rent EMI Studios with all their money they throw in to put self. Basically self produce this record, Odyssey and Oracle. And. And by the end, like the two hits, they. They put out two. So that doesn't do anything on the charts. And they're just like, well, this is stupid. We tried. We really tried. And so they broke up. One is selling insurance, one is selling cars. Well, you know, it's just a. And the album is not a hit in England. And it's just because this dj, which by the way, I did a deep dive trying to find out what. Found out what radio stations it was, couldn't find out the guy's name who heard the last, you know, this last track. But here's another thing. The only reason it is in this DJ's hand, this single time of the season is because of a guy named Al Cooper. You may know.

[Enrique Palazzo]

Oh, oh, dude, don't tell me, don't tell me, don't tell me, don't tell me. I know Al Cooper. I can tell you exactly who Al Cooper is. He is the first singer from Blood, Sweat and Tears.

[Wayne Fetterman]

Yes, he is. Yes, he is

[Enrique Palazzo]

proud to be a fleece army member. Cause I studied music for. For however long this shows. Patreon.

[Wayne Fetterman]

Yes, he is the first thing. And which brings us to our death thing which could. David Clayton Thomas, the second singer, the one who had the big hits. And when I die Spinning Wheel. You know, you make me so.

[Enrique Palazzo]

You make me so very happy. Wow.

[Wayne Fetterman]

That guy. That guy died.

[Enrique Palazzo]

And World Cup Wayne you might. You might have heard of this band, a little band called.

[Wayne Fetterman]

I know, you're right. Is that my move? You might have heard of this guy.

[Enrique Palazzo]

You may have heard of a small black artist from the 1980s who Love, loved purple, named Prince.

[Wayne Fetterman]

And that band's name was. Do I Do that? I don't think.

[Enrique Palazzo]

Do it, do it, do it, do it.

[Wayne Fetterman]

That band's name was Stevie Wonder. So anyway. Yeah, so that's how that. So anyway, Al Cooper, the first singer of Blood, Sweat and Tears, until he got kicked out of the band.

[Enrique Palazzo]

But then it gets.

[Wayne Fetterman]

But also. But also. Yeah, just because. And this album will come up later, I'm sure. There's a Bob Dylan album and a song called Like a Rolling Stone.

[Enrique Palazzo]

I never heard it.

[Wayne Fetterman]

Right. A little song you may have never heard of. Al Cooper's. Plays the famous organ on it. Yes, that's him. And then later, helps with the other Bob Dylan albums. But Clive Davis gives him a job as an A R dude. He picks up Odyssey and Oracle in England at a little record store and brings it back to the United States when he's on vacation. Listen. So it's like, clive, can I come in your office? There's an album we should probably be released, releasing on Columbia. It's called Odyssey and Oracle. It's incredible. And Clive may rest in peace, says, no. He says, all right. And I was like, please, I beg you. This is my thing. I know music. I played the organ on Like a Rolling Stone. I know what I'm doing. And so he's like, all right, we'll put it out on Date Records, which is a subsidiary. Subsidiary. Subsidiary, sorry, sorry, subsidiary. It's early here. Subsidiary of Columbia. Very much like. Just to bring it back to our last one. Atco, which is what Cream is released on, was a subsidiary of Atlantic. All of these big record companies would have subsidiaries to do, like, their. You know, maybe not. These aren't our big artists. And that's where that single Time of the Season got to. Boise, Idaho. Next thing you know, and we're all. And we're all. And so. But they don't reunite for that album tour. And then later, people start appreciating the production of the album and also just. Just how unique it is in the landscape of music and that. Just in the landscape of music at that time. And it's one of those. I think the reason people love it is because it's ahead of its time a little bit. That it's. Yeah. And. And then that, you know, there's been, like, A version of the Zombies. On and off. Of course. One of the main writers of the Zombie, the guy who goes, that dude. Rod Argentina creates a band called Argent.

[Enrique Palazzo]

Yeah, it's creative.

[Wayne Fetterman]

Yeah. And they had a big hit. Hold your head up. Do you. Would you know that song at all?

[Enrique Palazzo]

Jeremiah, hold your head up.

[Wayne Fetterman]

Hi. Is it that?

[Enrique Palazzo]

No.

[Wayne Fetterman]

Hold your head up hold your head up. Hold your head.

[Enrique Palazzo]

It's what I love about this band and I think, think, you know, it's like, I mean there it's the same of like Big Star, Nick Drake, the Velvet Underground. Love that's coming up. The Stooges, Modern Lovers, Stone Roses. I was just wearing their shirt. Like all of television. All these bands like that that like, you know, didn't have success when. When it immediately comes out and then something happens.

[Wayne Fetterman]

Yep, yep.

[Enrique Palazzo]

After the fact they catch that cult following people like you said. I'm almost, almost and almost the Beatles too. Like, you know, like the Beatles are like the comedy. Like the Zombies are the comedy equivalent of like a comic who absolutely is like murdering at the store every night for like 20 years, then gets famous because someone took like a 45 second clip on Tick Tock after they'd already quit stand up and are working in insurance. The lesson is. The lesson is, dude, the lesson is life and art have no real direction or anything. Because that's garbage. Can be taken, can be taken to the top. But what sticks around because what's funny is. What's funny is, is that it's like this song Time of the Season has survived the existence of music. Like it is a. It is in every. Any movie from the late 60s, early 70s. It's like, it's like. It's like Give me Shelter with Scorsese. You know what I mean? I make that joke all the time that he puts it in every movie because it's. Because it's simple. It's just. You hear it and it takes you right back. It's like what's the song? Is it Booker t and the MGs?

[Wayne Fetterman]

Oh, green onions.

[Enrique Palazzo]

Yes. Thank you. It's like it's one of those songs that you hear it and it immediately takes you to like a time. And I think this song does as well, you know. Do you think that. Do you think that every art form has its zombies? Like an acting. Acting could be, could be Samuel Jackson.

[Wayne Fetterman]

No, no.

[Enrique Palazzo]

This is so popular.

[Wayne Fetterman]

She's just been working continuously. That's not what the Zombies are like. This is their album of all the albums they put out, this is the album.

[Enrique Palazzo]

So it's like a Van Gogh. It's like a. An art. Like painters whose art doesn't become popular until they're dead.

[Wayne Fetterman]

Maybe. Maybe.

[Enrique Palazzo]

I mean, yeah, it's like Pollock, Jackson Pollock, Kevin Pollock. Great impressionist. Guest of the podcast, too, by the way. Of course.

[Wayne Fetterman]

Wonderful.

[Enrique Palazzo]

No, but. I know, but it's. It's like if everybody's. It would be like the Beatles are painting like. Like, you know, one way. And. And this band, the Stones, are painting this way. And it's almost like.

[Wayne Fetterman]

I feel like. I feel like they're way more. Less popular than Van Gogh or any of those where they had a number of things. Like, there's really only two songs that people know the album and then they know these. The two songs, She's Not There and Time of the Season, like, that's the. What broke through culturally. And they're both excellent songs. And the guy who sings Bloomston, I think is his last name, not Stone. It looks like it's Stone, but it's not. It's done. He has such a unique vocal quality. It's very. I'm going to use the word plaintiff. Wistful. You know, it's. All of. It's that kind of voice. It's not. It's, you know, it's not David Clayton Thomas, let me put it that way. Rest in Peace died eight days after Clive Davis.

[Enrique Palazzo]

I thought, you know, what I loved about this record is that, you know, this also, this. This record didn't feel. It almost felt cohesive, like, it felt unified. And. Whereas, like, I think a lot of the albums, like, you know, we always talk about, like, oh, well, why is, like, Hank Williams, his whole repertoire, like the complete, you know, the complete Otis Redding or the complete Loretta Linn. It's because a lot of the. Wasn't written as albums. It was written as singles. They released them as singles. And like, even the Beatles had so many singles that. That's why you have so many. The US version, the UK version. But this record, it wasn't like a concept record. Whereas, like, what do we do that. The Sinatra one I just did with Sharipa, the. In the wee hours of whatever. The small hours of the morning. Thank you. Thank you. But this felt. This felt almost emotionally connected. You know what I mean? Like, they're like, I. I kind of. What I thought. And I think that's kind of why this sticks around, because it's not just beautiful music, but it's like, there are I. The words I wrote down. I wrote loss, maybe regret, death, love.

[Wayne Fetterman]

All of the lyrics? Yes. I mean, there's a song on this album about a horrible anti war song, but it doesn't take place during Vietnam or Korea. It's a World War I. Yeah.

[Enrique Palazzo]

Yeah. The song is about World War I.

[Wayne Fetterman]

Yes. It's. Yeah, it's called Butcher's Tale Western Front, 1914. In parentheses.

[Enrique Palazzo]

Parentheses.

[Wayne Fetterman]

By the way, I love parenthetical titles of songs, so I know how much you love Satisfaction. I can't get. You know.

[Enrique Palazzo]

Oh, I love that too.

[Wayne Fetterman]

I love when they put a parenthetical.

[Enrique Palazzo]

Oh, give me a. Is that what that's called? A parenthetical.

[Wayne Fetterman]

Parenthetical, yeah. Butcher's Tale Western. I'm reading it right now. Written by the bass player, Ms. Chris White. Just who.

[Enrique Palazzo]

Who rules, by the way? I really do. I mean, the baseline in time of the season, it's also that. But that doom, doom, doom. And the idea of whoever was like,

[Wayne Fetterman]

yeah, yeah, that's right. Orange classic.

[Enrique Palazzo]

I am gonna sample that. Like, I'm actually in the process of doing it as we're talking right now. Like, I'm actually getting a rough. I'm not lying. I'm like, literally been working on it as we speak during this. Dude, it's crazy that you can, like, take a song on logic and then you add. You can do the stem splitters and it can split, split the vocals, the drums, all the. All the parts, dude. Wayne, I. I remember I played for you, Claire de Lune, that one song when you were like, hey, listen to this beat. And you're like, this is gonna suck. And then you're like, this is actually good. I. I split. I did. I took Monkey man by the Stones. I sampled the intro of that and then put a J. Dilla beat and then played bass and added a synth over it. And I mean, it's just amazing what you can do with software. It's like what used to take probably producers, you know, a day to do something. It takes me eight seconds. But no, but, like, you know, truthfully, it's like that. Those are those little moments that maybe a happy accident where somebody says, hey, what if we go like. Do you know what I mean? Like, that would normally you. It's just. It's. That's what makes it the baseline. He's like, it needed, but it really needed. What do you call that?

[Wayne Fetterman]

It's just a little syncopation riff that they did. And it sounds like it's a loop, but it's not. They kept doing it over and over again, but pre loop, I guess. I guess we're kind of doing loops a little bit back then with tapes and stuff, but. And our buddy Jeff Emmerich, who's also engineered this thing.

[Enrique Palazzo]

Yeah, dude. If you don't know, guys, we've talked about it before on the podcast Fleece Army. Groundbreaking, dude. Work with the Beats.

[Wayne Fetterman]

Old.

[Enrique Palazzo]

I said it like that.

[Wayne Fetterman]

But that's a great book about working with a lot of people. But he. Yeah, I mean, he was the one that sort of like pushed. Helped push that band into there. I don't think he worked on Rubber Soul, but I think Revolver. From Revolver on. He's on. He's on all of those Beetle albums. You know, a lot of people think that's the peak for Beatles. Not only songwriting, but creativity. Be. I don't know if I agree with that, but a lot of people do.

[Enrique Palazzo]

I, I, you know, I, I just. This story is insane. The more I just.

[Wayne Fetterman]

I know, I know. So it's. Yeah. And that's the. And again, this was a high school band. This was a band. They won a record deal. They're with deca, they get dropped. They pull their money together to record, go into EMI Studios. The first band ever. Oh, there's also another thing that happens at Em.

[Enrique Palazzo]

What's up.

[Wayne Fetterman]

Which is they drag because they're in studio three, not two. That's the big one that you were in. Where you go.

[Enrique Palazzo]

Oh, no, two's big. No, two is big too.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

I'm not mistaken. Threes. Three. They were in three.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Oh, yeah. Okay. That's where Pink Floyd. I'm pretty sure. Right? That's like the smaller one that, like.

[Wayne Fetterman]

It's a small. It's smaller. I'm not sure about the Pink Floyd. I know Pink Floyd was there.

[Enrique Palazzo]

Hold on. I'll tell you right now.

[Wayne Fetterman]

Know.

[Enrique Palazzo]

I'll tell you right now because, like, it's. Because I'm almost.

[Wayne Fetterman]

I went to all Floyd was in too. I thought Pink Floyd was back.

[Enrique Palazzo]

No, because I know the beat. Studio one is their Studio one is. Where is the biggest one. That's where they do the symphonies and like that. Like they're doing the score. They do it there. Second one is the Beatles one, if I'm not mistaken. Those are all on the main entrance floor. Like you walk in, I can send you guys a video. It's really cool. Even though we can't release it. I'm gonna though it's just the woman. Abby was so sweet. She's like, please don't. Don't send these out. I'm like, wow. You should.

[Wayne Fetterman]

Abby the worst at Abbey Road.

[Enrique Palazzo]

Isn't that crazy? I didn't even think about that. That's why she was hired.

[Wayne Fetterman]

Exactly.

[Enrique Palazzo]

You're in. What's your. She's like. She's like, I'm. I'm. Mentally, I'm. I'm. Never mind. I'm gonna finish that thought. All right. So. Yeah, I cut myself off doing all the editing. The. Yeah, dude. But so there's. There's on the first floor that when you walk in, there's like, the two on the left are the two big ones. Beatles 1 is one furthest, and then you go down another thing, and then there's like, the small one. Whereas. Like. Whereas, like the. The Oasis did. Know what I mean? And Pink Floyd. And then there's, like, one that you can just rent that I could. There was like 600 for the day. And I was like, but you have to hire an engineer. And I was like, it. But everybody. People do that just so they can say they recorded at Abbey Road. That's cool. If we had a budget, we do that. Yeah.

[Wayne Fetterman]

Right.

[Enrique Palazzo]

But we don't. The rest of the episodes, the rest of the 99, let's do them at Abbey Road. Let's all move to London. Love to. We'll stay with your friend in. In Hicklesbury, wherever it's called. Like, she. She lives on Lemony Snickets Lane. What was it? Studio what, Wayne? What was it? Studio with Studio 3. 3.

[Wayne Fetterman]

They were definitely in Studio 3. There's not a question because.

[Enrique Palazzo]

Let me ask this. Let me ask this. I think there's. Well, I want to ask you this, though,

[Wayne Fetterman]

before we get to that. The Beatles use. On Strawberry Fields Forever, played by Paul McCartney. It's also used on that album Sergeant Peppers on For Being. For the benefit of Mr. Kite and God, a couple other songs. A Mellotron, which is like an early version of a sampler, the melon. So the very beginning of Strawberry Fields, played by Paul, is used on this rented melotron. A lot of people get this story wrong. They think it's John Lennon's melotron from his house. It's not. They rented this melotron. They use it on Sgt. Peppers. And then it's still in the hallway at EMI Studios, I'm going to call it. And so Rod Orange, it pulls it into Studio 3, and it's. That's the reason there's all these lush sounds. What sounds like a string quartet and a cello and all of that. That's all Mellotron from a rented melotron. That actually goes back to the. The Renter. I think I have the name of the Renter. Yes. Street Lee Electronics. Mellotron Mark too.

[Enrique Palazzo]

I love that. I also have.

[Wayne Fetterman]

It was like again, the fact that that existed at all changed the sonic landscape. Just came up with those two words together. Love it. And. And is one of the reasons this song is. This album is so evocative. Because they get to use this melotron. This rented, rented, rented. Not the John Lennon one.

[Enrique Palazzo]

Hey, hurry up. We got to get this back by 5:00 or we get charged for the next day.

[Wayne Fetterman]

I believe it was a one year rental. I believe. I think it was for all of 67. I think it was.

[Enrique Palazzo]

So they also used.

[Wayne Fetterman]

So that was another fortuitous moment that made this record. Not at the time when it came out. Not to Clive Davis's ears, but for rock fans and music fans. Because it's not. It's barely a rock album. It's more. I mean, some people call it psychedelics, but I think it's a vibe for sure. Yeah, it's definitely a vibe chamber.

[Enrique Palazzo]

Are you ready for this? You ready for this? You ready for this? You ready for this?

[Wayne Fetterman]

I love this.

[Enrique Palazzo]

Is everybody that recorded in Studio 3 at Abbey Road. So obviously the Zombies, which they use the same four track. I'm gonna say studer or stutter tape machine.

[Wayne Fetterman]

Yeah, yeah, yeah.

[Enrique Palazzo]

Tutor tape machine that the beatles use for Sgt. Pepper. Pink Floyd literally just finished recording Piper the Gates of dawn in Studio 3 when the zombies moved in. So that's like, okay, so you got the start, you got the Pink Floyd going out as the zombies are going in and they're walking. Pink Floyd's like, man, we've got all these great ideas for the next record. And the Zombies are like, you know, I'm thinking about working at the post office. I mean, I don't know. I mean, it's this record thing. It's not really going well. I don't know. They talk like that.

[Wayne Fetterman]

I know. They're working at like the premier place.

[Enrique Palazzo]

I know. But dude, they're already. They already think they're gonna break up. They were so prepared for this record that they walked into it going, nobody's gonna listen to this. What are we doing this for? That's what I. All the research I got. George Harrison did sessions for All Things Must Pass. Deep Purple, Deep Purple in Rock, Radiohead did the Bends, Fila Kuti recorded Aphrodisiac. And then. And then later you've got. I mean, Amy Winehouse, Gaga, Frank Ocean Florence and Machines, Fontaine's DC Bruno Mars. And that's just crazy, dude. It's like, literally. Pink Floyd has finishing up Piper, the Gates of dawn doing a chaotic, like, crazy, surreal record. And then the Zombies are, like, walking in days later, doing this, like, melodic, you know, Victorian.

[Wayne Fetterman]

Who do we pay, too?

[Enrique Palazzo]

And you got to be the janitor. Like, being the janitor there, like, it's just like. All right, we got Sid Merit making space noises and. All right, who we got next? All right, we got. But let me set these flowers here, because this music's pretty gay. Okay. Abby. Can I. Can I go. My lunch break.

[Wayne Fetterman]

She's still working there.

[Enrique Palazzo]

She's still working there. She went back in time, dude. She's been there forever. Who would be the equivalent of the Zombies in the comedy world?

[Wayne Fetterman]

Like, oh, I. In the comedy world? I know. It's got to be somebody obscure who has one album and then is kind of like, toward off of that thing. I died early.

[Enrique Palazzo]

No, but they changed. They had to. They had to be somebody that everybody talks about still, like, week.

[Wayne Fetterman]

Bill Hicks, maybe a Bill Hicksy kind of thing.

[Enrique Palazzo]

Nobody was. He was.

[Wayne Fetterman]

He. Bill.

[Enrique Palazzo]

Bill felt like he was. But did Bill feel appreciated during the time? I. I was never.

[Wayne Fetterman]

He had. He had to do his specials in England. He couldn't get a special in the United States.

[Enrique Palazzo]

Right. I was thinking, not. It's not. This is not it at all. But I was like, someone like Jessica Kirson who had just been, like, killing everybody. No, but she had. She wasn't like. No, I know. No, no, I know that. I was just saying. But she blew up doing it. You know, when she started doing the crowd work stuff, it's like, she finally did. She got it. She got a special that Bill produced. And it didn't do on Netflix, like, not because it was bad. It was Netflix on Comedy Central.

[Wayne Fetterman]

Okay.

[Enrique Palazzo]

But it was. It was like. It wasn't until she did it later.

[Wayne Fetterman]

Yeah. Who would it be? Someone who quit early or broke up, you know, first stopped performing, and then, like, went into something else. There isn't much. Most people, when they start doing comedy, they're like heroin addicts. They're just hooked. Yeah, it's very. Once in a while, you get a guy that, like, you know, switches to music like me. No, I just saw a heartbreaking video of this comedian I haven't heard of, and he's been doing it 18 years on the road, and, wow, it really hit me hard. And he was like, I can't wait to become a writer and get no, become a writer and get off the road and like write for, you know, write for television or movies or something. Because he goes, the, the pressure I have now when I'm on the road to sell tickets through my face, whatever, Instagram, tick tock, just putting out with dead eyes, please come to. I know tickets available.

[Enrique Palazzo]

I know that's, that's the saddest thing when you see the front facing camera video by a comedian like, hey guys, I'm in. Yeah, I'm in Janesville, Wisconsin this weekend at the comedy club Friday night. There's still a couple tickets left. When they say a couple tickets left, there's about 200 left.

[Wayne Fetterman]

Right, right, right.

[Enrique Palazzo]

We're almost sold out. There's a hundred. You know what I mean? Mean, it's always. I can judge because I've made those videos, bro.

[Wayne Fetterman]

No, but it's, it's. He just finds it, the promotion part of it, really devastating for him.

[Enrique Palazzo]

I don't know if that I, I literally don't have. I'm basically, I'm not saying I don't have road work for the rest of the year because I have a few more gigs. I can't sell tickets, dude. And the, you know, when you can't sell tickets, there's no money. They're not going to bring you in.

[Wayne Fetterman]

I think that, I mean that's the ultimate butts in this Butts and seats

[Enrique Palazzo]

we used to call. They do they give it. They, they would take.

[Wayne Fetterman]

When I started out, it was, it was still, it was a thing then. So this is not new. But the fact that you're on like, you know when you're not. That everyone knows when you're not selling

[Enrique Palazzo]

tickets and oh, they talk. I. Well, what's funny is I. The show that I did, the last headlining weekend I did was a Sacramento punchline. So apropos that. That was in an A club too. An A club. And I mean I sold horribly there. But what was cool was one third.

[Wayne Fetterman]

Did they make you put out videos to try to.

[Enrique Palazzo]

Oh, I did everything. They put clips up and. But what was funny was I one third of the people that did show up were all new fans from the, from the music and we're excited and the show was great. And I go up to the manager and I say, I'm so sorry. I was like, I was really excited about this. I tried, you know, and they're like, no, it's just a tough, you know, blah, blah, blah. And they try to be nice and I go. And I said, I know I'm not going to get another full weekend until I do a one nighter, but I'll be back within a year and I will sell this out doing a one night Snyder. I know I will because I, I know that what I'm doing right now is what I should be doing. And, and with stand up and the music, because it's just anytime I've leaned into it, you know, I've been successful and I see it and so yeah, dude, I mean, you can't give up.

[Wayne Fetterman]

You can give up. I. It's not, it's not. You can't give up. Like, people pivot all the time to other things.

[Enrique Palazzo]

How many, how many guys in your life. Life that you're not your life in your career yet? Because you've been doing this for a minute and you've worked in all. I mean you've been, you've seen so many different comics come up with heat on them. Ones with no heat on them that made it had to force their way through realistically, because I was thinking about that too of like guys that could have done it that didn't that gave up. Because most of the time you'd see guys at the open mic that you're like, you're just, what are you doing? Like, even when I sucked at the beginning, like, and I sucked, I sucked until a few years ago because I feel like stand up comedy is about being consistent. Like until you're consistent, you're not a comic if you're still getting nervous and bombing. And there's nothing wrong with like being a little anxious before. But I'm talking about letting it affect your set where you can't go up there and do your job and the audience feels uncomfortable because you're uncomfortable. I feel like that's the difference between a working comic and a non working comic. A real comedian can go up there and just be comfortable because stand up comedy is 90 confidence. But so even when I suck, people were like, yeah, I mean he does have this thing. He is calm, he's confident about things. Just material blows. How many guys do you think that you saw, you've seen or started with like in your career that, that just like, you know, gave up but could have done it had they had an oracle and Odyssey. Odyssey and Oracle. But they just, they had good material, maybe good jokes?

[Wayne Fetterman]

I feel like it's impossible to say. Just, just so many, there's just so many variables. Variables that go into it, including luck. I hate to say it, but. And there's just too many, by the way. I'M hearing a weird, like, thing. Is this my mic that's making that noise? Or

[Enrique Palazzo]

it's probably Jeremiah because he's in Brazil.

[Wayne Fetterman]

Do you hear that? Is that just me? Am I the only one?

[Enrique Palazzo]

I just muted myself. Do you hear it? Yep. It was you the whole time. It was you the whole time, jt,

[Wayne Fetterman]

I think it was Jesus.

[Enrique Palazzo]

You know, it's his dude. He lives in a. He might as well live in Nairobi. Like, the dude lives on a dirt road.

[Wayne Fetterman]

Sorry. I'm very. I'm like an engineer. I'm like a Jeff.

[Enrique Palazzo]

His wife might be in the other room DJing, you know, techno slam music.

[Wayne Fetterman]

All right, so we're already over an hour.

[Enrique Palazzo]

I feel like. I feel like we. I feel like did it. How do we wrap this up?

[Wayne Fetterman]

If you want to do the quest, you don't have to do the questions.

[Enrique Palazzo]

Oh, no, we're doing them. Oh, we're doing them.

[Wayne Fetterman]

But, oh, by the way. So rest in peace, David Clayton Thomas and Clive Davis. And also the. The guy who wrote YMCA and In

[Enrique Palazzo]

the Navy, Trump's favorite song.

[Wayne Fetterman]

Black guy who played the cop in a band called the Village.

[Enrique Palazzo]

Police Academy. Michael Winslow.

[Wayne Fetterman]

Not Michael Winslow. He also passed away.

[Enrique Palazzo]

Michael Winslow died.

[Wayne Fetterman]

No, the guy who. The cops from the Village People who

[Enrique Palazzo]

wrote Please don't say Tackleberry's Dead. If Tackleberry's dead, I'm giving them. I love it.

[Wayne Fetterman]

Police Academy.

[Enrique Palazzo]

Hello. You know the story about Steve. You know the story about Steve Gutenberg? You know how he made it? It's very quick. Bruce Jenner, back when he. When it. When. When she was Bruce. When I worked on Keeping up with the Kardashians, he. Because he had a post. He was in that movie that he did with Gutenberg. It was like. It was horrible. I think the Village People were in it, and I think, like, I think it was called Please Don't Stop the Music or something. Wayne, do you remember that? It's, like, one of the biggest flops of all time. Bruce Jenner was in it.

[Wayne Fetterman]

It was the Allen Car Productions. Yeah. Stopped it.

[Enrique Palazzo]

Okay.

[Wayne Fetterman]

It's called Stop the Music.

[Enrique Palazzo]

Yeah, perfect. So you know what I'm talking about. So Steve Gutenberg wanted to be an actor, obviously, and he couldn't get any additions, so he broke into. I think it was Paramount film. And he. He just was a very slick guy, and he got into an office that was empty, and he would call the. The studio execs and casting people as somebody from Paramount and say, have you heard of this guy Steve Gutenberg? And then they Were like, no. And then he would go in an audition and nail it and get the part. Don't forget, guys, I know this sounds ridiculous. There was a day, ladies and gentlemen, that the summer blockbuster or the Pixar movie was not the number one movie in America. There was a moment where Three Men and a Baby was the number one movie of the year. Ted Danson, Tom Selleck, Gutenberg.

[Wayne Fetterman]

Oh, was it John Travolta in that movie? No, no, that's.

[Enrique Palazzo]

Who's talking.

[Wayne Fetterman]

Look who's talking. Oh, I do get. I do confuse those two.

[Enrique Palazzo]

That is true.

[Wayne Fetterman]

I mean, but, dude, there are men with baby. There are men with babies in both of those.

[Enrique Palazzo]

But talk about.

[Wayne Fetterman]

Do you have my back with that?

[Enrique Palazzo]

I do. What do you call it?

[Wayne Fetterman]

I'll.

[Enrique Palazzo]

I'll allow it. I'll allow it.

[Wayne Fetterman]

All right.

[Enrique Palazzo]

Thank you. All right, let's do. Do we. Excuse me. Don't edit out that burp. Keep that burp in there. What do you. Is there anything we should do? We cover everything.

[Wayne Fetterman]

Yeah. Yeah. Do you think so? I think so.

[Enrique Palazzo]

I mean, the.

[Wayne Fetterman]

We talked. The Melon. We talked about,

[Enrique Palazzo]

you know, the Shakespeare from the Tempest. The Odyssey was misspelled by the. The artists. And like you said, they didn't have the money to. To kind of fix that. That was interesting.

[Wayne Fetterman]

We.

[Enrique Palazzo]

I mean, when you went over so many of the connections to.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Music royalty.

[Wayne Fetterman]

Yeah, yeah.

[Enrique Palazzo]

They got ripped off, by the way. They got ripped off. Dude, I'm looking at this right now. They made no money. Yeah. This is like. Dude, they would play to crowds of like 30 to 40, 000 people a night in the Philippines and. And then realize that tiny fee while their manager was making thousands. That's crazy. Like, Chris White said that they came home with no manager, no record company, and no money.

[Wayne Fetterman]

He got out of playing bass. Playing.

[Enrique Palazzo]

He.

[Wayne Fetterman]

I'm not mistaken. I mean, he's a great song.

[Enrique Palazzo]

Let me see what he ended up doing.

[Wayne Fetterman]

He ended up. Didn't he create with Argent? Didn't they create that band with him? Wasn't he the producer of Argentina with Rod?

[Enrique Palazzo]

That's such a good song. I love that song, dude.

[Wayne Fetterman]

Yeah, well, and again, it's all keyboard based. I really like Rod Argent.

[Enrique Palazzo]

Yeah. I mean, Post Zombies, it says, you know, the original didn't want to regroup. You know, we mentioned the Dusty Hill and Frank Beard from.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

Yep.

[Wayne Fetterman]

That's crazy.

[Enrique Palazzo]

I love that. Frank Beard, the only guy in ZZ Top Cop without a beard. Hey, how are you doing? Yeah, I mean, it just. It just sees it says he just had. He worked in a R. No, like Atkinson did. I'm sorry, I don't know who Atkinson is. I'm missing all this. Argent, Ballard, Robford and Harrod being working under a new name.

[Wayne Fetterman]

Argent.

[Enrique Palazzo]

Yeah. While White was non performing songwriter. I don't know, it just, it just says he. Oh, because. All right, so maybe he worked. Yeah, he did work behind the scenes. And then in the. From 89 to 99 he reunited. He reunited the Zombies. Sebastian Santa Maria. They recorded the Return of the Zombies. How'd that do?

[Wayne Fetterman]

I mean, it's. Look, they have a. There are dedicated zombie fans. A lot of people want to see that band. And over the years it was just, you know, it's. To tell you the truth, this did echo something that happened with a band called A two duo called Simon and Garfield uncle that they put out their first album. It didn't go anywhere. They broke up. Paul Simon moves to England to become like let me try writing songs in a different environment. Garfunkel, whatever, goes to college or something. And then they re edit the way Josh Adam Myers does using logic sound the sound of Silence, not the sounds of silence. A lot of people get that wrong. It's the sound singular of silence with like a drum track underneath it. So it's not just a folky song. And that becomes a huge hit. And they're like, guess what? This is Columbia Records calling. It's time to get the band back together. And then they were. Went on for another three years before they couldn't stand each other and. But so this has happened before. This has happened where they're like, we're. This is not working. Let's try something else. And then suddenly, you know. But that one was. They re edited. No one re edited Time of the season. Right? That was just the, the song. All right.

[Enrique Palazzo]

Talk about. That's. No, no, no, no, no, no, no. Wayne I I, I. It's getting lightning in a bottle. It's like you always say that. It's like you can't. They could never duplicate that. How great that important that song is is. Which is why as one of the voters for the Rock and Roll hall of Fame, as I look, they were up for eligibility right from 1990. They get nominated again. They finally get in in 2019. You know, there's amazing bands that are never going to get in the Rock and Roll hall of Fame. And the fact that they got in, guys that worked like it is crazy. It really is Beatles. Everybody points back to this beginning of

[Wayne Fetterman]

Time of The season again. Just do it. And they are in the rocket. That r. To tell you the truth. Yeah.

[Enrique Palazzo]

Hey, you know how. Wayne, is this funny? Is this funny? You know how, like, Paul McCartney, when he wrote Yesterday, he didn't have the right lyrics yet, so he wrote Scrambled Eggs. So I. I try to think of, like, Michael McDonald brought. Taking it to the streets, to the. To the. To the Doobie Brothers. He's like, hey, guys, I got this song. Hold on. Listen. I just wrote it. Making my girlfriend queef. Making my girlfriend queef. Making my girl. They're like, I don't know if that's right. He goes, come on, man. There's no songs about queefing.

[Wayne Fetterman]

I just want to warn you that.

[Enrique Palazzo]

What the.

[Wayne Fetterman]

No. Because you did that exact thing on the last podcast that.

[Enrique Palazzo]

Did I really? Oh, God. Goddamn. Cut that. All right.

[Wayne Fetterman]

I'm watching a guy lose his mind slowly. It's sad. It's sad.

[Enrique Palazzo]

I haven't seen your moments at 45. All right, final questions. Wayne. And by the way, man, I mean this. I. I said it at the beginning. You don't have to comment.

[Wayne Fetterman]

Please don't. Please don't. Makes me uncomfortable.

[Enrique Palazzo]

I dare you. I. I want to say this. I. I'm not complimenting you. I'm not gonna compliment you. I'm gonna say that being in your presence, whether in the studio, like the first one from. From Steve Miller Band to being here, it just brings a very warm feeling. It's. You are my. You are my master. Pain. No, he's not in pain, dude. I'm in pain. I'm alone all day. All day. Once this dude. Once. Dude. By the way, I gave my studio a name because I'm in New York City. It's Electra Dog Studios. Or should I do. Or should I do Electric Lea Dog Studios? What's better? Second one, Alexa. It's supposed to be Electric Ladyland Studios, but I'm gonna do ala should anybody out there? Oh, Fletch, can you make me a needle point so I can put up in my studio for Electric Lea Dog Studios or Electric Leca Land Studios? Which one of those? We'll do a vote.

[Wayne Fetterman]

I like Electric Land.

[Enrique Palazzo]

Like a Land Studios.

[Wayne Fetterman]

Yeah, Electric Land Studio. I just like a land. I don't think you need the electric. I think people get it.

[Enrique Palazzo]

Leca Land Studios. Yeah. All right, Fletch, get on it. I love you, Fletch. And I love you, too, Wayne. Thank you for coming on. You'll be on again. Actually, no, this is the last one.

[Wayne Fetterman]

This is the Last one I like, I made it to. Dude, I made it to double digits.

[Enrique Palazzo]

Dude, he's gonna cancel on us. Yeah. You know what's gonna happen, dude? It's gonna be like, dude, we thought we had Barack Obama for Sergeant Pepper, but now we got Wayne Fetterman for Sergeant Pepper. The final.

[Wayne Fetterman]

And he'll be talking only about the melotron that they.

[Enrique Palazzo]

Yeah, yeah, yeah, yeah, yeah, yeah. Rented.

[Wayne Fetterman]

The rented melodron.

[Enrique Palazzo]

We're talking about a little band you might have heard of. The band is called the Beatles. Favorite song. It's got to be Time of the Season, right?

[Wayne Fetterman]

Yes. Yeah. But I do like the other two. Let me look at the list. I do like the other two. I do like their first care of cell 44. And I do like friends of mine.

[Enrique Palazzo]

I like this record a lot.

[Wayne Fetterman]

Yeah. Yeah, yeah, yeah, yeah.

[Enrique Palazzo]

I did not hate this record. I'm actually gonna put it back on. I listened to it twice, and. And then I didn't have time to prep because, you know, I'm. I'm in the lab. I'm in Electra Lady Like A Land Studios. But. But what I. But what I got, man. Dude, it's like, I. You talk about it.

[Wayne Fetterman]

It's a good. It's a good casual. It's.

[Enrique Palazzo]

Yeah.

[Wayne Fetterman]

If you're going to the beach or something, it's.

[Enrique Palazzo]

You know what it's like. You know what it's like, Jer? It's a jt. I hate calling you that. It's like Solomon's boiler room set. It's like. You can put it on in the background. Yeah, you could put that on in the background. Or like, a Carl Cox set. Like, you can just like. I'm really into dance music. Why was it in the dance with you? I went to Ibiza. I'm not really. I'm into, like, Solomon and Carl and, like, boys noise. I'm not into the. That we listen to that night. Reznor. Boys noise. Do you remember. Do you remember when we. We almost got murdered by Barcelona, By Espana. We almost got. We got pulled over by the cops. Oh, we'll talk about that later. Oh, God. Barely survived your trip here. What a horrible way to die. That'd be bad. In your living room on a futon.

[Wayne Fetterman]

Jeremiah, thank you for helping for joining in. We really appreciate.

[Enrique Palazzo]

Dude, I was really happy, Jay. Jay, I was really happy that it was you, man. 100. So perfect. Oh, my. We should do more, dude. It's like you were, like. You were in it all the time, and then. And then, you know, Adam, which I love. Not. I mean, Alex. I love love. He stays out in the pocket. He's. He's good people. I feel like. Yeah, I feel like he needs sunlight, though. He might need some sun. He is. I mean, him and his brother. Jesus Christ. You found two.

[Wayne Fetterman]

You.

[Enrique Palazzo]

Are they both lost boys? Little sister. All right. Least favorite song on the record.

[Wayne Fetterman]

I don't really have. I don't have. Maybe. Maybe that Butcher's Tale is a little much for me, but, you know, they tried to release it as an anti war song to get the, you know, the anti war crowd, the Phil Oaks crowd into it, and it didn't work. So maybe that. But I. I don't. I, you know, that's me. How about you? What's your least favorite?

[Enrique Palazzo]

I. I. Dude, honestly, I. I think this is a. No, Skipper. I either was nothing that really bothered me on it and. Or I just didn't listen to it enough to have one that I hated. I'm not gonna, like, lie. It's like, you know, but it's. But I'm telling you, I think that is what. It's a vibe. And the vibe is what pushes this record to place.

[Wayne Fetterman]

Yeah, well, it is also they do the. The great thing, which is kind of happy music. Sad lyrics. They do that as well as sad.

[Enrique Palazzo]

Yeah, it's. Dude, you know, dude, this. The Smiths. The Smiths.

[Wayne Fetterman]

Yeah. Yeah, yeah. Yep.

[Enrique Palazzo]

This is. This. God damn. I love that we. I love that. I know this now, man.

[Wayne Fetterman]

Okay.

[Enrique Palazzo]

There are still people. Oh, I'm sorry. Well, can you neck? Can you neck or Heavy pet or. Or

[Wayne Fetterman]

you can definitely make out to time of the season because you're like, this is the time of our season. As you can do it, you can get in there, get in there.

[Enrique Palazzo]

I can imagine how many babies were made to this song playing on their. Playing on a record.

[Wayne Fetterman]

It is. It's just got a great. The syncopation is just. Rod Argent. My hat. I tip my hat to you.

[Enrique Palazzo]

Oh, Jeremiah. It's 11:00pm at night there. Yeah, I just turned the light on. Oh, here come the mosquitoes. Is it hot there? I have incense burning. Don't worry. Is. Is Rosalia. Is. I. I might come to Spain to go see Rosalia in Barcelona. I might do it. Go visit. I don't know if I'll make it to Europe this summer. I just don't know if I have the money right now. I might. I'm gonna go to London. I have, like all these upgrade certificates, so I can. I'll figure something out. I'LL probably go do stand up in London. Oh, for sure. There's no big concerts. Also I missed the big one. Queens are there right now. And they were like, you're gonna come? And I was like, I can't. I was like, I gotta do Sacramento. Punchline for eight people in my stalker who. Who peed off of the ledge. Dude, it's crazy. It's crazy.

[Wayne Fetterman]

All right.

[Enrique Palazzo]

Besides the point. All right, it's. It, you know, sum it up, give us your final thoughts. Waney. Thank you again.

[Wayne Fetterman]

No, I told. It's. I've said it already that it's. Again, it's a. A genre of music I never knew existed called chamber pop pop or baroque pop. And with this there's a tinge of psychedelia in it. And you know, I, you know, I'm a piano player, as you know, so that. It's a piano based band which is a little different. There was the piano, like singer, songwriter guys like Elton John, but there weren't like bands. Very few bands like that. Maybe. Oh, the Animals had like a keyboard player and. But for the most part it's guitar bands in the, in the 60s, right?

[Enrique Palazzo]

Sure it is.

[Wayne Fetterman]

For the most part. I'm trying to.

[Enrique Palazzo]

Might have heard of them. A little band called Rolling Stones.

[Wayne Fetterman]

So all guitars, all guitar. Although Nippy. Nikki Hopkins does play on some of their songs. So I don't know, I just. They just have a vibe and a feel and I love the. What Jeff Emrick and his buddy did. The other guy, I'm gonna. I just have to get his name. Peter Vince. Is his name, not Vance. Peter Vince, the other engineer. I just thought they just really under, you know, they were very tight constraints. This is a great example of like, I mean, thousands of hours to record. Sergeant Peppers. This was like 30, you know what I mean? Like they had a limit.

[Enrique Palazzo]

They came in so prepared. They came in so prepared because they knew the budget is the budget.

[Wayne Fetterman]

Yeah, yeah, yeah. So this is just a great example of if you sometimes, if you have these constraints, you really creatively can jump. So. So that. That appeals to me and I love the story of breaking up after the album.

[Enrique Palazzo]

I know.

[Wayne Fetterman]

And then.

[Enrique Palazzo]

How hilarious.

[Wayne Fetterman]

And then, believe me, the two singles off the album didn't do anything. And then Al Coop, whatever, this dude listens to it and next thing you know, some dj, we gotta find out who that guy was. And I.

[Enrique Palazzo]

Power of radio, you know.

[Wayne Fetterman]

Yeah, the pout. No, and. And obviously, I mean, it's such a recognizable hook. I'm just. I know he Just passed away. But I'm just shocked at you, Mr. Davis. But it might have been that Time of the season is the 12th track on the album. Yeah. And by that point, it was like, enough of this. Like, can we. This is not of the times. This is not of the season. This is not of the season of, you know, what's going on in 67 and all. All, you know, know, Hendrix and then obviously, you know, what's going on in the. The San Francisco scene. So maybe. Maybe he was right. I don't know.

[Enrique Palazzo]

There's almost.

[Wayne Fetterman]

That's my take of it. That's my take.

[Enrique Palazzo]

There's almost.

[Wayne Fetterman]

Yes.

[Enrique Palazzo]

Yeah. I would say. I. I think this is the. The, you know, this album is what sums up about the ridiculousness of the world and the sense of humor and the sense of humor that the world has. Like, you know, you talk about like. Like, one of my favorite philosophers is Camus. You know, he kind of wrote, you have to imagine, like, Sissy was happy not because the mountain keep getting any smaller. It's because the rock gets, you know, reaches the top and then stays there, but because, like, it's basically like their meaning isn't found in the outcome. You know what I mean? And I feel like this band pushed a rock and then let it roll down the hill and then it went. It went up another hill and then went right up to the top up. Do you know what I mean?

[Wayne Fetterman]

It's like defied physics.

[Enrique Palazzo]

It defies physics. It is. It is. It is. I mean, dude, I. I think there are. There's songs. Records that like, dominate, like the summer and dominate a lifetime. And. But. And this, you know, one did the second. I think it's like this thing is lasted. And I think that's what's really cool about it. And it's comforting. It's comforting, too, to know that like, a bunch of nobodies can. Can make something so important to music that someone like Gene Simmons or Wayne Fetterman, always. Little comic, been doing it for about 50 years. Worked on a little Larry David show called the Curb youb Enthusiasm. You know his name? Wayne Fetterman. No, it just. It's. Dude, it's. It's this. These are all beautiful songs. And when. When the labels, everybody said it wasn't, it turns out they were. And I think that's really. Right.

[Wayne Fetterman]

They're in the Rock and Roll hall

[Enrique Palazzo]

of Fame, and they're right there. And then 50, 50 years later, dude, the world caught up to him, and I think that's really dope. And. And this is what this podcast teaches you, man. You know? So if you're out there, guys, if you hadn't listened to it, go listen to the record Odyssey and article, Oracle, article, whatever you want to call it, from beginning to end. Because time of the season is at the end. It's like, you got to listen to some to get to the. You know what I mean?

[Wayne Fetterman]

You gotta go through a World War I song about 1914 being in the trench.

[Enrique Palazzo]

It's like. Yeah, it's like 1917. We're storming the beaches with really bad guns. Guns. All right, Wayne, promote away. Hey, dude, wait. Your show. It's on. It's on HBO Max now.

[Wayne Fetterman]

It's. It's now dropped. I know what episode I'm on, so a little more information.

[Enrique Palazzo]

Final episode. He's like, the album.

[Wayne Fetterman]

I think there's seven episodes I'm on. Six. Episode six. Wayne Fetterman. I play a. A mill owner who only hires child labor.

[Enrique Palazzo]

Did. Did. Did Larry call you directly? Do you have Larry's number?

[Wayne Fetterman]

I do. I do.

[Enrique Palazzo]

I tell you a story. I met him once. I was in my way into an audition for that show, Roadies, that was on Showtime, and I was the part that Luke. Oh, God, Luke Wilson got it. So I had no point. They had already hired Cassian. But they always audition other people.

[Wayne Fetterman]

Yeah.

[Enrique Palazzo]

And I went for two parts, but on the first one, I remember I was walking in, I had my. The sides in my hand, and as I was coming in, Larry David, because his office was there. It was in Santa Monica or whatever. I'm not. Maybe not with Santa Monica, maybe West. It was like. It was in west la. It was like. But I feel. I remember being by the beach. Ish. And as I come in, I go to open the door for him, and I drop my. I dropped my scripts, and he reaches down to pick it up. I got it. He's like, oh, you got an audition? I go, yeah, I'm probably not gonna get it. And he goes, yeah, with that attitude, you're probably. But that was. That's what I'm saying. I. I love. I love where I'm at right now in my career where it's like. And in life where it's like, I don't need a picture. I don't need to. Just having that moment or even if, like, not even saying something. Like, when I saw. I saw, like, people at, like, the Delta Sky Lounge. The drummer from Red actually Beverage. He made eye contact, and I just gave him one of these, like. And he went And I was like, yes, the listeners. The fist in the air. I give him the fist in the air. I gave him the fist in the air. But watch it on YouTube. Be Patreon Wayne. I love you. You're coming back, dude. Thank you for joining. How apropos that you're here for the hundredth episode. I honestly thought. I'm glad it was you. We'll get Gene Simmons for something else. Weighted blanket. Oh, what I tell you? What I tell you the one only Wayney Fetterman. Follow him on Instagram at instafetterman. Follow him on all things Wayne on his website Wayne Fetterman.com check out the new book the history of stand up. I got a copy. He signed it so sweetly he said, he said I love you, Gree. Gree. I love him too. I love way yeah and watch his show on on hbo Max, the Larry David one. I don't know what it's called, but you know. Well, he'll be on again, so he'll promote it. For new music this week, brought to you in part by Distro Kid is a track called Callous man by Primitive Ring. You can can see the links on our website the500podcast.com and if you were in a band or directly influenced by one of these albums or artists, you want your music featured on the 500 podcast, send us your song to 500podcast gmail.com next week. Sly in the Family Stone, where there's a ride going on from 1971 coming in at 99. I mean this from the bottom of my heart because if you're still listening to this, thank you for listening. Thank you. Because that's kind of all that's keeping me going. That and the crystal meth. If you haven't heard this album, listen to it. Do your homework. Thank you for listening for these past 400 episodes. Thank you to the bottom of my heart for listening. Everybody, we got 100 more. Let's do it. October 28, 2028. Final episode. See you then.

[Wayne Fetterman]

Won't you walk me down the grave Now I'll send you with the hottest flame.

[Enrique Palazzo]

Won't you tell me who's the one you like?

[Wayne Fetterman]

I'm sure this one.

[Enrique Palazzo]

Where this goes I'm sure you won't get us. Sam,

[Wayne Fetterman]

Pleased to meet you.

[Enrique Palazzo]

You.

[Wayne Fetterman]

It.

[Enrique Palazzo]

Ram

[Wayne Fetterman]

sa.

[Enrique Palazzo]

The 500 keeping it fleece see for the fleece nation

[Wayne Fetterman]

on the 500 the 500.

[Enrique Palazzo]

Next chapter podcasts.