B (6:50)

Oh, yeah, sorry, man.

A (6:53)

Are you in la?

B (6:54)

Yeah.

A (6:55)

Why am I doing this in person? This should be in person. You. Dude, you know how excited I was to sit here and talk to you? Not just because I'm a huge fan, but also because we're talking about the first record that Rolling Stones ever wrote all the original material to. But let's not talk about that yet.

B (7:12)

No. Yeah, we have to get to know each other. I'm excited to talk about after that. Honestly. My publicist approached me and they want to talk to you about the Rolling Stones Aftermath album. And I was like, f. Yeah, man, that's. I'll talk about that. I'll talk music with you all day. You know, I used to be a DJ on Little Steven's Underground Garage on Sirius. So, like, I'll talk about that era of music, especially all day with you guys.

A (7:41)

I wish I would have, because I was so obsessed with, like, Stern and the Grease man, and all the radio DJs. How fun is that? I feel like with my voice, I should be part of, like, a more morning duo called Chico and the Skis, and I'd be the Skis. Like, all right, everybody, we're giving away Hoover Stank tickets. You're the fifth caller.

B (7:59)

You should be. Honestly, you got. I see you as a late night guy. My show was called the Friday Night Freakout, and I asked for the time slot. I wanted to be on Friday nights because I thought that's when all the cool people are out in their.

A (8:12)

Oh, yeah. Everybody's high. Everybody's trying to find puss. Yeah. Everybody's driving around.

B (8:17)

Yeah. And I wanted to play tunes for that group. Like, I don't wanna. Like, morning show. You gotta get up early in the morning, man. I don't wanna get up that early.

A (8:25)

Did you treat it Drew like it was like, remember when we make mixtapes for girls? And we would be like, all right, you gotta come out with a banger. Second one. Bring it down. It's the. It's the high fidelity cusack. Which, when he said it, I was like, oh, my God. That's what I've been doing my whole life.

B (8:39)

Yeah.

A (8:40)

So what. What music genre were you kicking and, like. And, like, how would you. How would you sequence your night? And how long was the night?

B (8:46)

It's called the Underground Garage. So it started out with the garage era and spanned out from pre garage era, post garage era, all the way up to now, and rock and roll, blues, soul, and little Steven from. Little Steven Van Zandt from his own solo. I know. EC Band. Yeah.

A (9:09)

Oh, we know. We. We know. He.

B (9:13)

He was a. It was an audience of one on that station, so. And still is like, he.

A (9:17)

You.

B (9:18)

You're playing. I'm playing tunes for Stephen because he listens to the station all the time. And they let me at. For. I did it for, like, 15 years. And at first I was just like, once a month, celebrity show, and they would give me a playlist and I would do it. And. And then I was like, can I just change a couple of these tunes because it doesn't sound right? And they said, yeah, sure, go ahead, kid. And then after a while, I was like, can I just get a weekly show and pick my own tunes? Because I was already.

A (9:45)

Maybe health insurance, no salary.

B (9:47)

I never taught. I never hit him up for money. I told him I. I told him he was gonna. The only reason I was doing it in the first place, I was, I'm gonna hit you up for Springsteen tickets. That's what I told him. And I got free Springsteen tickets like, three times. Now I got a fourth time coming up this summer. I'm gonna go see Springsteen for free. Because you did it.

A (10:03)

You did it for how many or 15 years?

B (10:05)

Yeah, once a month.

A (10:06)

You got three shows.

B (10:09)

Well, plus, I got. I got to be on that. I Got to be on that station was like a. Yeah, that was a huge honor for me.

A (10:15)

Not downplaying that. I'm just saying you should have got at least 10 to 15 concerts and one of them sitting on.

B (10:23)

I'm working too. So I did see. I take it back. I saw. I saw Springsteen. Maybe this would be my fifth show or something. And then I saw Coming up, and then I saw Stephen a bunch of times and saw a bunch of musical. I went to the. You know, we went to Broadway musical together. I took him to see Book of Mormon.

A (10:45)

How great is that? I've been jamming down. If you're in New York, we had a. And I talked about this on the show because I actually found out about it in real time while I was doing a podcast recording. But Paul McCartney did three nights at the Bowery Ballroom.

B (10:59)

Crazy.

A (11:00)

About a year ago. And only in a 600 seat theater. Rock club, but he only sold 300. And Bill Burr had just gotten into town to do his play, Glenn Gray Glen Ross. And I got. I got two tickets because I hit up every plug and I hit up Bill. And so we go. He's like, yeah, I'm supposed to go to this thing, but it's Paul McCartney. I'm like, yeah, you dumb fuck. You fucking go. Go Paul McCartney. Yeah. And we go. And we're on the four with Jen Pop. And if you looked above in the rafters, it's like, everybody famous. Anne Hathaway, Dame Judi Dench, Rasputin, everybody is everybody. Everybody. And the show's amazing. And when the show's over and swinging it back to Book of Mormon is behind us is Matt Stone from South Park. And you know how famous people just know each other because they don't know each other, but they know each other because they respect the work.

B (11:47)

Sure.

A (11:47)

We sit and talk to him for like 45 minutes. And then Bill, while we were in town, used to go to his house and jam. He had a little studio in Tribeca that he had built. And so we would just go play music. And you could see when we start creating songs, the inklings of like, is this. Is this for a new musical? Is this something. What are you about to take on Scientology? I got a feeling something's coming up, dude. Something about Trump, maybe.

B (12:11)

Yeah, yeah, I've. I've met him. They're.

A (12:14)

They're.

B (12:14)

They're cool, man.

A (12:15)

They're amazing. Dude, you talk about. You talk about working, man. And I. And I get that too, so being on the radio, but it's like we really got to give you a big props, man. 20 years on price is Right as a host this fall, man. That's. That's. I'm gonna cuss. That's rad childhood. Because you've had such a cool career with actors.

B (12:34)

I really have. Honestly,

A (12:38)

I got.

B (12:39)

I really got to finish myself, man. I got sometimes. Because it's bananas, the stuff I've gotten to do. Like, I performed once at the White House correspondence dinner. I was the entertainment, and it was right after 9 11.

A (12:54)

The.

B (12:54)

And everybody was in the room at the same time. So this is like the May after 9 11. And I got Bush in one side, Chaney on the other, Joint Chiefs of Staff, everybody in the cabinet and thing. And I remember asking myself and joking around to the friends. I'm like, Everybody's here after 9 11. They're putting everybody in the same room. That's kind of stupid.

A (13:18)

They really need to laugh, dude. They really need a laugh. So bring it.

B (13:22)

But, yeah, security was, like, really tight. I thought I'd go through, like, two, three things just to get in there. And. Yeah. So, I mean, I've got. I got to do that. I got to do places I've traveled and people I've worked with and stuff. It's just been nuts. And to do the prices right, it's like the biggest. Like, this is the best job I've ever had, man.

A (13:40)

I can imagine. It's so much. Everybody's going to be so much fun granting these, like, dreams to just people that are like, I'm going to go. I have no idea if I'm getting on, because that's the exciting thing. Every other game show is like, all, you're the contestant. You better know everything about X, Y, and Z, or blah, blah, blah. No whammies. Yeah, but this one is like, you show up. All right, man. Hey, we're going with a bunch of friends.

B (14:00)

I think I do. You might get picked.

A (14:03)

You might.

B (14:04)

You never know.

A (14:04)

You once picked a friend. You probably. I just don't know. We might have to cut this. But Josh. God damn. What was Androski. A bunch of comedians went, and they all took mushrooms. And he said he was like a skateboarding rabbi.

B (14:17)

Yeah, I remember him because I. I went to that night, I went to ucb, which is an improv place here in la. Improv sketch place. And I went to see a friend do an improv show. I'm in the bar, and I can't believe, you know this guy. I'm in the bar and I go to the. Somebody Comes up to. He goes, hey, man, did you. You had a sketch friend of mine on the show. And I was like, oh, oh, really? And he said, yeah. He said he was a skateboarding rabbi. And I was like, that guy said, yeah, he was on mushrooms when he did that. And then I, I, he, he ended up being on a short segment on this American Life and a couple of other little online articles that man on mushrooms goes to the Price is Right. Here's his story. It was so funny because he, he didn't really, he wasn't stumbling or slurring his words or anything, but he was, he was great.

A (15:09)

He actually like, yeah, he was a character. And he's like.

B (15:12)

But I asked him what he did for a living. He goes, skateboard. Like, what? Because I was skateboarding rabbi.

A (15:19)

Yeah.

B (15:19)

And I. Okay, the suggestion is skateboarding rabbi. Okay, scene.

A (15:25)

And now it's time for Plunko. Okay.

B (15:27)

Yeah, yeah, yeah. But I've had people show up, like another person I know that turned out to be a friend of mine later that was on the show, was high, went to the restroom and vaped out and took like, just. People do that all the time on the show.

A (15:41)

Of course. Why wouldn't you? That's. Dude, it's like, could you imagine the same feeling you get when you get your name gets called in the prices, Right? Is the same feeling I get when a black guy compliments my outf it. It's like doing a bump of coke. You're like, yeah, come on, man. I'm doing something right here.

B (15:58)

I never did coat for that. I believe.

A (16:00)

No, no, I did. I've done.

B (16:01)

Look at me.

A (16:02)

By the way, these are new glasses. I don't mean to look like Jim Jones. Like, they're, they have like a tent. Thank you. They're Anthony aiden down on St Mark's big shout out. He gives me a deal. JM My new fascination you've been.

B (16:15)

This is my electric mug. Juice. My coffee. Coffee warm.

A (16:20)

Showing my dog. Hold on. You see my dog over there in the cut. Leka. Sit, sit, sit, sit. Get the up, sit. Yeah, we should have been doing this in person, bro. We beat dude, you and I. No delay. I. I was so tuned. I woke up at like, I think I watched Being John Malkovich just so I could think outside the box last night and not. Dude, it really is a pleasure, man. I, I mean it, like comic and, and as a, as a young kid, you know, I'm a little bit younger than you. Not, not by too much, but, you know, growing up with you and. And. And Brian and. I mean, just the guys you've worked with. We've had. We had Greg Proops on a couple times. If you can get a word in, it's like just. It's like, geez, Greg, Shut. I know. You're the smartest man alive. Let me host my show. I love him, by the way. And he's the man. Like, but you get it. Like, he is.

B (17:17)

We always make fun of him when we do improv. Like, they invite me to go do their improv shows with them every once in a while. Like, I played with them in February in San Francisco. They invited me to do the show with them at Davies hall for Sketch Fest. Yeah, no, it was. I think it was the week after Sketch Fest, but it was at Davies hall where the San Francisco Orchestra plays.

A (17:37)

Oh, right.

B (17:38)

And sometimes they invite me to this gig. These gigs where they can get, you know, if I'm close or if they get a bump if I'm on that bill or something. Anytime. Anyway, every time we play and proofs is there, we always make fun of him to his face about his hearing because he'll take his suggestion from the audience. And somebody all like, tablecloth. What? I can't hear you. What? Tablecloth. And we're all standing behind him like, tablecloth. The guy said table. Get a hearing aid. What's your problem?

A (18:08)

Let's do the spiel. Let's get into this record. Let's get into the reason we're here. So everybody fleece army. The people that I love, the people that are supporting my. My fentanyl habit. I do not have one. Drew, don't worry. Today on the 500, we are talking about the Rolling Stones aftermath with the incredible Drew Carey. Cleveland's finest export besides LeBron. Fake fouls rock and Roll hall of Fame. That I vote on. That I vote on. I got four people in this year. I'm very excited. I did. Yeah. Because of Tom Murillo. He's a Chicago guy. Close enough, but. And also got to give you guys of Cleveland a shout out. The men who can identify the price of a dinette set by smell. This is the Stone's first record made entirely of Jagger Richards originals. That's why this is a big deal. I understand that now. When I was doing the. But that means this is where they stop being. And I love this. They stop being British guys politely stealing American blues and become dangerous British goblins writing songs about pills, power, sex, boredom and emotional damage. We talked about this. You know, Wayne Fetterman, Drew I know. Yeah.

B (19:20)

I don't know what. I know. I know. I'm. Yeah.

A (19:22)

So Wayne. Wayne kind of came on at the precipice. I forget what the record was. Put it in the chat. Alex, do not get in this fucking room or I will come to Brooklyn. But we talked about it before. But this is the first one. This is the sound of five skinny Englishmen discovering they can be mean, funny, horny, experimental and commercially successful at the same time. Basically, the rock and roll version of hosting prices. Right? While slowly realizing every contestant has lost their mind. And what a better guess than the one and only Drew Carey. I can't believe that you're on the show, dude. I really wish you could have done this in person. You could have pet the dog. We could have hit hit notes. Oh, man, it would have ruled.

B (20:02)

Not only was it their first original album, but if you're a big Stones completist and you're collecting all their albums, this is when they went pretty much from mono to stereo in their production. Because in that era. Came out in 66. In that era, everything was mono. Like, all the AM stations played the hits. That was all in mono. You had a speaker in the middle of your car, a middle of your dashboard, and that was it. People didn't have stereo systems unless they were rich. They certainly weren't in any cars, I don't think. Unless you were.

A (20:35)

Yeah, but you ever listen to, like. You ever listen to, like, old music? Like, you only need mono, dude. It's just.

B (20:40)

Well, that was. That's how it was. That's how. That's how it was mixed. Like, the Beatles would stay in the studio and mix the mono and then they'd leave and let George Martin take care of the stereo and like the UK version of Aftermath. Plus there's the. The idea that they. The record companies took out singles and the way they sold things. So Mother's Little Helper isn't in the American version of Aftermath, but it's in the UK version. Then they put. Paint It Black isn't in the UK version. It was a single. And then they put it in the American version as a. It was a hit to help boost album sales. And they just messed with things like that. The record companies never left well enough alone. And.

A (21:24)

Still don't, dude. Still.

B (21:26)

Yeah, they don't. So they'd have this great, like, UK version of a band you liked, especially during the British Invasion. And you get the American version at Kmart, you know, Or Kresge, not Kmart. You go to Kresge's to get the American version.

A (21:42)

I love that you think that I know about Kresge's.

B (21:44)

Kresge's was the five and dime store that was the precursor to Kmart. So it started out as, like, a Woolworths five and dime. The competitors to Woolworths was Kresge's, and then Kresge's became. When it became. It does. When it became bigger, it became Kmart. But you would go and, like, you go buy the, you know, cheap record at credit or go buy the single, because that's all the money you had. You know, I would. I would. I couldn't afford an album when I was a kid. I could afford a couple of 45s and buy those. So they. They had this marketing strategy to, like, messages. So now it's like, if you, like. If you want to go buy, like, the true. If you're, like, a real collector and collecting records in this era, you want the mono version of, like, the early Beatles stuff. You want to get to mono. Early Rolling Stones. You want the mono. This album, do you have it?

A (22:33)

So I'm gonna pull it up. I feel like you're about to pull it up. I feel you're about to be like, I got.

B (22:36)

No, I got them on my phone.

A (22:38)

Not the same. Not the same. Take a look at my record collection or my itunes catalog.

B (22:44)

My house. My house is being worked on. So, I mean, I'm in, like, a.

A (22:47)

The.

B (22:48)

The backyard's all been constructed. The place where I keep my records and stuff. That room's all torn. Torn apart. So I got. Everything's in storage right now. Anyway, like, there's some versions of some songs that are, like, better mono than they are in stereo. And then the stereo version and the US version has. They added reverb to it, like, automatically because they. The record company. The record company had a practice of, like, oh, free reverb It. It with the stereo version. I think the. I think the thinking was when they play it on AM radio, which is all they played it on. FM stations were for, like, rich niche.

A (23:23)

Like, yeah, AM used to be where it's at.

B (23:26)

Fm, that was where it's at.

A (23:27)

That was where. Yeah, dude, but. But, you know, the.

B (23:30)

Yeah, we'll put a reverb on. It'll sound cooler on boss radio. Do you ever get into the Boss. Boss radio DJs since you talk about these? Like this guy. Hey, welcome. We're on the hit. We're on the hit station Wax in the backs on the big 150.

A (23:47)

Dude, I mean, you know, many. Like how much like. Like The. The radio DJs I grew up with in Washington, D.C. i was like. I was the morning guy. But I mean, the. The ones that my father, who was born in 1940, you know, grew up with the. The Wolfman Jacks, the iconic.

B (24:05)

Those guys.

A (24:05)

Clarks, you know. All right, Casey, Jason, we're counting down.

B (24:11)

And you're like, love those guys.

A (24:13)

Buttery voice. Shadow Stevens, all. There's none of those people.

B (24:17)

Shadow Stevens playing the. Playing the stacks of wax in the back of the racks. Oh, who did it? Who did the. Who did The Ramones have a really famous LA dj, the Ramones. Put him in rock and roll high school.

A (24:29)

Wolfman.

B (24:31)

No, no, no. He was on a local la. He was on the boss radio station in la and they were big fans of his.

A (24:37)

So on Burr's cartoon F is for family. When we had first met, when I first started doing the goddamn Comedy Jam, the show where comics do stand up and then they sing a cover song. May 4 at the Roxy, everybody. With Jelly Roll Burr, Nikki Glazer. I gotta give. I gotta. I could do some self promo because this episode's gonna get a lot of ears on it. It's probably sold out, actually. I don't even know if this one. This might be out right after. All right, never mind. Scratch all that. Keep it in though, because it's a good historic moment.

B (25:01)

Price is Right, cbs. Yeah. Monday through Friday.

A (25:04)

Dude, I'm gonna promote this out of that. Don't even worry, bro. Don't even worry. Where's wholining anyway? Tell me where the Drew Carey show is, guys. What is it on?

B (25:12)

Is it Hulu?

A (25:13)

Watch it on Hulu.

B (25:14)

It sounds one of those. It's on one of those streaming services

A (25:17)

to be everybody get it on.

B (25:18)

To be something like it. If it's not a tubi. It's not something like it.

A (25:22)

I know you want to watch the Cops channel on. On Pluto, which is all I put my. When I leave the house. That's all I let my dog watch. She loves Cops and she's not a violent dog.

B (25:31)

Really.

A (25:32)

Oh, we. I just love Cops.

B (25:34)

She's dog likes to smoke a joint, watch Cops at night. Come on.

A (25:38)

Come on. Dude, you think I got my dog hide? No, I never have. I swear to God. You think I would? My landlord did when he was watching her back in Hollywood. But this dog has never been. Never been humped. She's still. She's never been humped. She's too tall. She's too squiggly. And I want to keep it that way. She's nine years old, never been humped too tall. But the moral of the story is, what I was trying to get to is like, the radio DJs that, you know, I played this guy, DJ Howlin Hank, and it's like those characters, you know, and there was all the scams that were back in the day, but I've seen it even now, working with that guy Jelly Roll, where. Where the reason he blew up so fast when we had started the tour versus the end of it was the radio station DJs. He developed a relationship and he used to have this VIP area outside of the arenas where he'd have barbecue so all of those people could come and he could meet him and they could get food. So they fell in love with them. So it was like. It was like not a form of payola, giving somebody delicious ribs and maybe a ham sandwich off the. You know, off a pork roast. But. But it's like those DJs really did back in the day dictate how. How fast you were gonna blow up. And I mean, you know, it really is. It really. You know, it's a lost art. It's a real lost art, and it sucks that it's gone. That's why we need Drew Carey one day a week for another 15 years on little Steven. Thank you, Garage. I already got mad at you because you kept playing Marque Moon over and over.

B (27:02)

No. You never got mad?

A (27:05)

No. But before we get into that, before we get into that, because I want to jump into this, like, because it sounds like you're a music fan, obviously, but. Yeah, but what I love is, you know, how. When were you born? What year were you born? I want to see if I want to get.

B (27:17)

I'm 67.

A (27:19)

That's fucking nuts, dude. You look amazing. Drew, I'm serious.

B (27:22)

So I'm. I was talking about all this, like, I. I'm. A couple years ago, if you might know, I got. I saw Fish at the Spear and kind of had my mind.

A (27:31)

They're doing it again, too, right?

B (27:33)

Mind blowing. Mind blowing. If you want to do yourself a huge favor. Like, I had. I wasn't into fish at all. Wasn't in the jam, bands at all, had no interest. Like, I knew the couple Grateful Dead hits, you know, trucking and whatever that I really like. But I wasn't going to go out of my way. And I'm. I'm like, oh, I'm not going to go to some festival, stand there with a bunch of these Old hippies and watched it. I mean, I was just.

A (27:57)

Everybody smells like patchouli out front. You're like, all right, that was.

B (28:01)

That. That was my jokes. And then I. I had a friend of mine that I met at ucb. I had a friend of mine that he was my friend that I made fun of for being into Fish. Like, everybody has a friend like that. Like, oh, my fish friend fan. Oh, yeah, we all do. So I. I couldn't wait for the sphere to open, and I saw you two there.

A (28:21)

How is that? I'm so mad. I missed that. I am just. Yeah. And I mean, they did acting, baby. And then they did, like, the encore of, like, with or without you. And, like.

B (28:30)

Yeah, they did, like, no Name, honestly. Great start. You could argue. Eq, one of the best rock bands of all time. Bono, one of the best frontmans of all time. Like, if you want to take a class on being a frontman, you go see Springsteen, go see a Bono, go see Bon Jovi, and you'll find out what it's all about. Like, there's these guys that are just great at doing what they do, and you two is phenomenal. They deserve every accolade and all the money they got. They were great. I saw him three times, and then I saw that the Fish was playing. I saw the Fish was playing next, and I thought, oh, this fear is such an experience. I got to check out this man. Now that I've been, you know, nearing at my friend about, I feel we're going to break down and go see Fish, because I heard the light show is good anyway and invited my fish friend down for the weekend, and it kind of. We saw all four shows together. And, yeah, that was like the. In two years ago. It was 4:20 weekend. And let me tell you, my joke is that they made you two look like a bar band.

A (29:37)

Wow.

B (29:38)

And I just told you how. How great U2 is, and everybody listening here knows how great YouTube. I'll tell you how much I admire you two. But Fish just. I went with. The first time I saw you two, I was with a showbiz friend of a producer friend of mine who's really into YouTube. Like, he has all their albums and everything and knows trivia. And we were discussing the Sphere experience because that was the first time we both had that. And we were like, oh, just imagine this is the first one. Imagine what people are gonna do after this and the one after that and the one after that. And Fish came in and just blew them out of water here. Like, I read an Article about Fish coming to the Sphere and their sound guy in the article said he came to see you too, and he thought the sound was a little flat. That's what he said about the sphere. 160,000 speakers in this place.

A (30:33)

They need more, I guess. Five more. Five more in the bathroom. Maybe.

B (30:38)

The Fish guy engineer with his bat ears thought that they sound a little flat. So Fish built a mock up of the Spear sound system in their rehearsal spot in Vermont and replicated it so they could tweak their sound just for the Sphere. And they never repeated a visual. When I saw you two, I saw the same show all three times, except for like a part in the middle where Bono was able to free to talk and Gibb with the crowd. But other than that, same show, same visuals, and I wanted to see them. Like, I'm not complaining, but that's what every other band does there. Not Fish. They didn't repeat one visual. Every single show was different every single night and mind blowing. And so I. I'm seeing all nine shows here this week and that they. You can go to a play. I'll give a plug. There's a play. I'm not getting any money from this place. It's called nugs.net n u g s. Yeah.

A (31:30)

Oh, dude, it's. If. No, dude, I'm a big Pearl Jam. My Morning Jacket, they're all Nugs, so. Oh, yeah. Nuggs is incredible. You'll find every. Like, I don't want to call bootleg, but any band that literally lets you. They. That. Because I. I love that I love. Because that was the thing I want. I want to back up. Everything you just said is one. I saw fish. Oh, man. The early 2000s. Maybe it was right after 911 or pre 911 or maybe 22,003. Not 2023, 2003 with some buddies. I had my fish friend and he took us and we. And we all. We all ate goo balls, which is like a big peanut butter ball of like, marijuana. And it was an amazing show. It was an amazing show because I had come from the rave scene, so I was already into the Plur and the idea of like.

B (32:15)

Oh, me too.

A (32:15)

Just. Yeah.

B (32:16)

So I go to EDC every year.

A (32:18)

Exactly. I mean, I don't. I don't go anymore. I did go see Nine Inch Noise when I went to Coachella, but my buddy was one of the. I wouldn't go to Coachella, Drew. But one of my. One of my close friends is one. Was one of the headliners. He's in the Strokes. So he likes, like. He was like, after 14 years of living in LA, he was like, I've never been. I was like, that festival, it looks terrible. And he's like, come on, I'll get you a hotel.

B (32:39)

I'm like, speaking. Speaking of great live fans.

A (32:42)

Oh, I mean, yeah.

B (32:44)

Bananas. Yeah.

A (32:45)

But. But the moral of the story is, what's I talking about?

B (32:49)

We were talking about you're going to see Fish. Yeah, you were going to see Fish. And for the first time.

A (32:54)

So. So the vibe was something I was used to from coming from the rave scene and then the music. As a musician, you. Even though I didn't know the songs, you couldn't be not blown away. And I think that's the same thing for doing the podcast. I used to shit on the Grateful Dead. And then having Phil Hanley and Al Franken on and their excitement for the band rubbed off on me. And it's the same thing where I used to be. I'm gonna try to spin this back to Rolling Stones right now. It's the same thing. It's the same thing that I get when I've sat down was we've done the Stones. Alex, in the chat, put every Rolling Stones record we've done. I'm pretty sure this is our fourth or fifth one. And everybody gave me an exciting. I think we had Tom Everett Scott from that thing you do on.

B (33:40)

Oh, yeah, yeah.

A (33:41)

We had.

B (33:42)

Who had his own hit record, basically.

A (33:45)

That sounds like he didn't play on it. But I did reunite them at the goddamn Comedy Jam back.

B (33:49)

You know what? I'm. You know, I take credit for it.

A (33:51)

It's founds a way. They don't get residuals for that. They just did. The lead singer didn't do anything. He just. Even when he did the reunion, when I got him all reunionized, he just. Like, I sang and I don't even know the words, so I had to, like, read them off the paper, you know, on the speaker. And he just mouthed it. Chorus. Oh, we did between the Buttons. And then I've done oh, the one.

B (34:15)

Oh, that's another Some Girls.

A (34:17)

I did that with Mark Maron. And I mean, as you know, with Mark, the little bit of excitement that he gave me was enough for me to set me over the edge of liking the band even more. But then when he shit on me after everything stupid thing I said, I was like, all right, you know what? Maybe I like the Beatles more. No, but the thing is with. With them, it's going to something like Fish. Going to something like U2 going to something like Rolling Stone. Bones, which is a band that I for many, many moons, respected, loved, of course, hits. Never dug into the records because I was a Beatles. I don't know, I just. I believed in that. That. That thing that you couldn't like both. That this is a long time ago. That was a beautiful.

B (35:02)

That's a.

A (35:02)

Like folks, that's a.

B (35:03)

That is a real thing. No, it really is clean cut kids like. Like the Beatles. And if you're a bad boy, you wanted the Rolling Stones because that's how they got set up in their imaging. You know, the Beatles were as punk as anybody before they got suits put on them.

A (35:20)

I know. And it's. Listen, I. I say this with all due respect to the Beatles. Me and Alex were talking about this before the show is because he's not a. He. He respects the hits. He respects the hits. But I think he just thinks that a lot of the other songs are just not as good. And I. And it really. In that moment I said, well, I think it's because. But the Beatles had such a short window. They were only together for the 60s, you know what I mean? And then they broke up and then they went to their other things. So the music that we have is like 10 albums, 11 albums maybe. They keep churning out records every year, which I love. But it's like you can. You can put Radiohead up on a. On a place of like, okay, this. They have seven records or eight records. That's it. They've been together 30 years, but that's what they've got. And in those 30 years, because we talked about it earlier, it was churning and burning. So it's like to make the money, you got to put those records out. The Beatles were just constantly putting records out until they broke.

B (36:17)

They'd write a record in the morning, recorded in the afternoon and that would be that.

A (36:21)

I know, I know.

B (36:22)

They had a. Dead schedules like that. Something where you're just like, what is going on?

A (36:27)

But, but, but for you, but for you. Born in 58. So you're. When this record came out, you're what, 7, 8 years old? Almost 10. This came out in 66.

B (36:36)

So I mean my brother would listen to him on the radio.

A (36:41)

Older. How older? How much older is it?

B (36:42)

I had a six. I had a brother that was six years older than me and another brother that was 12 years older than me. My brother who's 12 years older than me, Neil was really into R B and like, there's a place called Leo's Casino in Cleveland. Really famous old place that's not there anymore, obviously. It was called Leo's Casino. And, like, the Supremes would play there. Ray Charles would play there, Smokey Robinson would play there. Like, all the. All those acts.

A (37:09)

Are you a fan? Are you a fan? Are you a fan of, like, R B and stuff like that and the soul singers? Are you? I'm assuming.

B (37:15)

Yeah. Oh, yeah.

A (37:16)

Can I recommend something to you? Because I'm obsessed with her. I just drove four hours to go see her in D.C. at the Anthem. We did a festival together in Europe in Munich this summer. This girl, Ray R A Y E. And she is. I mean, one of the. She's. I'm a huge Amy Winehouse fan. I love Amy. I think she's one of the greatest soul singers of my generation, of course. But also, I think she gets up there with some of the greats of. You know. And the story is, of course, tragic. But Ray, Independent artist, just. Her label did not want to release her record. She was a songwriter for years, and she begged and begged and begged, and after two years, they give her the record back. She takes it to another label. They's like, we don't want to sign you. We just want to distribute it. They don't make a change. They release it, and it. And it blows up. And she wins in one night more Brit Awards than any other artist. And she is so likable. And her music is incredible. She's doing two nights at the Greek Theater. I think it's right after Netflix Fest. So I'm staying so I could go see both nights. And I mean, it is. I brought my dog. I brought my dog. Well, she's a service animal. Service animal, sure. So she really is. I swear to God, if you want

B (38:24)

emotional support, you need emotional support, man. That's it.

A (38:27)

I say this, I say, she stops me from doing Fentanyl. I've never done. I haven't done Fentanyl since I've gotten her. So she's doing her job.

B (38:34)

There you go.

A (38:34)

But the more. But. But I was trying to say, this is like, go see her if you can, but I will. But. But, you know, as far as, like, you know, your love your brother turns you on, or you get the R B, you have the other rock brother. Like, how old are you when you start getting pushed? The stones.

B (38:50)

Wixie 1260 was the name of the station in Cleveland. And every morning at breakfast, we'd have on Wixie 1260. That was the big boss radio station. Larry Renari, Ranieri's Raiders. Oh, my God, I can't believe I remember this dude's name. He called his fans Renari's Raiders. And I think his first name was Larry.

A (39:08)

Larry.

B (39:09)

It was Ranieri, and he was the morning guy. And I would. Whatever jokes he told. I would go to grade school and I heard a joke we see 1260 this morning. And I would tell the joke to my friend, I'd remember the joke and they would play, you know, paint it black. Like this era Rolling Stones is what I. What I first heard, like my first 45 was you ain't seen Nothing yet by the Blues Magoos. That was the first money I spent on a actual 45. And that. And that's Life by Frank sinatra. Both those 45. Yeah. I would put them on my record player, just like groove out. I'm like eight years old. Seven. You know what I mean? So, yeah, I'm. I've been a fan my whole life, but my brother, more of a Beatles fan. We're both more. More Beatles fans. But yeah, we listen to Rolling Stones all the time. They're great. Who doesn't like the Rolling Stones?

A (39:59)

So, so, so over the years, because this is what I love about it, and I feel like I got to get into some of the facts about this to really get the. Get the conversation rolling. Because this is like. What's so cool is we did the record right before this, which is out of our heads. And I think that I did that with Fetterman. Big shout out to Fetty Wap and. And I'm pretty sure when we talked about it, because it might have been only a couple months ago, that that was one of the first records. They started writing their own material. This is the. This is the first album entirely of Jagger Richard songs. It's a huge step away from the early identity as blues R and B interpreters. It made the Stones feel like true album artists, not just a singles band, which is what we said the record labels wanted. It had Brian Jones on it, rip, who is the secret weapon, you know, the sitar, the dulcimer, the marimba, the harmonica, the organ. Yeah, it's like basically every instrument that looks like it came from a haunted antique shop that maybe can conjure gremlins.

B (40:56)

He was the guy that will give the weird instrument to Brian and he'll play it. He'll play the odd thing, you know, he'll give him a trash can lid, he'll bang on that and make it sound good.

A (41:05)

I mean, what's so cool, though, is like, because I love stuff off of like my real upset. Not obsession, but I guess fandom starts and where I really get to respect them is when they get to like let it bleed in a couple years. I love Gimme Shelter. I think I love seeing a band do this kind of transition in such a short time. Where it's like, here is the Bends by Radiohead and now fuck you, here's okay computer. And the next thing we're gonna do is gonna blow your mind and be so different. Different. It's what Miles Davis did. It's what, it's what the Beatles did. And.

B (41:41)

And you want to see an artist grow that you love.

A (41:45)

I mean and you want.

B (41:45)

You want to see how they grow and enjoy the growth with them and have them turn you on to things. Why they get turned on to them. That's one of the joys of being a fan.

A (41:53)

So I, I have this new joke I'm working on which is like every band has a moment where they go gay and it's like just lame. You're like, oh man. You know, like when you too like they fucking. You could say lemon when they did the electro. But the big gay thing is when they gave us that free album and Bono just jammed his. His into everybody's iPhone. Do you remember that? So we all got that shitty album ever.

B (42:18)

Well, I don't know. I wouldn't call it shitty, but I will, I will.

A (42:21)

It's not. Drew Carey did not say it. Drew Carey did not say it. I said it. I did not want it. I love you. You two. But that was wrong. Right?

B (42:30)

The very idea of automatically planning that on every single buddy's.

A (42:36)

It was hard to get off.

B (42:38)

Yeah. Like that. I was against that. Like that was to do that to somebody and then you're gonna cause animosity to people that are even like casual fans. Like you don't want to do anything.

A (42:50)

No.

B (42:51)

Forced to rock and roll fans. You don't want to say. You must because rock and roll is so anti authoritarianism anyway. Hopefully if you're doing it right. And then you got to be like, you're like, what? You're forcing this band on me? Like. And yeah, it's just.

A (43:09)

It just felt. It just felt dirty and more people got mad about it.

B (43:13)

Corporate money grab.

A (43:16)

Yeah, but. But that's the thing is that I have this belief that like every band has a lame moment. And I mean I go through the audience, they start shouting out and. And I tried to figure it out. But this is the other thing. When I was coming up with that bit, it's because I went to go see Nine Inch Nails at Coachella and I was like, dude, he's never. He's never been lame. Like, he's had complete control of Nine Inch Nails. So every morsel of the look and the album, even when it doesn't sell. And then my buddy goes, well, what about the Beatles? What about the Rolling Stones? What about Bowie? And I go, oh, well, they. They've been gay the whole time.

B (43:46)

I'll tell you. The Beatles. Mom, I know what you mean by gay. I don't use gay as a situation.

A (43:50)

I'm not bad. No, no, no. But it's like, dude, Bowie is male and female. It's like. Like it's lame and it's cool. The Beatles, I want to hold your hand. That's the lamest ever.

B (43:59)

No, no, I love it.

A (44:02)

And then the Rolling Stones. This is a moment where they could have gone if they kept being. If they didn't have pick up the bad boy image, which is what their manager said. And this is like the first record where it's like, you know, it's like. Yeah, it's like there's so much. So much.

B (44:20)

There's so much misogyny on this album. I'm telling you. Stupid girl. Like, as exhibit A. Yeah. Like, the Stones had a lot in their career, but this is where they're like, oh, we can just do our. We can be our. The guy from the pub that we all are. You know, like, they'd be the. They're the lads that go to the pub and get drunk and pick, you know, try to pick up chicks. And that all came out, out on that album.

A (44:47)

Yes.

B (44:48)

You know, where that. That mindset in the 60s, especially of, like, oh, yeah, girls are for. And, you know, parties are for partying.

A (44:57)

Yeah.

B (44:57)

And, you know, if a girl breaks up with me, she made a mistake because I'm the greatest.

A (45:02)

And the Beatles can be the clean cut boys because they're. They're just. They're just easing into the bathtub like an elderly man being. Being scrubbed down. Like they're getting cooler, but it's like a slow decline. But, dude, the Stones go boom. Because this is what leds to all of this. Like this. So the Stones form around their love, of course, of American blues. Why am I talking about this? We talked about on this, on five records. Like we said earlier, they're albums before.

B (45:27)

You never know when somebody's new to the show. You might have a lot of new fans. Because I'm on the show.

A (45:32)

You Know what? You're welcome. Welcome. You're now a part of the Felice army.

B (45:36)

Go ahead and repeat yourself.

A (45:37)

Perfect. So the Beatles and it's important for this.

B (45:39)

It's important for this record anyway. Way. And we had some.

A (45:41)

It is. It is. The Stones form around their love about American blues. Muddy Waters, Chuck. Barely How Chuck Berry. Howlin Wolf, Jimmy Reed. All albums before are basically covers. Very heavy. The Beatle. By 65, the Beatles had raised the bar. Fans were expected to write their own material. And Jagger and Rickards are pushed by their manager, Andrew. I'm gonna his name up.

B (46:01)

Luke and Andrew Lou Goldham.

A (46:04)

Okay, Perfect. He's and he says become a songwriting team. Team satisfaction in 65 proved they can write a massive hit. They entered RCA Studios in Hollywood with engineer Dave Hassinger recording in the late 65 and early.

B (46:17)

That's the guy. Dave Hasinger is the guy.

A (46:19)

Yeah.

B (46:20)

But Blue golden wasn't a technical producer. He's big idea guy.

A (46:24)

Yeah.

B (46:25)

You know, he's the guy. He's a guy. This sounds good. This. Can you make it sound more like blah, blah, blah. And Hasinger's the one that can say, yes, I can make it sound like this. And I'm going to work the knobs to make it sound like that.

A (46:38)

I love it.

B (46:39)

He's the guy.

A (46:41)

Original title is. Is put up was could you walk on the Water? But the label rejected it because they thought it was too controversial. Final title, Aftermath. It sounds like the Damage after a party, a breakup, a war. A really a tough, rough showcase at the Comedy Store that I've been through.

B (47:01)

Yeah, we all felt nervous.

A (47:02)

We've all been there. Mick Jagger on this album, he plays a sneering narrator, wounded lover, social critic, creep clown and exhausted young man. He's becoming way more theatrical and cutting as a lyricist. He's also playing harmonica. Keith, of course, is. Keith helped define the riffs and rhythmic attack. Played fuzz bass on several of the tracks. Brian Jones, like we talked about, man, played every goddamn instrument under the sun. Yeah. This is one of the last major creative peaks before his role in the band declined.

B (47:31)

Yeah. When he was. When he was awake during the production of Aftermath, he was great. But a lot of times what I've read is that he was already big into drugs and a lot of times he would just be passed out and they'd be waiting for him to come to so they could basically. And then that's why Keith Richards was played so many of the guitar riffs.

A (47:52)

Yeah.

B (47:52)

Because even then Brian Jones was like getting Heavy in the Drug and I don't think Brian Jones. This is just what I read. So I mean that Brian Jones was unhappy because he's the founding member of the Rolling Stones and he wanted a blues band. That's what he wanted to be in.

A (48:11)

But Drew. But then he's the guy bringing the marimba and the sitar. Like maybe not bringing the studio until everybody can play it it because he's

B (48:19)

so creative and he wants to contribute. But he was kind of bummed that they were taking this rock and roll direction is what I heard. And he was getting. That's why he distance himself like emotionally and like, okay, I'll go to the studio and I'll have fun with everybody because these are my pals and I like making music with these guys. But it's not the music that I love the most. I love the blues most. But yeah, let's around while we're here because they're all creatives. You know. The only reason I brought up a sphere earlier. I'm going to bring that back. Is that 16k, if you go to nugs.net and all you do, 40 bucks. 40 bucks download by the live stream of Saturday night show this past Saturday, which was April 20th. 25th. Yeah, 25th. Saturday the 25th. And fast forward to the end to the encore. If you've never seen Fish and from the app on your phone nugs.net airplay it to your big screen TV, crank it as loud as you can and you're going to have the best time. Like there's nothing like it. I was telling my son was just turned 21 and I dragged him to this fucking Fish concert on Friday. He's like, I don't want to go. If you hear their studio stuff, you'll hate them.

A (49:36)

I like the Stones. I mean the Stones have like three records that are like amazing but.

B (49:39)

But you gotta see them.

A (49:41)

It's all the live, dude. It's all the live always.

B (49:43)

And I told him, I said when I grew up, I was born there was. I had a black and white TV, 19 inch screen. Everything was in mono. Stereo records came out when I was in grade school. Like I. This is like amazing to me that I get to see like this at the sphere with 160000 speakers. They darken the thing once and making that sound go around my head like Dolby Atmos. It was the craziest show.

A (50:09)

Yeah, that would be a fun band to see. I I'm. I was like I was in Vegas and I had a night off and it was the. I don't want to say the Eagles. Eagles were playing at the Sphere. And I was like, I just saw them in the Garden. I don't think they're the band I want to see first at, you know, Eagles, like, at this. Musically, I bet they're amazing. Dude, they were incredible at the Sphere, the Garden. But it's like, if I'm gonna go see, I haven't been to the Sphere. I wanted to be like Tool, Radiohead, something like Fish. I would go see Fish. As a passive fan of Fish, I would go see Fish or even.

B (50:43)

And honestly, you would walk out. If you got to see if you can find your way to go see them this weekend and grab a ticket, you'll walk out the biggest Fish fan in the world. Because they're just that mind blowing. And Metallica is coming in October. I know, but this idea that, that I'm bringing it back to Aftermath, I swear to God, this idea that all of a sudden, if you're a rich guy, hip, and you want to get. You're getting audio magazines in the mail, catalogs, you're getting a stereo when stereo first came out, and you're getting a quadraphonic sound system when that comes out so you can listen to who's Quadrophenia, and you want to listen on the American version, there's just this short period where things started to click and they want to release the stereo version and this album. If you talk to, like hardcore fans, they want to know, do you have the UK version? Do you have the American version? There's only 11 tracks. It's 11 tracks on the American version, 14 tracks on the UK version. Different opening tracks. They drop Mother's Little Helper, they add Paint It Black, Drop a couple other songs that you don't even miss, really. But yeah, it's like a really a phenomenal, like, seminal album for the Rolling Stones. And really important. I. I go on Tumblr still all the time and kill time keeping it alive. Drew Doctor's office, you know, at the coffee counter waiting for my order, I pop open Tumblr. That's my social media, because I don't have to give any politics or anything. And there's a picture, really great picture of John Lennon at a record store holding a Aftermath album and, like giving the thumbs up to the thing. Like, he went out and bought this cool album, you know, speaking of John Lennon, he. He said once in an interview, and this is honestly, not to put the word, loving the Rolling Stones on this show and all the time nothing but love for the Rolling St. Said, yeah, the Rolling Stones, they were always copying us. He said, I'm paraphrasing if we did. Yeah. In their defense, everybody was copying the Beatles. So they do Revolver and then the Rolling Stones want to come out with this album. Like, okay, we can add in a sitar and get that sound too. We can add in a thing. And after they did Sgt. Pepper, the rolling Stones came out with Her Majesty. Satanic.

A (52:57)

Yeah, yeah, yeah. Stuff on it, which has got some good stuff on it. It's not great. It's not perfect.

B (53:01)

Two songs. That's their worst album. I think the Rolling Stones think it's the worst album too. They. Andrew golden was gone. That's the first time we did without him. They were all doing drugs and they groupies in the. In the recording booth. Nobody told them. No, nobody said. And they were just like, oh, yeah, that's fun. That's fun. And they threw in the kitchen sink. And it just is not a great album unless you're a romance.

A (53:25)

But you got.

B (53:25)

You got.

A (53:26)

You got a couple base hits, you scored some runs, you lost a game. But, you know, you got.

B (53:29)

Yeah, we learned thing. We learned a couple things.

A (53:32)

Yeah. And I think you mentioned something that I want to. I want to jump off.

B (53:36)

The Beatles did. The Beatles did Magical Mystery Tour, which was a dis. Like, the album's good, but the TV show was a disaster. They aired it in black and white, and when they first showed it in London, everybody had black and white TVs. And they're showing this cool colored movie that they made where they were all high and.

A (53:53)

And that Drew, could have been the moment if it wasn't for that record being so good. That would have been the Beatles moment where they went, yep. But they. But they've been gay the whole time because the album was so good. You mentioned something I want to jump off on is what was going on in the world and in music when this came out. This is 66, so swing in London, fashion, clubs, motels, photography.

B (54:13)

Yeah, they recorded it, like, in October. Part of it in, like, October. I was looking up facts before I. Because I knew I was doing the show coming up. And then they recorded the rest of it. It was like seven days altogether. But they. Part of it was in the, like, October ish. And some of it was in springtime Ish.

A (54:29)

But think about this. Think about this, Drew. Like, what just does it get. Get our brains going is like, this is what. This is what came out. Yeah. They. So they're Churning this out. But think about what came out before this, which is the Beatles. Like you said, Drop Revolver. Dylan released Blonde on Blonde. The Beach Boys release Pet Sounds, which is always number two on every one of these lists because it is fucking amazing. Yeah. Pop albums are becoming serious artistic statements, not just collections of singles. Vietnam War anxiety is growing. Youth culture has become louder, stranger, more political and sexually open. Wish we could get back to that. And the Stones fit the moment perfectly. They sounded like a house band for a generation, realizing adulthood was a scam. They're like, like, you know, it's like this is like. This is like their. Their My Generation album. You know what I mean? It's like. It's a real you to everything that was going on in pop music. And I think, how could it not. How could you not hear this and think, okay, yeah, the comparison between the Beatles and the Stones or the Hollies or any of those bands, that's for. That's for the Birds, dude. That's for the Birds. And it's.

B (55:34)

That's for pointy head academics to do that. Like, honestly, like, what are you doing? Yeah. And I mean, just enjoy the albums.

A (55:41)

So. So the one that I pulled up and the one I've done the research for, I hope this is the one that I might have fucked it up. But which one did you do? UK or us Because I have. US have uk.

B (55:50)

Because they're such. They're such. They're like twin albums, you know, One's the mono, the UK version, 14 tunes. They had a jam. They had to make the grooves smaller and narrower to fit all that information on an lp. There was only so much stuff you could put on an album. And they had a. And they. That's another reason they cut it down to 11 in the United States. The get. The sound was better because they could. They didn't have to. They could make the grooves a little wider and get a little more fidelity on it for people that could hear that stuff and even make sense of it. So there's that. And you. You have to give. I'm glad you mentioned Dylan and because honestly, it was. I think you have to credit Dylan for opening up everybody's minds to, like, oh, we can. We don't have to write about cars and girls every single song. We can write poetry about feelings and emotions and what you're going through in life and teenage angst. And it doesn't have to be Chuck Berry talking about skipping school. Like, all those songs are great. But then once Dylan comes along and popularizes not that. And like, okay, we can do that kind of stuff. Then the Beatles made a change. And then also you bought. Mentioned the Vietnam War, which was the glue that was holding rock and roll together. Vietnam War and also lsd. There was a pre. There was a pre Beach Boys, pre LSD and post lsd. Beach Boys. There was a pre LSD and post lsd. Beatles. There was a pre lsd, post lsd. Temptations. Love the Temptations, but there's the psychedelic. Temptations are my favorite temptations.

A (57:28)

What is that? Like, Papa was a Rolling Stone type,

B (57:31)

like, yeah, Cloud 9. I wanna.

A (57:36)

You made me laugh. You made me laugh because I just. Is this funny. Like, I just thought about this where it was like, you know, rock and roll back in the day. Like you said, it's about like skipping school. So it's like Chuck Berry's like, we're playing hooky. Yeah, yeah, we're playing hooky. And then like. Like 30 years later you have Guns n' Roses, like, Mr. Brownstone, Rob Zombie's taking it so far. Where it's just like, yeah, Monster trucks and titties. Monster.

B (58:04)

You know that there's that song rock. Like, I'm gonna tell you about the most. One of the most innocent songs that you might think of. Rock around the Clock. Bill Haley. In the comics, grandparents tune kids in a sock hop. Rock around the Clock. That was the. That was in the sound, the opening title of a movie called Blackboard Jungle that came out in 50 whatever. And when they showed that and only like if you were in a rock and roll back then, you had a leather jacket, you wore boots, recent hair,

A (58:35)

you were a. Yeah, you look like an outsider.

B (58:38)

You were a punk and a gang member and a high school dropout. Like, that's the kind of kids.

A (58:42)

Now you would look like you're in Mumford and Sons.

B (58:44)

Yeah, but back then you were like the. That's the kind of people that were into rock and roll. Like literal rebels. Like the kids who were sniffing glue and stealing beer and that those are the rock roll fans. And when Rock Roll on the Clock came out, it was about that. Like a high school gang member how this rough inner city high school and they tore theaters up. Like there was theaters that refused to show it because kids would go in there and just like start fights, rip the curtains out, out, be drinking in the theater, all that stuff. And when Rock around the Clock, it wasn't a hit until it was in that movie. And all the kids saw it at this. In the title of Rock around the Clock or in blackboard jungle. Sorry. And then they heard about. And then it became a hit. So at the time it was like a rebellious you song. And then now it's obviously, it's like cotton candy. I mean, that you want your 5 year old to learn.

A (59:37)

Would do the twist. Like, I love. I'm a huge Otis Redding fan, and I mean, he's my favorite.

B (59:43)

That was considered like a sexual, like, dance. Doing the twist. Like, whoa, I have. My parents are here. You can't be doing the twist in front of everybody.

A (59:51)

We had. Remember we. Remember when we had the Lombarda. Remember the Lombarda? Remember when the forbidden dance almost took everybody out? Like. Like tuberculosis? No, see, I love Otis Redding. Otis is the greatest. And there's a couple of those songs where it's like, you know, do the mashed potato. Let your backbone sl. Like, what the. Is that? Like, that was like, edgy, like, telling us to do the mashed potato.

B (60:15)

Oh, you want me to. We're supposed to wiggle our butts around. Oh, my God.

A (60:19)

And.

B (60:20)

And that was considered, like, super racy. The idea of you, like, shaking your hips like that. Like, are you trying to get people to think about when I. I went to a Pentecostal church when I was in junior high and it was like, yeah, no dancing. Is that.

A (60:33)

Is that like the snake dancing?

B (60:34)

Is that where it's like, no, we weren't snakehand. It was more like a preacher you see on tv. Like the Trump people right now, the evangelicals that are like, talking in tongues. And that's the church I went to. And the idea of like wiggling your hips and dancing sexy with each other. Forbidden, like, don't even think about it. It was like footloose.

A (61:01)

Have you seen Drew right now on the Internet? Because that movie Michael just came out. The Michael Jackson movie.

B (61:08)

I haven't seen it.

A (61:08)

Which. Which is breaking records because people love Michael like that. And there's all these clips I'm getting on my algorithm on Instagram of just like. And it's specifically black people because it's not. White people would never do this. But it's just that when they doing the music scenes, the whole theater is like dancing in the thing. People are going crazy. And it's. It's great. And I was like. And like, I write all these funny songs. I built like a studio here, and I'm writing songs over. Over, like, viral clips. And it's just like, you know, that's more of a black person thing to do. White people didn't do that for dirty Dancing.

B (61:46)

I feel like. I feel like I have a lot of talks with friends of mine, especially lately, about, like, toxic masculinity and the patriarchy and things like that. And white. White men in general, we're so. We've. We've taught to, like, be so repressed and not show emotion and keep it buttoned down. And women are allowed to express themselves any way they want. They can wear short hair, long hair.

A (62:16)

They can drink daiquiris. They can drink daiquiris and it's normal. I want it.

B (62:20)

They can wear a. They can wear a. They can wear T shirt and jeans. They can wear a frilly dress, like whatever in the mood for. Men can only do one fucking thing. And white men especially can only do one fucking thing. Or they're afraid they're going to make fun of. Or somebody's going to say, but it's not manly. If I, like, get up and dance, I think black culture, Mexican color, all these other cultures are like, yeah, I'm going to fucking dance when I feel like it. I'm going to show my emotions. That's so much healthier to me than walking around like, oh, we can't get up and go, dude.

A (62:53)

It is.

B (62:53)

Is.

A (62:53)

You know, I grew up in the Washington, D.C. area. I grew up, you know, back when it was like, D.C. was 90% African American. My dad, white Jew, from. From Philadelphia, Pennsylvania, like Harrisburg area. But he really put like, black culture. I mean, just. It was like one. I grew up in the D.C. area, so it was everything. I mean, it was like a melting pot of everything. But the, you know, to. To be around, like, and see, like, basically like, like how every different race and color and creed lives. It's like, yeah, man, white people are the most repressed. And I mean, and I've talked about this on stage is. We have, we have, you know, musically, you know, I mean, not just Elvis, but it's like white black music has been stolen. I always say that when I. Because I do. Everything I do is a comedy music. And on stage I'll be like, everything you've ever listened to a black guy did first, and it was better, dude. Even Mick Jagger's moves is Tina Turner,

B (63:50)

James Brown on the table, dude, but

A (63:52)

it's Tina Turner too, dude. It's. You can't say it's not. Listen. And there's nothing wrong with that because. Because you could do it. You could do it one of two ways. You can. And we're gonna get into the album, I promise you, to everybody, I promise you. We're Getting this album.

B (64:05)

We're having too much talking about the album, dude.

A (64:07)

But here's the thing, and this is. There are people that steal black music and do it the wrong way, like Vanilla Ice or try to think Justin Timberlake. And I'm not saying some of the stuff he did was great, but I think some of it's also. That being said, this is my opinion, not Drew Carey's, Everybody. But then some people do it and give it the honor that it deserves, which is somebody like Rolling Stones. It is somebody like Eminem or. Or it is somebody, you know, Chet Baker, you know, anybody. That. That. That is. That is like, that leaves the footprint in the past. And. And also, like, you know, I do. That's why we. We had Kenny Wayne Shepard on the podcast. A bunch of.

B (64:45)

If you. If you're gonna do soul music, I don't care what your background is that the key word is soul. Yeah. Like, you gotta bring some feeling into it because that comes from. That comes from black church. Oh, yeah, that comes black. And nobody sings in black church unless they're feeling Jesus and they want to express this emotion. And when you get.

A (65:05)

You better go full Joe Cocker. You better go full Joe Cocker.

B (65:10)

And you have to believe, like, whatever your. You're coming from, you have to be able to release all the repression in you and let it out and show true feeling or it's going to sound false and inauthentic. So the Righteous Brothers, Blue Eyed Soul. They were called the Righteous Brothers because black guys would go, that's righteous, Brother. They tell them how righteous they sound. That's why they got the name the Righteous Brothers. That's why they took that name. Joe Cocker. Another guy. There's Janis Joplin.

A (65:40)

The girl. The girl from the Eurythmics. Oh, my God, what is her?

B (65:43)

Annie Lennox, dude.

A (65:47)

Well, because there's paint. Because that's the thing is you got

B (65:50)

to show the pain. But if you're like, there's. I'm sorry, like Vanilla Ice. He was like a truly. A copy. Of course, nobody wants to see a copy of something they already saw. And that's why Eminem sounds authentic. He was coming from a. All this stuff comes from a real play. That's the distinction. So, like, if you're gonna be. If you're gonna do soul music, you gotta have soul, man. You gotta. Everybody has soul, but certain demographic of people repress it because they think, oh, I don't want to be.

A (66:19)

Soul singers are singing from pain, dude. Otis Redding, I think, died at 27. The looked like he was 52. Do you know what I mean? Like, dude, yeah, it is. This is. I have a joke about this, too. That is not perfect yet. But it's like reggae music is. Lyrically, is as real as shit from, like, outlaw country N.W.A. it is like. It is. It is a protest music, but. But musically and sonically, white people hear it as like, sitting by the beach having a Corona. But realistically, every song is like, you know, my family died of mesothelioma and we didn't do the class action lawsuit because we don't have electricity. And that's why white people should not do reggae, because there's words. No. What's this? It's about pain. What pain have white people gone through? It's like, if it's about Disneyland, if

B (67:14)

it's about pain, sing your pain. Like Janice Shopland saying her pain. Yeah. When Joe Cocker covered. She came in through the bathroom window. You know, here's a guy showing some emotion. Pain, pain.

A (67:31)

How deep is your love? Dude, dude, you don't think hall and Oates has experienced pain? They can't even talk to each other anymore.

B (67:37)

And it's like, it's got to be authentic. And if you're a music lover, I mean, you'll listen to everything. I like, I listen to. I have such wide ears. I'll listen to anything that sounds authentic. I was in a poker band when I was in high school. I played trumpet in high school and I. For a month, I was in a poker band. My mom made me quit because she didn't want me being.

A (67:57)

The band was called the Unfucked Pokeballs. Yeah, that's the David joke. It's not mine. That's not my joke.

B (68:03)

Yeah. Called the Poke Jacks. And I auditioned when I was 16 and my mom. My dad was kind of a alcoholic drinker, and my mom didn't. Who had already died. My mom didn't want me being in bars, so she guilted me into quitting. So I just rehearsed with these guys for like a month, and then I had to quit. And they were like, man, we've been rehearsing, we're going to start playing out. But, yeah, I love poker music. My mom grew up with Hank Williams and Jimmy Reeves, Jimmy Reed. I listen to country music. My dad likes swing music. My oldest brother likes soul music. My middle brother likes rock and roll. I mean, I grew up on everything Drew.

A (68:41)

When I was. When I. I was.

B (68:43)

It's got to be authentic.

A (68:44)

When I was. My whole life has been Music, obviously. You know, you talked about earlier putting a record player, Putting a record on and like singing in the house. Dude, every day I used to run over to school and put a Iron Maiden or Guns N Roses or whatever the it was and sing into a hairbrush. And if you think getting caught masturbating dad's. Imagine what it's like when your dad catches you singing Sweet Child of Mine, you know, into a pillow.

B (69:06)

You know, rather be caught jerking off.

A (69:10)

But, but the, the. The moral of the story of what I'm trying to get to is that I remember a moment where I was like, you can only listen to metal. And then I started getting into hip hop because I started becoming obsessed with like black culture. Because like New Jack City and all of these movies In Living Color, all the, you know, Public Enemies, Hip hop was really becoming this big thing in the D.C. area. And in my sixth grade elementary school class. And I remember taking all my metal tapes and all my T shirts, which if I still had them, man, they'd be worth so much money because I have so many vintage T shirts now, that being said. And I gave them to a friend and I was like, I'm a hip hop fan. And it wasn't until I got to high school that I was like, oh, and it was Wu Tang. No, it wasn't Wu Tang. I think it was like A Tribe Called Quest that was like. Or not even that, but it was like Rage or something that made me go, oh, I can listen to both. And now you can listen to everything now. Dude, if you. I'm so. I'm. Dude, I'm telling you, Drew, dude, you talk about authenticity. I love this woman so much. This chick Ray. Dude, her. Her album is so real and authentic. And even at the end she's like. She has a seven minute song where she just thanks everybody that worked on the record because she's an independent artist and you can't not root for it. And it's like people even look at me and go, you would like. You like Ray or you love. Love? Dude, I love the Ink Spots, the Ship. That's like, if I didn't.

B (70:27)

How do you not like those guys?

A (70:29)

Because it's real, it's authentic. And I think that's what's so cool about. They're great, great, great. But we're talking about this record. Good.

B (70:36)

Another thing about Aftermath that you have to consider. So they're blues guys. They come out with, they have a. Rolling Stones have always been in their heart a blues band. Blues based, like every Rock and roll. And besides the Vietnam War, civil rights movement was just happening.

A (70:53)

Yeah.

B (70:53)

I mean, there's marches in the streets and protest. And I grew up, when I was 12, I was delivering the Cleveland plane dealer. I was a paper boy. And I was. I've been reading the paper since I was 12 years old. You know, before I go to school, I deliver a paper and read it. And all you read about is protest against the wars, civil rights movement. Why is this happening? I would question. I was like, what kind of society, Even as a child child, like, what kind of society we living in and how come black people aren't on TV more. Yeah. And like, all the things where people are asking, I too, was asking as a child because that's. That was the first time people were openly talking about that and criticizing that. Like, why is. You know. And then, you know, there's these, like, when I was a kid and like, during this time, there was a. I forget the name. Some big politically strong Christian group, family group in the South.

A (71:46)

Is it George?

B (71:49)

No, some. Some group that was in the south that would, like. If there was the first black lead in a TV show was a show called Julia. It was a half hour comedy and she played a nurse. So they put a black woman in the lead and gave her a profession. And these. This racist family group that in the south was just like, we're not watching. We're going to boycott your station if you show this show. And they had such political power, like, the networks were like, oh, we're going to lose a third of our audience if we put this kind of show on. And TV and radio and everything back then was so racially divided. Like, there was a black station and a white station. And that's why if somebody came out with a black hit on the black radio station, they'd have to have a white guy cover it and, like, steal it to play. Pat Boone would cover, you know, Little Richard, Wap Babalub, Wap Bam. He covered Tutti Frutti so they could get it on the white stations because the black state, the white stations wouldn't play Little Richard's version of it. That's how bad it was. And, you know, bands like the Rolling Stones and rock and roll in general, like, helped erase all that. And because Stacey's like, fuck, everybody likes this because, like, nobody's a. Nobody's a. Nobody's afraid of being seen listening to black music now and being ostracized in their school because everything was so racist. So everybody would listen, just like you, you know, It's a. It was a. It was a really, like a bad, dark thing. But the civil rights movement had a lot to do with it. If you want to. If you're a fan of this, this pocket, you should watch the Tammy show. Tami. There's a 4K copy on YouTube. You don't have to download it and just go to YouTube. Look for the Tammy show. It's got a concert from 1964 and it shows the Rolling Stones following the James Brown, which is worth the whole time. Suck to watch this. And then there's another one for double feats called the Dax Bolt R B Review. And it's a. Live from Copenhagen or Norway somewhere. But they, like all the. All those countries up there were really into the civil rights movement. They used to send new screws over to like, interview the Black Panthers and their school programs and talk about, you know, the school that they started in the neighborhood or the free lunch program they started. And, oh, these poor people don't have any rights compared to everybody else. It was a big fascination with Nordic countries about how badly we were treating people over here.

A (74:19)

I know.

B (74:20)

And they loved. They loved soul music and R B. And it was like, you know, Sam and Dave and all those dudes. Anybody that was on stacks or volume did this. And they filmed a live concert from there. It's just great. Like, that's the kind of era that this album came out of. So they can come when they come in with these, like, blues. Even the slow song, I gotta look up the. The track so I don't get.

A (74:40)

Let's talk about. Let's talk about some of the tracks, dude. Because I got some fun.

B (74:44)

Yeah. Dry. High and dry.

A (74:46)

You want to start there? Oh, off. Dude.

B (74:50)

It's okay. I would have. I would have played it on my show if I would. If I had some other slow jam. It's pretty basic. It's not challenging at all musically to play or to understand. And then you have like, Under My Thumb.

A (75:05)

Let's talk about this little. Let's now. Let's talk about this. Let's focus. I want to focus on a couple of the. It's not.

B (75:11)

It's not easy living on your own. Like these sign of songs. I'm just like, holy. What are these songs?

A (75:16)

There's three songs I really want to talk about. Yeah. On this record, obviously Under My Thumb, I'm on the UK one, which is track four. This is a signature track by the Stones. Brian Jones marimba gives it that eerie, hypnotic hook. Lyrically, it's about Power reversal in a relationship. I mean, it is a deeply creepy song. Under My Thumb when you really hear super creepy musically, it is cool as hell, though. And I hate to say it's one

B (75:39)

of the most misogynist. This is one of the most. Besides saying something with Sticky Fingers and all these albums, this is one of their most misogynist songs. Supergirl, Under My Thumb. What are. There's two. What are the other two? They're just like, what the. Is your. Who broke up with you?

A (75:56)

The groove is so good, it almost tricks you into adding along to emotional dictatorship. You know what I mean?

B (76:01)

Sorry. I'm sorry a girl broke your heart and you're famous, but holy. What are you doing?

A (76:05)

My question for you is, I'm just go under Under My Thumb. With all of the control and chaos on the Price is Right and hosting it. How do you keep contestants from turning the stage into, like, a hostage situation? Because is.

B (76:19)

It's never happens.

A (76:20)

People. No, but you know what I mean? Like, people are. They hear their name, they run down. I mean, what have you had. Ever had a contestant? You were like. You looked at security and you're like, hey, guys, keep an eye on this one. They're. They're jacked.

B (76:31)

No, no, Everybody's so. It's such a positive, gleeful. We're all in this together. We're all supporting each other kind of place. Like, if you're ever, ever in the rave scene with Plur and everything, that's kind of what, like, the prices. Everybody's rooting for a stranger to do well. Like, there's been people that have. Like, there's a lot of people that lose their shit, but that's why we pick them, because we want them to lose their shit. And it's great. Like, I get such joy out of watching somebody have their best, their most joyous day where they can just take off the shackles and be happy without having to worry about being judged.

A (77:08)

What a rewarding job. What a rewarding job, man. What a great third act for you to be able to do that because you're such a nice guy and you've worked with so many great people and you've helped a lot of people, people with your fame. You know, you've. You've reached out and pulled people up, and now you get to pull out just regular American citizens, which is the reason why. And I'm the greatest of this.

B (77:27)

They're the stars of the show.

A (77:28)

It's like, I remember when. When the Capitals won the Stanley Cup. It's like I wasn't happy just for me. I was happy for the people that I grew up with who have through the middle class. People who need this fucking championship. Same thing when the Cavs probably won for you. It's like, it's for the city, man. It's for the people because they're the ones that buy our shit and we followed our dreams. They need this. So I'm not saying that the people on. On Price is Right haven't followed their dreams, but it's like, dude, they'll talk about that for ever.

B (77:58)

I hope so. It's a great. It's a great thing. The whole every show. I've never had a show where I'm like, I'm looking at the clock. Give me the out of here. Like, I'm never. It's like doing a killer. It's like every day in the set on the Price Right is like, like Saturday, second show at a comedy club.

A (78:18)

Oh, I love that, dude.

B (78:21)

I love that.

A (78:21)

They got a little bit of. They got a little bit of them.

B (78:24)

No, Friday nights when everybody's been work. Friday I've done Friday, 10 o' clock shows. Murder. Everybody's been drinking all, you know, they're working all day and they drink. And Friday, second show has always been like, traditionally tough. But Saturday, if there's like three shows, Saturday, you hit that middle show. You can't wait to get on stage. You just know it's going to be great. Yeah, that's what it feels like.

A (78:45)

My other question to you, because this is a goodie. I really like this one. I was hoping you'd give me like a crazy answer in a story. So this is a good one. This is a goodie. Under my thumb. You do improv. You work with improv. You work with some of the coolest people. Nobody is supposed. Nobody is supposed to dominate a scene, right?

B (79:01)

You can dominate a scene if that's the scene.

A (79:04)

Sure. But what do you think?

B (79:05)

That's the game. Then go ahead. But you gotta feel it up.

A (79:08)

Of course. But when in. Is there a moment where you go, oh, he's got it. Let's just follow this dude. He's got the whole thing. So when all the time. So. So it's like, so what do you do with. But have you ever done it where someone tries to put the whole sketch under their thumb, but it's like it's not working? Do you. How do you pivot nicely?

B (79:27)

Well, everybody I work with is so good at doing like improv games and improv that it's just an happen. Like if everybody's on the same frequency and knows the rules of improv, how to yes and people and not deny and accept every thing that's added. Like some guys will just add like some people. My friend Heather, Heather Campbell, I saw her at UCB once with her partner and they were doing a courtroom scene and she started like giving her summary of the case to the judge. Your Honor, what we have here. And it was about a little scene that happened like two scenes earlier, they were doing 20 minutes and she starts doing that, you Honor, clearly my client was blah, blah, blah, blah, blah. And her partner took a seat and started acting. Oops. Started acting like he was on the jury. And he kept on moving the seat, Miles. He kept on moving the seat and did all 12 people and. And so that was his only contribution is just making 12 different faces. And she. I could see her see him out of her eye and start laughing to herself in the middle of the scene. Because in her. We talked about it later in her head. She's like, fuck, I gotta keep on talking. Like, he just pimped me. And it's called pimping somebody. He just pimped me into talking up here. And she had to keep talking for like, I don't know, it must have been a solid minute and a half. This is a long time to keep on talking on. Off the top of your head. And everybody in the audience knew what was happening. And we were all laughing so hard because he would just like make her talk by just listening. So she was driving the whole scene. But he's the one that had her under his thumb because she couldn't stop talking now once he started doing those 12. And so she was. Yeah, she was stuck. And that was the joy of it. The funny part of it was watching her be stuck, duck and get out of it and ride that dangerous wave. She's a surfer. Here comes it. She's great on three foot waves. Here comes a 12 foot wave and Holy. She's still on the board. Yeah.

A (81:29)

Yeah.

B (81:29)

That's what it was like. It was really thrilling to watch. That kind of stuff happens all the time.

A (81:32)

It's. I watched that Pee Wee Herman documentary and I. What I loved about it was that he's like. I knew there was a moment when he first started doing sketch and improv where he was like, I could just be playing a waiter and a simple look would just take all the attention, you know, to him. And it was like. Which is like, okay, well then you needed to go straight because he had that thing. So it's like, yes, maybe improv isn't for you. Like, I'm not saying sketch and being able to do that, but just like you said, that guy making that decision or dude, are some of the guys that I've watched. Because dude, who's done his anyway before, you know, you were part of it. That was what was on Comedy Central when I first got cable. And so I just lived on Comedy Central. And you would watch the greats just know how to merge. I wanted to ask you this too, and maybe this is an exclusive. Who is, in your opinion that you have worked with and possibly have not worked with the greatest improv mind, famous or not famous? That you, Campbell, really? It's hard. So the minute and a half shouldn't have been an issue at all.

B (82:40)

Now Heather and Campbell's one of the. She's a producer now. She works on Rick and Morty. She's one of the best improv first I've ever seen my whole life. And Ryan, Colin, Mockery, like all the oozling guys, Greg, Probst, they're all great. Like, they're. I mean, you talk about an a team of people, but we all do on the who's lying on the tours, when they tour, they're doing. They do improv games which are really fun and really funny and great. Heather does a thing called long form improv. They don't teach. If you go to improv school, if you want to go to UCB or Second City or Groundlings and learn improv, I recommend everybody.

A (83:22)

I recommend everybody to go.

B (83:24)

I don't care what you do for a living. Take an improv class. Listen, opens your brain up.

A (83:29)

It helped me so it helped me just as much as meditation to get comfortable. Like not even being a stand up comic, but just into interpersonal relationships with people.

B (83:37)

Yeah, if you take it. I don't care what you do for a living. If you're just. If you work in a warehouse and you don't talk to me, if you take an improv class, you'll be much better at parties automatically.

A (83:46)

Oh, my God. Yeah.

B (83:47)

Just. Just saying hello, not making jokes. You don't have to make jokes at parties, but just like, how you doing? Listening to people, social. Like it's.

A (83:54)

Were you an outgoing person as a kid? I mean, Cleveland, like polka band. You must be getting all the girls.

B (84:00)

No, but I was a pretty. I was pretty outgoing and not afraid to say hello and fun at a party because I knew all kinds of jokes and stuff that I memorized.

A (84:10)

You Know, and I. I always. I've always been very, very outgoing and, like, impersonable. And even now, it's like, from. From improv and listening. It's like, whether it's a waiter to the barista or like, an audience member after the show is like. Like, even now, rock stars. I mean, being at Coachella and meeting all these famous people, it's like. Or their management, I'm like, oh, I can keep the ball in the air, dude. I can. And it's not me being like, well, this is what I experience. It's like, oh, my God, you rep the estate of. Of. Of. Of Jerry Garcia. Like, what is that? Like, blah, blah, blah. You know? And then, yeah, I gotta find.

B (84:44)

I gotta find out about everybody.

A (84:46)

Oh, man, it's the coolest. And. And I think, like, okay, who would be. All right. Who would be. Oh, all right, so who were, like. Who would you say are, like, the five? Oh, you know what? I want this to be the final question, but I want you to start thinking about it now.

B (85:00)

Ryan, Colin, Wayne Brady. Oh, my God, Wayne.

A (85:03)

Put them. Put them.

B (85:04)

Great.

A (85:04)

Put them.

B (85:06)

Wayne's not only can improv, but he can dance and sing, and he knows. He knows he can say, do these. He's so good. Like, you. Could. You go to win. Like, hey, do. This is Jonathan Mangum's. Great. Like, there's so many good guys.

A (85:21)

So I want you to start thinking, and we're just gonna be. One of the final questions at the end. I want you to list those five people that you just mentioned and make them members of the Rolling Stones and who they are. Okay? Oh, not yet, not yet, not yet. You got time. No, no, no. You got time.

B (85:35)

Okay. Because we.

A (85:36)

I want to get a couple more songs, and then I want to do some other facts, and then I got a couple questions. I'm gonna get you out of here. All right, So I want to talk now.

B (85:44)

Now.

A (85:45)

Oh, my God, I'm so excited to talk about this. From the US Version, Paint It Black, which is the. The number one hit. Is there a. Is there a darker, more famous song? I mean, it. Is it. Because my question. We could sit here and talk about all the. You know, Brian Jones is playing the sitar on opens. The US Aftermath opens with Painted Black, which I think is a way better intro song than was it Mother's Little House Helper, but. But this sounds like grief, panic, lust, and a cursed belly dancer all got trapped in an elevator. And my question before I ask you a question about your career is that. Is there A better song about, like, war or what is the better? Because it's been used so many times in Vietnam movies. It's like, what is. What is better? Like, there's so many.

B (86:36)

Well, I don't like to. I don't like to think of those terms about things. Like, people ask me if a favorite. Favorite movie, like, or a song. It depends on what mood you're in, of course.

A (86:45)

But no, no, no. I'm all over the place, Drew.

B (86:47)

Right.

A (86:48)

I know this is an interesting podcast.

B (86:50)

Like, there's. There's, like, House of the Rising sun, another dark, like, cover by the Animals that was. That's about, like, might. Might as well be about a haunted house. For being an evangelical when I was in junior high. Yeah, yeah. There's a lot of evangelicals at the time. And now if you have any secret evangelical friends, ask them about the Rolling Stones and Satan, and they'll say, oh, yeah, they're definitely satanic influences with the Rolling Stones. And they'll bring up Paint it Black or Pleased to meet you, won't you guess my name. Like, they'll bring up those songs as examples of how into Satanism. The Rolling Stone.

A (87:34)

Interesting. Interesting.

B (87:37)

That's what. That's so dark. That's one of the songs.

A (87:40)

If you were saying it was Satan Shelter.

B (87:41)

Another one for sure, which is a

A (87:43)

few years after this, which is one of my favorite songs. And you gotta look at Scorsese and tell him. Be like, dude, you don't gotta put it in every movie, dude.

B (87:50)

Yeah, no, you had it.

A (87:51)

You had it in Kundan. It's like, you know what I mean? But the goddamn Dalai Lama, he's walking in wa. Children. You're like, all right. The thing, though, if you was. If it was about Satan. Satan, it would be pro war. This is actually. This is a song about PTSD before people even knew what the. That was. So it's like, this is less like a marching into battle. This is more of, like, what's left to your brain afterwards. Which that's why I think this might be. I mean, if you're going through. You got Fortunate song by Credence Clearwater, but that's like a All along the Watchtower, the end. I think the end might not be as big a hit it, but I think that is probably what, you know, when you think of, you know, it just captures it just as a rock and roll because it's giving me all this shit. It's giving me. Adagio for strings by Samuel Barber. Yes, of course. And it's giving me Ride of the Valkyries, of course. But yeah, I think if you're talking about rock and roll and war movies and war songs, I, I definitely think this might be the biggest hit. This is the one that's like, like you don't realize you're getting. You just think you're getting a cool Rolling Stone song with a new instrument from the eastern block of India or whatever. So it's like, it's pretty rad. Yeah.

B (89:04)

When, when you're like, like I've been. I've struggled with depression in my life and when, when you get in a certain kind of mood where you're just like, buck it. I'm going full dark now. Like, I've been. I've. I've like had such self hate that I've covered up all the mirrors in my house.

A (89:20)

Oh, welcome to being an artist. Welcome to being a fucking artist. In Hollywood.

B (89:23)

I, I'd leave like this much in the bathroom so I could shave. Otherwise, I didn't want to see myself in any mirror. And I'm on tv. I didn't want to. I, I just. These couple periods, I just don't want to see myself. Don't want to hear my name. And I'm just like, lights are off. I'm going to watch up things on tv. I'm not watching anything happy on tv. It's got to be about the darkest subjects, you know, dystopian, whatever. And that's what Paint it Black's about. You know, there's a red door. I'm going to paint it black because I'm so dark and I'm so down from everything in the world. Sucks so hard. I hate my parents. I hate society. This girl broke my heart. Who wants to live anymore? I'm going to get out. I'm going to paint the whole room black. And that's how my, that's, that's how I'm going to let everybody know that I'm going through a psychosis right now. That's. To me, that's what that song is about. Like the darkest part, the darkest night of your soul.

A (90:21)

And thank you for saying that too, because I think a lot of the listeners and myself included, it's like, does it make a difference how successful you are, man? Life is a.

B (90:28)

Life is a journey.

A (90:29)

Life is a journey and you get wrapped in and your brain can, you know, can go in different directions and, and I've been very, very, very lucky. Like, dude, this winter was horrible for me because the. In New York in the five years I've Lived here. It was the first one. We got, like, crazy snow and real seasonal depression. And I was in Europe, and I had the greatest three months of my life, like, you know, doing festivals and, you know, hanging out with all these bands that I love and then opening for some rock stars that I opened for. And then coming back to America and being like. And I was drinking a little bit, you know, responsibly. But then I got back to America, was just so depressed, and then I kept drinking, but now I'm masking the pain. Yeah. And, dude, it's like. So then I was like, all right, I got to give myself a hangover. I got money. Buy a bunch of coke, but make it count. So I went and saw Brian Adams.

B (91:19)

Let me not waste it.

A (91:20)

Oh, I got all coked up, saw Brian Adams. I. Dude, I had a blast. But. But that's the thing, is that it's just to hear someone like you who's had this, you know, incredible, like, life. It's like, dude, life is tough on all of us. That being said, though, this is a great song because it's like, you don't even realize that you're getting it. And it's like, this might be one of the first, like, real. I mean, maybe it is, like, the first real song that's, like, out of all those Brit pop people that's like, man, this is heavy, dude.

B (91:50)

Yeah, really heavy. Yeah, the Stones really know how to.

A (91:53)

They.

B (91:54)

They really know how to do it. And I think they were just like, you know, as songwriters. Okay, you want to sing about. Want to write about emotions, then. You can only write about puppy love so many times now, because now it's the mid-60s, and, you know, we got Dylan and everybody and the Beatles and everybody not singing about puppy love anymore. So I should see. I'm going to talk about real emotions that I have inside me. And, you know, you really. I always had a saying, like, if you want to get to know a comic, let's just listen to their act. I got you work. You work with a guy for. You work with a woman or a guy for a week, and end of that week, you know all about them.

A (92:35)

Yeah.

B (92:36)

Like, really do. Like, like, you're their therapist or something. I know just what happened to you. I know what trauma you have. I know what makes you, what you're afraid of, what you're shy about. Same thing with these guys, like, writing song. When they're writing the songs, like, oh, who hurt you?

A (92:50)

Yeah.

B (92:50)

Or, oh, what were you going through when you. When you did this or. Oh, my God, that must have been happy day for you when you wrote this. You know what? Yeah, this. Full of it like that.

A (93:01)

Drew, if you had what. What game on A Price is Right, would paint it black be the soundtrack for None. None. That's like the hard one.

B (93:12)

Oh, there's hard game. There's games that are harder than other games. Like, there's a game called Death's Too Much is a game that's hard to win. So that we show you a bunch of the car prices. We started with a low one and go higher and higher and higher and higher, higher. And we're looking for the amount that's just over the price of the car. And my example, I said, if it's a $12 car and this is $5 and the next number is $8, you would. Or $8 car rather. And we just saw $5. And then the next one was $12. You'd be like, that's too much. Because $12 would be just over the 8. It wouldn't be the $16, it wouldn't be 20. And people lose that game all the time. And we put that game on if we. If we're playing that's too much. And you watch the show every day. Imagine that we've been over budget a couple shows.

A (94:01)

Like a bet. Yeah.

B (94:02)

And we gotta like, what do you think?

A (94:04)

What's the budget? What's the budget per episode? Or at least they. The ballpark budget.

B (94:07)

Oh, the prize. The prize budget. Yeah. It's around. I don't know exactly. It's around 50k, something like that.

A (94:18)

Yeah. It's a chunk of change.

B (94:19)

50k more. A little more maybe, but around there. So 60k. So we exceed it like all the time. But then there's other times when we. And win or lose, it has to be good tv. If everybody won all the time, it'd be boring.

A (94:34)

Yeah.

B (94:34)

If everybody lost every time, it would be. Yeah. Like for good game theory gameplay in any game, especially a game show, there has to be some. It has to be easy enough for people to think I could do that. And then it has to be difficult enough for it to be a challenge. And then every phase of it has to be more of a challenge than the last one. So you could see kind of like a hero's journey. So the one bid's easy. One thing, you get up on stage, then you got to play a more complicated game. Then you have to spin a wheel and get lucky. And then if you get to the end, oh, there's a bunch of prizes. The stakes are really higher, so it's ratcheted up as you go. And that's kind of a little journey you get to watch somebody you can relate to go through on tv. And that's the secret sauce of the whole show, is you can put yourself in a person that's just like you because they're from the same demographic, same social class as you. It's not a bunch of CEOs playing. You know what I mean? It's regular folks, just like you and me, and they get to have the greatest day of their life. If they can have this skill, that should be pretty common. But if you watch it, like, oh, it's a little tricky. And that's what the game play is all about. I love it. Yeah, but there's no, like. I mean, I've been really bu. One guy had a. Was playing for a. There a couple moment. One guy was playing for a Porsche one time in the showcase part of the show at the end, and he did like, 50. He bid like 50,500, something like that, or 53,500. Whatever it was, he added 500 bucks on it, and it was like 50,350. He was over by only 150 bucks. And he. And he lost. And he was sitting on the stairs, you know, said goodnight, and he just walked over the stairs and just sat down. And I was like, hey, man, that was really. Sorry. He's. I blew it, man. I blew it. He was so bummed out. He was so.

A (96:34)

Man.

B (96:35)

Oh, so that happens every once in a while, but not that.

A (96:38)

Of course. All right, listen, we've been talking for. For an hour and a half now. I got a couple extra questions.

B (96:44)

Okay?

A (96:45)

Get. We're gonna get you out of here, but I want you to come back, though, please. Dude, you're. This is. And next time we do it, can we please do this in person? Because we do.

B (96:53)

Yeah, if I can swing it.

A (96:55)

Swing it. Yeah, do it. We could do it backstage on the CBS lot. Oh, all right. I'll do whatever I'll do. I'll make it work for you. I want to smell your cologne. I bet you smell good. I bet you smell great. Great. I'm a big guy. All right, I want to see if I can throw some of these questions about. About the album, what we've talked about in little, little doodads about you. So if the Stones used Aftermath to stop being a cover band and became themselves, what was the moment you stopped imitating other comics and became Drew Carey?

B (97:24)

Oh, that was A big like for the. I never wanted to be like anybody. Like I. When I first started writing jokes, I would buy books and comedy writing. I got a book to the library, it was one of my first one. And like, there's a guy named Kippadatta, really famous club comic that I used to adore. And Kippadatta was like, you got to have a point of view. And if you don't have an opinion or a point of view, get the fuck. Get off. Stay. Like, who cares? Nobody wants to hear a mother in law joke if you're not really talking about your mother in law. You know what I mean? Like, joke jokes are great. And at one time you can make a living, work in the Playboy Club and nightclubs by doing joke jokes and be good at telling jokes. But not anymore. They want to hear from you. And that was one of my things. And even now is even more like the modern comedy scene. If what you're talking about isn't exactly personal to you and you alone, the audience doesn't want to dig you anymore. But that's why they want to watch. They want to listen to your social media.

A (98:38)

Yeah.

B (98:40)

They want to know who you are. Oh, here's this guy with an opinion. Whether they agree with it or not, you have to have an opinion.

A (98:46)

You gotta respect it. The best advice I ever got. I wish I would have gotten it sooner, but is, whatever you are, bar, lean into that. Do not lean into that, lean into it. That's why music, comedy, it's just who I am. So. Yes.

B (98:58)

And if you're writing jokes, even if you write like a joke joke that if you're writing a bar joke, some people are. I've written bar jokes that I was really proud of. Make it personal.

A (99:09)

Yeah, totally.

B (99:10)

It's not a guy walks into a bar. I walked into a bar and saw a horse. And I asked the horse, why the long face? You know what I mean? You're right.

A (99:19)

That's really good.

B (99:20)

No, but you got to make it you, you know, nowadays the audience won't accept anything, anything less. Yeah, Kippadata gave me that advice. He came up with a phrase that I still use. You got to care enough not to care. You want to be a good comic, you want to get laughs, but at the same time you don't want to filter yourself and think like, I gotta, you know, present like, no, you gotta be you and find your tribe and people that like you. And that goes for music too. Do you know, don't, don't worry about writing a Hit play something that you like, because you're going to be stuck playing that song for a long time.

A (99:55)

If you're 100, 100, and. And let me ask you this now, because I think this is pretty interesting. Is that. Because we're talking about that. Like, going from covers of blue standards to writing an original song, you know, you're taking over a position at a TV show that is arguably. It was like, it was landlocked with. With Bob. You know what I'm saying? It's like. Like, did you. Were you worried that you were going to be a cover band, or did you know immediately, like, nah, man, I'm writing originals or bringing Drew into this, and I'm gonna make it. Was there a moment that you felt like you were a cover band?

B (100:24)

No, it took me a while. Like, it took me a while to think up this analogy. But it's true. Like, Bob told me we. When we had lunch the first time I met him. We had lunch at Musso and Frank's.

A (100:36)

I bet he smells great, dude. I bet he smells. You went to Musso and Frank's? Parker, go suck, dude.

B (100:45)

Hollywood Boulevard. That was our first sludge God.

A (100:47)

Blake, what'd you get? You get steak? You got steak. Obviously. You got steak.

B (100:50)

You got salad? No, he's vegetarian.

A (100:52)

No, you. You.

B (100:53)

Oh, me? Oh, what did I get? I probably got a burger or something. I don't know. I can't remember. But the advice he gave me was, you have to make this your own show and don't try to copy me. That was his advice, and solid advice, like, you don't want. And then when they taught me the games at first, the first producer, you know, I'd watch Bob do the game, and it was almost like learning. Do you ever get into magic when you were a kid and buy magic kits?

A (101:23)

I'm still into it. I love it. Oh.

B (101:25)

So you buy a magic kit from the online or whatever, and here's how you do the rings. And while you're doing the rings, say this and distract them by saying that. So that's how I learned the games. Like, I was learning magician's patter for how to do the tricks. And then I finally was able to relax and just describe things the way I wanted to describe it. As long as I got the rules in and I was able to finally not hit a mark exactly. As long as I was on the left side or the right side of the contestant and near the side of the door they wanted me to buy, that was good enough. They kind of like Adapted me because I'm a lot looser and wanted that different kind of. And I didn't want to be like Bob. And then I realized that what I did on the Price is Right because I was never like. I just didn't want to blow it, you know?

A (102:13)

And I can imagine.

B (102:14)

Yeah, Yeah. I didn't want to be the guy that ruined the show. So I treated it exactly like you would. If you were going to be doing a set at the Comedy Store or the Improv or the Laugh Factory, you're number five on the list. There's two more guys to go. Do you get there at the last second? No, not if you're a pro. Not if you. Because you want to hang out anyway. You try to get there early. You want to see the guys that are there before you. And then when you get on stage, you don't think to yourself, oh, this guy was on. And that woman, she was really funny. And I gotta follow. I had to follow Maria Bradford one time.

A (102:53)

I was like, God, we love. We love her so much. What did you. Did you do the 11am show she does in, like, Echo Park Park?

B (103:02)

No, it was a nighttime show. But you got her.

A (103:05)

That's crazy.

B (103:06)

I went up and I said I was. I had to make sure I watched Maria Bradford's whole set because I didn't want to talk about the same stuff that she talks about.

A (103:14)

Nice. Brilliant.

B (103:15)

It was old Woody Allen joke. Yeah. I just felt like, oh, this is my time on stage. I'm gonna do my act. I want to make them like me and my act, and I hope they like the person after me. I knew they liked the people before me. I want the club to look good. I want the club to ask me back. So I'm just gonna. I'm gonna do my thing. And that's how I been looking at it ever since I was on. Like, all I can do is do the Drew Carey version of what Drew Carey does and hope that's good enough. And I'll.

A (103:47)

I'll.

B (103:47)

I never need a whole pie. I need a sliver of the pie to make a living. I don't have to have everybody in America like me. I don't have to have. If I was in a band, a top 40 hit would be nice. The money would be great. But if all we did was. But all we did was tour and sell T shirts like fish does.

A (104:06)

Yeah.

B (104:09)

If I had one hit wonder and if I had that one hit, you.

A (104:12)

I had a hit.

B (104:12)

You didn't have a hit. I had my hit that's the attitude I have about everything.

A (104:17)

And I mean. And really, Drew, it's like. It's super impressive, man, because, like. Like I said earlier, like, you know, you've had so many cool acts, like, in your life, and when we say the Forrest Gump thing, it's like, you know, and. No, no, no. It's true, because I have a very forced Gump. I don't know how I end up in doing some of these things like that I get to do, and I think it's because I could tell just by talking to you, whether we're on the Internet or we're in person. It's like, you're a good person. You're a good guy. You are living in the moment. You're real. You're authentic. And. And when you. When you. When you have that, like. You know, that. That balance of masculine and feminine and happiness and pain, and it's like, you've been through. Dude, you lost your. You know, you lost one of your parents very early. You're in the military. It's like you're from Cleveland, you know, which is not an easy city to, you know, to grow up in.

B (105:05)

It's too much work. It's too much work to fake it, man.

A (105:08)

Yeah, it really is.

B (105:09)

I don't want to work. I'm.

A (105:10)

I'm not.

B (105:11)

I don't want to work that hard ever. I'm not gonna. I don't want to work and put on an act because they're exhausting. You've done Stern, right?

A (105:19)

No, I've never done. I've never done Stern, but I do

B (105:22)

have, like, people ask me, what's Howard Stern like? And I'm like, he's just like. He is on the air. You can't be on the air for hours and hours every day and be somebody else and then take that off when you get. He's just an exaggerated or, like, a more animated version of him. Yeah. Oh, my God.

A (105:36)

I'm me on stage. Me on stage is the realest version of me. Me. It's amplified. You know what I mean? But it's like, that is the key to life. Be yourself.

B (105:46)

That's the key.

A (105:47)

And, dude, if you're an artist and you're trying to paint like somebody else, you're gonna suck.

B (105:53)

If you're.

A (105:53)

If you're a musician, if you're. Whatever you are, it's like. I mean, I am influenced by Otis Redding and Axl Rose and Paula Poundstone and Chris Rock and. And Lenny Bruce and all these different things. And Pee Wee Herman and all these different things. And even Balky Bar Takamus from fucking Perfect Strangers, like everything is an amalgamation. But that's what's so cool about. About life, is that you are this sponge to energy. And my parents too, which I've had to spend thousands of dollars to drop the fucking baggage that these motherfuckers gave me. But I'm glad they gave it to me because that pain has. Has really propelled me to be able to hear a. No. Be able to pivot, be able to see a closed door and go around it, you know, and, and. Exactly. Dude, it's. Dude, it's you. What You. What you. And I mean, I'm going to lump you with him only because. But I'm going to give you the most insane compliment is with someone like you and someone like Steve Harvey that are taking over these legendary shows where the host was.

B (106:49)

Steve Harvey's great.

A (106:51)

I mean, dude, could they have not. You and him could have not gotten better people to replace these iconic people? And I'm telling you, dude, he's great. You both made it your own. And the amount of joy that you've brought so many people, including myself, it's. Dude, it's. It's. It's palpable. So. So thank you, dude. So let's do some final questions. We'll get you out of here. I hope you thought of those five people from Whose Line is Anyway, make them Stones members, please come back on. Please come back on. But in person, you get to meet the dog.

B (107:24)

Okay. All right.

A (107:25)

I'll make it work. I'll trust.

B (107:26)

Okay.

A (107:27)

Okay. I know you're busy.

B (107:28)

Wayne Brady would be the lead singer.

A (107:32)

He'd be Mick.

B (107:33)

Because he's like. He's just a front man.

A (107:38)

Yo, dude, I see it. No, that's like. Dude, that's so, like, apt. Like, don't even worry. Like, I not going to argue that at all.

B (107:46)

Charlie Jones.

A (107:48)

Okay. Do. Yeah, do. Do. Brian Jones. Do. Brian Jones. Who's the multi instrumentalist, man?

B (107:54)

You could pick a couple of guys.

A (107:55)

I gotta pick one. Dude. I gave you 45 minutes just for the hair.

B (108:01)

Jeff Davis. Ryan would be Charlie. And keeping the beat.

A (108:07)

Is he keeping the beat? That's why.

B (108:09)

Yeah, he's a wild.

A (108:10)

Like, we.

B (108:11)

When we're on stage, like, we want Ryan to like what we're doing. I think all of us, if. If we were honest with ourselves after the show and want his approval. Everybody wants Ryan's approval because he's like, after the show.

A (108:26)

Is he one of the strongest? Like, is that it or is just like, he's the funniest, the godfather of

B (108:31)

all of us, you know? And if he. Ryan, after the show, he. If he looks at you, go, wow, great show. I just feel a little extra boost and same thing with Proops. I feel Proops might be Brian Jones. Yeah.

A (108:43)

Yep. That seems a little bit more on the nose because is, you know, there's no.

B (108:48)

There's no good fits. It's hard for me to do it, but I like. Ryan is absolutely.

A (108:52)

Who's Keith then, man?

B (108:55)

Oh, me.

A (108:57)

I'll take that.

B (108:59)

All right.

A (108:59)

What's your favorite song on this record, buddy?

B (109:01)

Well, that's the thing.

A (109:03)

I know, but you gotta pick one. Gotta pick one, dude. Come on, man. This is the pod, bruh. Bruh. I love that. British people say, bruv.

B (109:11)

Oh, I love that, man. Let's. Because it's on both versions, let's say. And super dancy under my thumb. Although I don't endorse the lyrics.

A (109:24)

No.

B (109:25)

But that's a good jam.

A (109:28)

Can I tell you mine?

B (109:29)

It's not easy. Is great. Don't you bother me. Is great. Mother Helper and Paint it Black. But they're once on one album. One's not on the other album. I know, but it really bugs me what they did.

A (109:44)

No, I get it. Let me tell you, the one that I stuck out with me, not one of the hits. I am Waiting, the second to last track on your record. I loved that. This is. I'm so happy I heard this record because to go against what my podcast producer who's never allowed back into the room because he'll shut the fucking sound down, is that. Yes. Maybe not everybody song on the record. Maybe it's filler. But I'll tell you this. You get some gold monkey, man. Who knew? Who knew that would be one of the Stones best songs? And let me tell you, I am Waiting. I am Waiting might be my favorite of all time by them. Next to I'm gonna say the hit Give Me Shelter. I love Give me Shelter.

B (110:22)

Give me Shelter is the greatest. That one gives me the.

A (110:24)

Especially when he laughs in the background. Oh, when you hear him go.

B (110:28)

Gives me the chills every time. And knowing the backstory about hiring the backup singer pregnant in the middle of

A (110:34)

the night to come over and roll, baby, what would. Is. Is this a no skip record or is there a song that you skipped over? Because I'm not gonna lie, I. I skipped over under my thumb. Not because I hate the song. I love the song.

B (110:46)

Heard it a million times.

A (110:47)

I Just heard it. I heard it a million times. I didn't need to hear it. I wanted to get to the. I wanted to get to dry.

B (110:51)

I can. You know, you got to be in a certain mood to hear like some of their, like, countrified Stones songs. They did. You know what I mean? High and Dry is one of them. Where. Yeah, but it's fine. Like, but comp. Like if you're doing. If I was putting their set list together for Madison Square Garden concert, I would leave High and dry out 100. Oh, my God.

A (111:13)

I play. I play Radioheads version just to make it even better.

B (111:16)

It's not like a. It's a well constructed. It's just not groundbreaking anything like that.

A (111:20)

It's not a perfect record. I'm not gonna lie. It's not. It's not. No. Skip. Can you to this record or have you fucked? Probably fuck to the Stones, but have you. Can you to this record, UK or US version?

B (111:33)

I don't. Well, no, I don't know. No, I don't know how you do. Like, who's gonna. What chick's gonna. You this stupid girl? Like, nobody. Nobody I know.

A (111:45)

Exactly. She'd be like, should I be here? Like, what is going on? Like, what turns out?

B (111:50)

Like, everybody has their kink, you know, if that's your thing, go ahead.

A (111:55)

But I like the Rolling Stones. Misogynistic period.

B (111:58)

Not my thing.

A (112:00)

Yeah, I don't think this is a fuck record.

B (112:03)

What would.

A (112:03)

What would be for. For a while it was Deftones, then it's the Cure Disintegration, now it's Rolling Stones, Misogynistic period. What would be your elevator pitch to get someone to listen to this record? Like, why. Why are we talking about this on the list? This is your thing. You say say to somebody. It doesn't have to be like, in sentence form. Like, hey, have you ever heard this? This record up?

B (112:24)

My kid just turned 21. I dragged him to Fish, and now he loves Fish at the Sphere. And if I was trying to get into Rolling Stones, this might be one of those. The starter albums. I'd give them. I might give them. Give Me Shelter first. But I would say, oh, if you're going to get into Stones, you got to get Aftermath.

A (112:40)

Because I think. I think Drew, I think. I don't agree with that. I do think that if you start them later, it's like, this is a band that you gotta. You gotta do. Dylan, we did so wrong on this podcast because we started. The first record was like Time out of Mind. And I'm not a big Dylan fan. I am now that I'm getting deeper on the list. Dude, I hated Dylan the first few records we did because we were doing all the he did at the end of his life. That sounds like he's dying, but you know what I mean, like.

B (113:05)

Yeah, I know what you mean.

A (113:06)

See, dude, it's like that. That's not the way to listen to Miles Davis, not the way to listen to Radiohead. You don't start with King of Limbs. You go back to. You don't have to listen to Pablo. Honeybee started the Ben and I think with the Stones. Same thing with the Beatles, man. You gotta hear she loves you and please please me to understand. To understand why sergeant Pepper and Revolver and Rubber Soul. And I think that's with this. Because I think. I think if you're gonna say this to anybody to listen to it. Everybody knows who the Stones are. But this is the moment the Stones stopped borrowing Danger and started manufacturing it. And I think that's really fucking cool, man. Because this album is ugly. It's funny, it's catchy, it's cruel, it's. It's innovative. It's. It's occasionally almost sounds like a bunch of horny undertakers broke into a. Like a world music store, but that's classic Stones.

B (113:55)

This is. This is an album not written by guys that like the blues and played in clubs and were hungry. This is a. This is a album written by rock stars who wanted to go full rock star are honestly.

A (114:10)

But this is the moment, dude.

B (114:12)

This is one day. This is it.

A (114:13)

Because. Because the one. Everybody. Because everybody listening has been following all my fleece army. The. The listeners. You guys know the record we did with Wayne was the first inkling of that where they started making that venture where their manager said, yo, dude, you guys got to be the bad boys. The Beatles are going to be, you know. You know, hey, blah, blah, blah. It's like this is the. The Rolling Stones need to be. This is where they become it. This is how you get the cocksucker blues. This is how you get the XLM mainstream street is how you get to all that cool that makes them this badass band, dude. They're. They're a dangerous band. There's a reason they did Ultimat and hired the Hell's Angels, dude. They are badass. There's a reason that at 82.83 because I just saw him for the first time in MetLife. Man. It was so impressive, you know, to watch. To watch Mick up there and just Give everything and just.

B (115:01)

Yeah, you can almost. You could almost agree with, with these evangelical guys and go, maybe he did sell his soul to the devil, man,

A (115:11)

for the life that he had. Dude, I would sell it over and over. I would do a. I would do a. I would. What do they call it where you. Where you, like, you have the mortgage and then you take out another mortgage on the mortgage. What do you call it?

B (115:23)

Oh, a reverse. Reverse.

A (115:24)

I would refinance my deal with the devil. I'd be like, can I pull more? Because this is too run. I'm 86. I'm 86. And on enough peptides to kill a tortoise. But let me tell you something.

B (115:34)

Yeah, I gotta. Come find me.

A (115:36)

Come find me. Drew, this has been phenomenal, man. I can't thank you enough for coming on.

B (115:40)

Sure, my pleasure.

A (115:41)

Dude, this really was rad. Please promote away. The 20th anniversary of Price is Right

B (115:45)

starts my 20th year of you. Yeah, thank you.

A (115:49)

But anything else you are. You do. Are you performing? Are you just. Are you just. What's going on?

B (115:53)

No. Nuggets.net look at fish. Check them out. That's my big recommendation for all the music fans here. You got to see them live, man. And this nugs.netnugs.net has all doors, concerts, and nuggets in general. If you like music, go to nugs.netman. i'm not getting any money from them. This is a really cool thing.

A (116:10)

No, it's rad, dude.

B (116:11)

It's.

A (116:12)

It's rad. It's rad. YouTube's got great too. But, but Nugs, as a fan of My Morning Jacket and Pearl Jam, I love any band that changes their set, like list every night. Yeah, I love that. And I think when you got to document some of these cool things and Nugs is a place to do it. And dude, this was. We. That's why we do the podcast, man. Drew, thank you once again, brother. This is. This is my pleasure. Such a night.

B (116:36)

My pleasure. Have a good day, man. See you.

A (116:37)

Thank you, buddy. What did I tell you? What did I tell you? The one and only Drew Carey guys help bring in his 20th year as host the Price is Right by watching this fall and every day that it's on 55th season. Incredible. And tune in this December for a special, the Price is Right live, where for the first time in its 54 year history on CBS television's longest running game show will air live. That's gonna be crazy. I'm gonna go to that. Now that I'm best friends with Drew. Besties, besties, besties, besties. Guys, it is going to be insane. I'll be there. Drew will be there, there. Alex will be there. J.T. won't. He'll be in Ibiza, rolling face. Yeah, dude, let's fucking get out of here. All right. For new music, we just listened to aftermath from 66 by the stones. New music picked this week brought to you in part by distrokid, is a track called need you'd love by jailer. You can find links to the music on our website, the500podcast.com and if you are in a band and we're directly in for influenced by one of these albums or artists and you want your music featured on the 500, send your song to 500podcastsmail.com and put the album and artists that influenced you in the subject line next week. I forgot about this one. We record these out of order. David Bowie, hunky Dory from 71. Oh, Run like a chunky monkey doodly do I wish my piano was on. I would play that little part. I learned this on piano. And you're going to learn the record. Listen to it. And we'll see you next week. Guys. Skid doodle, You know what needs to be done. Come on. Hey, baby, baby, I see you move? Shaking those hands to the groovy? They all will swarm you? Cause you got good taste? Cause loving you can't be replaced? As you stood on him with your deadly squirt? I just can't resist you got me chasing you for one last kiss? I need, need your love tonight? Round to round me so tight? Yeah, forever? Hey, mama, mama, the night's getting late?

B (120:09)

You keep me guessing in the canteen

A (120:11)

shade I'm getting high of your perfume? And even higher is your van? Me too, I'm not buying? As we intertwine you've got me satisfied? You make me feel so gratified? I need your love tonight? Wrap around me so tight? We'll know from distance in new dawn from one to another we my child, yeah. Breaking. Sam. Family so tired we all know from d. From one to another we are. The 500, keeping it fleecy for the police nation.

B (122:40)

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A (122:45)

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B (123:25)

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A (123:27)

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B (123:56)

next Chapter podcast.