141 - B.B. King - Live At The Regal - Wayne Federman

Summary

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The 500 with Josh Adam Meyers

Episode 141 – B.B. King: Live at the Regal
Guest: Wayne Federman
Date: September 24, 2025

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Episode Overview

In this episode, host Josh Adam Meyers is joined by comedian, writer, and music historian Wayne Federman to discuss B.B. King’s legendary 1965 live album, Live at the Regal, which holds the #141 spot on Rolling Stone’s 500 Greatest Albums list (falling to #299 in the most recent update). The episode is a passionate exploration of B.B. King’s legacy, the origins of electric blues, cultural context of the era, personal anecdotes, and a breakdown of the album’s enduring magic. Wayne’s encyclopedic knowledge, coupled with Josh’s comedic rapport, make for a highly engaging and informative conversation.

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Key Discussion Points & Insights

1. How B.B. King Changed Blues Forever

• Wayne Federman hails B.B. King as “the roots of all of this” when it comes to electric blues, arguing that King was pivotal in shaping the Memphis (not just Chicago) sound.
• Wayne: “He is the dude. Of creating the basic image of the electric blues in Memphis… then it made its way up to Chicago and they took all the credit.” (12:48)
• B.B. was not just influential for his guitar work, but also for his powerful, emotional singing.

2. B.B. King’s Place Among the Legends

• King is affectionately grouped with Albert King and Freddie King as a member of “the three Kings of blues guitar.”
• Josh reflects on Rolling Stone’s 2023 rankings, noting B.B. King landed at #8 among the greatest guitarists of all time.

3. The Story of Lucille

• Wayne provides the legendary backstory for King’s cherished guitar "Lucille":
  – During a gig in a Texas club in 1949, a fire broke out after two men fought over a woman named Lucille. King risked his life to save his guitar and later named it after her to remind himself “never run into a burning building” and as a tribute to the woman whose name caused the chaos.
  – “That was stupid. Can't believe I did that... and as tribute to this woman, Lucille...” (32:22)

4. The Chitlin’ Circuit & Black Show Biz History

• Detailed descriptions of the Chitlin’ Circuit: a network of Black clubs/theaters (like the Regal, the Apollo, Uptown, Howard) where blues/soul/R&B artists could perform during segregation.
• Both King and James Brown honed their live acts on this circuit; Live at the Regal is positioned as a response to Brown’s Live at the Apollo (1963).
  – Wayne: “They were working all those Black clubs… you got to entertain these crowds…” (24:13)

5. B.B. King's Performance Style & Technique

• Not a Chord Guy: King innovated by not playing rhythm chords while singing; he alternated soul-drenched vocals with searing solos.
• Emphasis on emotional expressiveness over technical speed:
  – Wayne compares King’s soloing to David Gilmour: “They’re recreating the human voice with the guitar… making the guitar sing.” (47:19)
• King’s signature: bending notes, slow vibrato, and making every phrase count emotionally.
• Light gauge strings: so he could achieve distinct bends and vibrato.

6. Crossover & Influence

• B.B. King’s mainstream breakthrough didn’t happen until the late '60s/early '70s, with "The Thrill Is Gone".
• British Invasion, Clapton’s championing, and performing for younger/white audiences was key to his wider success.
• King’s influence on guitarists (Clapton, Slash, Buddy Guy, Stevie Ray Vaughan, etc.) is repeatedly stressed. – “Every time Clapton… he was like, ‘Why are you talking to me? B.B. King is alive. I stole all my stuff from B.B. King.’” (17:25)

7. King’s Life & Character

• Born Riley B. King in Mississippi, became "B.B." while working as a DJ ("Blues Boy King").
• Prolific performer – played hundreds of shows per year, often until late in life despite declining health (“road dog”).
• Notably fathered at least 15–18 children; discussion of paternity and generosity toward claimants.
• Fun facts: guest on TV/ads ("Cosby Show," "Sesame Street," "McDonald's"), licensed pilot, Chitlin' Circuit legend.

8. The Album: Live at the Regal (1965)

• Live Setting: Captures B.B. King with a tight band, a raucous and supportive mostly Black audience at Chicago’s Regal Theatre.
• Standout performance: emotional range, song selection, crowd engagement – a snapshot of blues at its peak.
• King's live albums compared: Live at the Regal (“incredible fidelity,” important before Cook County Jail), considered more impactful culturally and musically. – “He starts the concert at 10…” (58:41)

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Notable Quotes & Memorable Moments

“He is the dude… creating the basic image of the electric blues in Memphis… then it made its way up to Chicago and they took all the credit.”
— Wayne Federman (12:48)

“One of the greatest guitar players of all time isn’t really playing along with the song is wild.”
— Wayne Federman (46:32)

“They’re recreating the human voice with the guitar… making the guitar sing.”
— Wayne Federman (47:19)

"Every day I have the blues, I just think it...that band is cooking."
— Wayne Federman (59:19)

“If you want to know where the electric blues… all the different colors, you could start with B.B. King. And this album absolutely captures… what it was like to see that guy live…”
— Wayne Federman (72:10)

“All of it. You can heavy pet to this record. This is what the blues is about… sex music. It’s like, it’s very basic primal music.”
— Wayne Federman (71:46)

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Essential Timestamps

• Intro chatter, travel stories, Wayne’s recurring guest slot: ~2:57–13:24
• Why B.B. King is “The King,” context & origins: 12:35–18:09
• The Lucille story: 31:15–33:45
• History of the Chitlin’ Circuit & B.B. as bandleader: 43:00–45:52
• King’s guitar style (no rhythm, all feel), emotional blues: 45:52–47:45
• Rolling Stone’s Top Guitarists list rundown: 62:09–68:11
• Album favorites (‘Every Day I Have the Blues,’ ‘Sweet Little Angel’), lyrical form of blues: 58:41–61:59
• Discussion of “Help the Poor” as the only skippable track: 69:37–70:20
• Conclusion & Wayne’s elevator pitch: 72:09–73:12

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Album Favorites, Critiques, and Summing Up

• Favorite Tracks:
  Wayne loves the high-octane openers “Sweet Little Angel” and “Every Day I Have the Blues” for their energy and musicianship.
• Least Favorite:
  "Help the Poor" described as the “one…like social commentary track” that doesn’t fit as well with the rest of the record.
• Summing Up:
  Wayne: “If you want to know where the electric blues… all the different colors, you could start with B.B. King. And this album absolutely captures… what it was like to see that guy live…” (72:10)

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For Listeners New to B.B. King

• Live at the Regal is held up as a live-album gold standard: dramatic, emotional, crowd-involving, and both musically killin’ and historically significant. If you want to feel what the blues sounded like on a wild night in 1960s Chicago, this is it.

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Final Takeaways

• Cultural Importance: Live at the Regal is a window into Black performance spaces, the genesis of electric blues, and B.B.’s unique artistry.
• Legacy: King’s guitar “voice” and showmanship are foundational for R&B, blues, and rock.
• Recommended: For both newbies and blues aficionados—essential, timeless, and a bona fide classic.

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Next Episode Teaser:
Episode 140: Blondie – Parallel Lines.
Stay tuned!

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Wayne Federman’s Upcoming Gig:

• October 4, Auburn Public Theater, Auburn, NY

Follow Josh:

• @joshadamyers

Podcast Links:

• Website: the500podcast.com
• Email: [e-mail]

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Transcript

[Wayne Federman]

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[Wayne Federman]

When did making plans get this complicated?

[Josh Adam Myers]

It's time to streamline with WhatsApp, the secure messaging app that brings the whole group together.

[Wayne Federman]

Use polls to settle dinner plans, send event invites and pin messages so no one forgets mom 60th and never miss.

[Josh Adam Myers]

A meme or milestone.

[Wayne Federman]

All protected with end to end encryption.

[Josh Adam Myers]

It's time for WhatsApp message privately with everyone. Learn [e-mail] this show is brought to you by Distrokid. Bring your music to the masses.

[Guest Performer/Singer]

The 500 the 500 JM been walking us down through that 2012 edition so it ain't nothing too you hundreds more to go and in need of a friend the King of peace for angelo. Talking the 500 until the end Talking the 500 until the end with my man JL on the 500 Talking the 500 until the end I was in love with you baby in love with you baby I be falling to call your name where you treat me baby you're going to fly on me and say you know I love you bab do anything you tell me to. No I love you bab. Doing the thing you tell me to.

[Josh Adam Myers]

Nothing that is please love me. It's by B.B. king from the 1965 record Live at the Regal. It's also number 141 out of 500. Yeah, it's me, Josh Adam Myers. I am back in America for one day and now I'm leaving for Bahrain. And yep, we're going through Rolling Stone magazine's list of the 500 albums down to one. So you already know who's on this episode. I'm just going to say it and we'll get to the other stuff in a second. We are not being lazy. Please don't think we're being lazy. It's not always going to be Wayne Federman. My schedule has been so rough. Traveling with Jelly Roll, being on tour with him, and then now leaving to go to Bahrain and Saudi Arabia with Bill Burr. We had guests they could do certain times I couldn't do them. And this is just how it turned out. And also, I love Wayne, so don't worry. We're getting back to the regularly scheduled programming. Wayne will pop in, always him, Morty, the whole crew. But it's just been very difficult. So bear with us. I promise you it's not always going to be Wayne. But God damn, Does he know B.B. king? That's right. I'm in Bahrain, in Saudi Arabia the 25th and the 26th, or the 26th and the 27th. No, 25th. Bahrain, 26, Saudi Arabia. I'll be in Naples, Florida, October 3rd and the 4th, New Westminster, British Columbia, October 9th and the through the 11th. And then Santa Ana, Pueblo, New Mexico, October 17th through the 18th. And then I'll be in Jansville, Wisconsin, Phoenix, Arizona, New Orleans, Baltimore, Maryland, Charlotte, Montville. It's gonna be dope. So joshadamyers.com for tickets. They should be up on the website now. Come and see me at Josh Adam Myers on all social media. I gotta make this quick because I am literally being picked up to the airport very shortly. Don't forget, subscribe to the YouTube, everybody. YouTube.com backslash the 500 podcast. Subscribe to the Patreon patreon.com backslash the 500 Podcast and support the show. We love everybody. And yeah, dude, we're chipping along down the line. Chipping along down the line. I got lekka for one day, so. Oh, like a dog. So Wayne Fetterman, let's do this, man. Wayne Fetterman's our guest. You know him. You love him. He knows B.B. king. He was so excited to do this. So this is a gift to him and it's a gift to all y' all because you're actually going to find out some useful information. We talk just BB King. We talk all of his history. We talk why he's the King, why his guitar's name Lucille, and. And we see why BB King is ranked at a certain number on the Rolling Stone magazine list of the greatest guitarists of all time from 2023. We'll talk about that as well. So dig it. RAID review. And most importantly, subscribe to the 500 listen free on all platforms. Follow me at Josh Adamiers on all social media. Follow the podcast at the 500 podcast. Email the [e-mail] Follow the Facebook group run by Crazy Evan. And for all things 500, go to the website the 500 podcast calm y'. All. All right, here we go. 141 BB Kings live at the Regal. There he is.

[Wayne Federman]

Testing. Can you hear me?

[Josh Adam Myers]

I can hear you. I can hear you.

[Wayne Federman]

Good morning, guys. Hear you.

[Josh Adam Myers]

Yeah, baby, come back.

[Guest Performer/Singer]

Wayne Ferman.

[Wayne Federman]

I'm so happy.

[Josh Adam Myers]

About times in a mother flipping row.

[Wayne Federman]

We're recording already. I love it.

[Josh Adam Myers]

Well, or do we have to. You have a heart out. I'm going to Bahrain in six hours.

[Wayne Federman]

Oh, you are? I love it.

[Josh Adam Myers]

I got in last night to. I flew into jfk. I tried to change the ticket from London to go straight to Bahrain, but it's just. It would have. It would have cost me five grand. So, yeah, I was like, I guess I'm flying back to New York.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

And I'll. But yeah, dude, it's. I'm so tired. I think I woke up at like 4am and then 5am, then 6am I just, I just kept waking up because I'm on like London time right now.

[Wayne Federman]

You don't seem bad to me. You seem that out of it.

[Josh Adam Myers]

No, you know, I had a coffee, I drank a lot of water. I'm trying to eat as healthy as I can right now because it's just. I've just been going, going, going, but I didn't realize how worn down I was until. Until now. But. And there's also some melancholy too, because the, the, the Europe trip, the summer of Josh has kind of come to an end. It was like now it's like you get back to New York and the weather's a little hotter than London was, which I love London weather. All the shows were great. It was really cool. While I was doing. We did the show at Tottenham and then I got booked so I could run some sets at top secret comedy club, which is a great club in London in Soho. And Jelly was going to come. He ended up not coming. But what was really cool was Dave Chappelle was doing sets downstairs, so I got to catch him doing his like Charlie Kirk stuff, which I thought was pretty, you know, pretty spot on. And I don't know, it's. There's nothing wrong with America. I love America. But I'm just like, oh, man, I really love your a lot. Even this, this right here, which it's just the fact the water bottle, like in Europe, the cap goes like. And it just hangs there and it stays there. And this is how you mean Caps I've lost in my life. Take a guess.

[Wayne Federman]

I'm counting out.

[Josh Adam Myers]

I'm gonna get 1300, I'd say that's pretty. That's pretty spot on. At least closer to 15.

[Wayne Federman]

Wow. Well, the congratulations on the summer of. Of Josh.

[Josh Adam Myers]

It was great.

[Wayne Federman]

It was great.

[Josh Adam Myers]

It was great. But it's nice to come home for a minute, see the dog, and change out the clothes, because I'm so sick of all the outfits I was wearing. Pick up some medication, you know, some. Some deodorant. I, like, get the haircut. And now it'll be the complete opposite of what I was just going through. Going to the Middle east, right, For a week. I just. I. Can I say something to you? And I'm gonna say this straight up, and, like, you know, I just wish my first big shows back weren't in. In Bahrain, in Saudi Arabia, and. And not opening for Burr. Like, I. I'm just. I need, like, four or five days of just shows here just to, like, really tune up and, like, dial in. And so there's a little bit of nervousness, I think, too. You know what I mean?

[Wayne Federman]

Of course you want to do well in front of the sheets. The. The image. Her. His Eminence, or whatever you're supposed to call them.

[Josh Adam Myers]

Oh, mib or m. I'm not sure.

[Wayne Federman]

I'm not sure how. The princes, you know, those are all monarchies, right?

[Josh Adam Myers]

The cheeky sheiks. The sheiks will be there.

[Guest Performer/Singer]

Shahi don't like it.

[Josh Adam Myers]

Is it weird that you're doing three weeks in a row?

[Wayne Federman]

No, no. This one. I don't know what. Who canceled? Because this is so. I can't believe how lucky I am to get to do this record. I was like, what is happening here?

[Josh Adam Myers]

So we had Marcus King.

[Wayne Federman]

Oh, okay.

[Josh Adam Myers]

The. The blues guitarist from. Yeah, he's. He's a buddy, and he was locked in.

[Wayne Federman]

You know that kid, what a voice.

[Josh Adam Myers]

Oh, he's great. We've seen. He's a big fan of comedy, so me, Big J Soder. He's. He's been on the bonfire a bunch, and then we've seen him live a couple times. Like, he did the Brooklyn Paramount, and I got to hang out with him. And then when he did, he did. He did the Blue Note, and we all hung backstage, and so he would have been great for it. It just that the timing, he could only do yesterday. And I was like, I'm flying the whole day.

[Wayne Federman]

Gotcha.

[Josh Adam Myers]

You know, dude, what about.

[Wayne Federman]

You know, who would have been way better than me? Is your buddy Joe Bonamassa.

[Josh Adam Myers]

I know. Well, you didn't. Well, that's a. That's okay.

[Wayne Federman]

What he's doing, by the way.

[Josh Adam Myers]

What's he doing?

[Wayne Federman]

I don't if you know what's going on in the BB King world.

[Josh Adam Myers]

No, tell me.

[Wayne Federman]

This is Tuesday. Can I say the date we're recording?

[Josh Adam Myers]

Of course. This comes out tomorrow too. So this is like.

[Wayne Federman]

This is Tuesday, September 23, 2025. 2025, however you say it, which is two days shy of his BB King's would have been hundredth birthday. So there's all kinds of hundredth birthday celebrations around this guy. And your buddy Joe Bonamasso. Oh, he. He's putting out a huge tribute album with everybody on it to celebrate this hundredth birthday of, you know, the father of the blues. The father of the electric blues is the way I would say nothing.

[Josh Adam Myers]

Can we. Can we message him right now and see if he'll just pop in?

[Wayne Federman]

I don't know, I mean that would be crazy because he has this album out that's coming out.

[Josh Adam Myers]

Yeah, let me see what happens if I type. So yeah. So you are a B.B. king fan because obviously.

[Wayne Federman]

Oh my God, are you kidding me? I like elect. Whatever. What am I? I'm a guitar hero guy. Like he is the roots of all of this.

[Josh Adam Myers]

Is he. He's the main dude, huh?

[Wayne Federman]

I think so. I think so. I mean there's a number of guys, but yes, of like creating the basic. The image of. Of the blue. Of the electric blues in Memphis, not in Chicago. And then it made its way up to Chicago and they took all the credit. But no, he is the dude. And so there's so much to talk about. So much to talk about. And then I have to get out of here.

[Josh Adam Myers]

So do I got. I got a haircut. I gotta. I gotta clean myself up. What do you wear to perform in the Middle East? Should I dress up in a suit?

[Wayne Federman]

I don't know. I would. I would wear what you wear on stage. I wouldn't. Yeah, I think people are pretty cool about that.

[Josh Adam Myers]

I hope so.

[Wayne Federman]

One thing is the no tattoos though. No. Oh, sorry.

[Josh Adam Myers]

Well, I'm. What if I. My mom has sent me all this stuff, like don't mention that you're Jewish. You'll never be able to leave. Also she goes sign up for this Teemu thing so I can get some free Temu stuff.

[Wayne Federman]

Yeah, so anyway. So anyway, yeah, if you could text him because he is putting out this huge hundred year tribute to him. He only died 10 years ago. Really? He died at 89. And, you know, he was, you know, overweight.

[Josh Adam Myers]

Diabetes.

[Wayne Federman]

Diabetes. Yeah. And there's a big controversy about his death that, you know, he had these many kids outside of his marriage, you know, from women outside his marriage and his marriages. And some of them thought that his assistant tried to kill him by putting him into a diabetic shock. There's a lot going on. Yes, but that's not what we're going.

[Josh Adam Myers]

To talk about now. It is now.

[Wayne Federman]

We're going to talk about the music. We're going to talk about the crazy, incredible. So what do you know? Let me just ask you this. What do you. When I say BB King, what does that mean to you?

[Josh Adam Myers]

I mean, one of the greatest guitarists that's ever walked the face of the earth. I mean, he is like the kid. I always thought it was like, him. All the Kings. Albert King, B.B. king, Freddie Burger King.

[Wayne Federman]

Yes. Yeah, yeah.

[Josh Adam Myers]

Who else? Bernard King. Who else? Keep going, keep going. King Charles. Keep going. Hold on. King Fisher, the Irish band that I met in Amsterdam.

[Wayne Federman]

King.

[Josh Adam Myers]

Crimson King, Crimson King, Crosby. All of these have your host, King Crosby. I meant Bing. Ah, no, he's. What's. Albert King, Freddie King and B.B. king.

[Wayne Federman]

Yeah, those are the three kings.

[Josh Adam Myers]

Yeah, we. We've been. Do. We did. Actually, the. The second album we did on this podcast was BB King Live at the Cook County Jail.

[Wayne Federman]

Oh, that's a good one.

[Josh Adam Myers]

I did it with my good bud, Ryan Sickler.

[Wayne Federman]

Yes. Yeah.

[Josh Adam Myers]

And a lot of the same. A lot of this. I mean, I'm not trying to talk on this record. It was. What a great listen. But, I mean, it. It. It literally could have been the same record. It's all that, like, if you're gonna. Ladies, if a man cheat on you, don't leave your man. You know, you just gotta love him harder. Like, he screams. It's. But yeah, and then we did Albert King, which. That song. You know, the Very Thought of you. I loved that. That was one of my favorites from doing this.

[Wayne Federman]

Right?

[Josh Adam Myers]

And yeah, I mean, everybody we talked to, I think. And Brian. Can you check the math to see if we got Brian on the ones and twos, ladies and gentlemen? He's gonna be working while JT is doing a meeting or he's probably recovering from, like, a Molly role in. From going to a rave in Ibiza. But check to see if we've done any other BB King records I know we've done. Maybe I'm getting, like, Muddy Waters. Not Muddy Waters mixed up with BB King. I know they're Completely. But I don't know if we've done more Muddy Waters than we've done BB King, but being Damn Joe would have been a great one with you today, dude. Oh, damn.

[Wayne Federman]

I didn't.

[Josh Adam Myers]

I didn't even think about.

[Wayne Federman]

By the way, Kenny, Wayne shepherd is on that tribute album. On that. Yes. Tribute album. Buddy Guy is on that tribute. I mean, it's. It's Slash.

[Josh Adam Myers]

So this. This. So he's influenced as. About. As about as many people that play guitar as anyone, right?

[Wayne Federman]

Play electricity. Play electric blues. Yeah, yeah, I would think. I would think so. Because collapsing was you. Every time Clapton, they would interview him, he was like, why are you talking to me? B.B. king is alive. I stole all my stuff from B.B. king. Listen to his album. That's how I learned to bend notes. That's how I learned to play these blue scales. That's how I learned the whole thing while listening to that guy. So it's. Yeah. And then luckily, I got to do the Clapton album. You know, the Beano. Do you remember those days?

[Josh Adam Myers]

I remember that. The Beano. The. The. What was his name? John.

[Wayne Federman]

John Mayall.

[Josh Adam Myers]

John Mayo. Not. Not John Mayer.

[Wayne Federman]

Yeah, not John Mayer.

[Josh Adam Myers]

Did we ever talk about how you suddenly became so into guitar? Because it's also funny because you on stage play piano.

[Wayne Federman]

This is the thing. You don't know. Early Wayne Fetterman, stand up. For the first maybe 10 years of my career, my big closer was playing the ukulele plugged into an amp, and at the end, I'd overdrive it and do Hendrix, Zeppelin. Hendrix and Zeppelin on the ukulele, and maybe some Rolling Stones.

[Josh Adam Myers]

Is there a video of that anywhere?

[Wayne Federman]

Oh, of course. What do you mean? Yeah, that's my. Yeah, I mean, it's. It was like, my thing. And, you know, some comedians loved it, and other comedians thought it was, you know, a little bit of a cheat. But I'm a music. Like, I always like music in my comedy. Is that.

[Josh Adam Myers]

Is that the biggest cheat you've ever done on stage, like. Or. What is the. What is what you think? Because I. I remember doing shows in. In South Carolina, and there was. My feature was this, like, overweight black comic and. Very funny. Very, very funny. I forget what his name was, but he was very, very funny. So I'm not on him, but he had two jokes where he basically pulled either his gut out, and it was like. And he was wearing. He was wearing. Underneath one of his shirts, he had, like, not a tube top, but, like, one of those, like, things that holds your gut In.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

And his final joke was he'd pull his pants down and he was wearing like Lululemon pants. And so he's like, ladies, is this what you want? Is what you think is hot? And it was just like. And every time he did it for the first four shows of the weekend, the crowd was like, yeah, that's funny. Yeah, yeah, yeah. But on the last show, dude, I've never seen anybody kill harder. And the crowd then hated me. They were like, where's your prop?

[Wayne Federman]

Right, Exactly. I. You know, it's so funny. At the time I never thought. I just like. I liked killing with it. And I had like, you know, 90% of my act was straight stand up. And then I do the UK at the end and it, you know, killed. Killed every time. Every friggin time I did it.

[Josh Adam Myers]

You would do one.

[Wayne Federman]

Purple. Yeah, I did Purple Haze and then I did. Yeah, yeah, basically. And then a song called In Between, I put in a little bit of Inigata Devita. I don't know if you know that song.

[Josh Adam Myers]

First time I heard that song, it was in the final Nightmare on Elm Street, Freddy's Dead.

[Wayne Federman]

Oh, yeah.

[Josh Adam Myers]

When it, when it turned into the 3D version, when it said put your 3D glasses on. And I put them on.

[Wayne Federman]

Freddy never seen Manhunter.

[Josh Adam Myers]

Manhunter. The one with the. Wait, don't tell me, don't tell me, don't tell me. Is that the one?

[Wayne Federman]

The. The.

[Josh Adam Myers]

It's Sounds of the Lambs. But it's. Yes, yes, I know. Michael Mann.

[Wayne Federman]

Yep.

[Josh Adam Myers]

Yeah, it seems like a Michael Mann song. I could see him putting, you know.

[Wayne Federman]

The whole big thing at the end is all to that song.

[Josh Adam Myers]

Really?

[Wayne Federman]

Oh, yeah, the whole, yeah, the whole Martin Scorsese style music underneath this, this, you know, 60s pop song underneath the horrific imagery on screen.

[Josh Adam Myers]

Dude, I was watching. I remember, I was like. Because he just puts it in. In every movie. I was watching Kundun and. And it was just like. It's just the shadow way. It's just the shadow way. He's like blessing people.

[Wayne Federman]

That's his move. That's his move. That is his movie.

[Josh Adam Myers]

Like, all right, you don't have to put it in every song, every movie.

[Wayne Federman]

But Cook county, by the way, is also in Illinois. So that is. So both of these, both of these records are in from Illinois.

[Josh Adam Myers]

Why do you think this record is ranked lower than. Because, dude, that was like 498. And this is number 141. And this did move on the new list, on the 2020 list. This did jump to it went up, it fell to 299, so 158 spots, and Cook county did not make the cut. So this was actually four. This is four. This is four. 499 was Cook County. It was the second round we did.

[Wayne Federman]

Right. It barely made it in. Yeah, yeah, yeah, yeah.

[Josh Adam Myers]

Barely.

[Wayne Federman]

Because I think Live at the Regal came before Cook County. I. Please double check that, Brian, if you can. But I got it right here.

[Josh Adam Myers]

I got. All right here, dude. I got it all right in front of me.

[Wayne Federman]

I believe it's. I believe it became.

[Josh Adam Myers]

And that's why 6571. Yeah. So this is 65. That one was 71. Recorded 15 miles apart.

[Wayne Federman]

Yes. Love it, Love it. Yeah. I mean, just incredible fidelity. And there's so much to talk about with this guy, this record, but, yes, 65. And to me, I always felt that this record was a reaction to the 1963 James Brown and the Fabulous Flames Live at the Apollo. I always felt like this record. Because they're both Chitlin Circuit acts, right? They're both. They were working like all those black clubs and doing these, like. We were just talking about with. With the. You know, when you work the road, you got to entertain these crowds. Whether it's Lululemon pants or, you know, doing splits like James Brown or singing your heart out and playing incredible blues licks on your Lucille Gibson guitar. Like, that's. That's what we're looking at here. And also, if you think about it, this is. The British invasion is crashing over American culture at this point. I mean, I just wonder what these guys think, like when they're at the Regal Theater playing in front of like probably a. Basically an all black crowd. And just like, what is going on here musically, like, all of a sudden? Yeah, yeah, yeah. Music is happening. Jingling, jangly guitars and. And these, you know, and the Beatles. I mean, the Beatles are more inspired by like, you know, early Motown and things like that than by B.B. king. And so that's what's just. Culturally, what's going on at the time is they just must have felt like, oh, my God, we're anarchists. Not anarchists. This is. We're like from another time. Yeah, we're from just a different era here. And so he is putting on the show he puts on at the Regal is just incredible. Incredible. Obviously.

[Josh Adam Myers]

Obviously. I mean, we're talking about it for sure.

[Wayne Federman]

If we're talking about. Can we cut that out? That was stupid to say.

[Josh Adam Myers]

No, leave it, dude. Leaving.

[Wayne Federman]

Leave it in, leave it in. Leave it In Wayne says, one of the greatest albums of all time is incredible. You can quote me on that, by the way.

[Josh Adam Myers]

You know, I know I sent. Did I send you anything about me at Abbey Road? Because remember. Remember, I booked it going in just the. They. A lot of it's been redone. Like, they. They refurbished or whatever that word is. Updated. A lot of the studios, like where Darkseid was recorded, it's. It's basically. It's the same thing. Everything's, like, still there, but it definitely feels like a new studio. But where the Beatles recorded everything in Studio 2, it is. It is untouched.

[Wayne Federman]

Are you allowed to walk up those stairs?

[Josh Adam Myers]

Oh, yeah, I did. I've got video of all of it. I've got. I did. The woman took me on this tour. Supposed to be a half hour. We did about an hour at the beginning. I said, can I shoot video? She goes, of course.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

So I shot video in every room. I had her talking about stuff. I. I played the piano that's been in there forever that they use in the recording of Lady Madonna.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

There's another one right next to it that has a John Lennon cigarette burn. They would say he would just put his cigarettes out right here, and he would play the board, everything. I went up to the room where they would chill. I went to the little area where they would go and smoke joints. Like, everything, dude, I. I did everything. She let me touch some of the microphones that were being. That were used. That were probably used for. For. They can't say, well, this was a definite one for, you know, that John sang and knew. But it was like, it was all of it completely untouched. And at the end of it, I was like, this is so great. Thank you so much. He goes, oh, yeah, by the way, you can only post pictures. You can't post any of those videos. And I was like, I took no pictures. I only shot video.

[Wayne Federman]

You can just take a still from the.

[Josh Adam Myers]

But it's not the same. It's not the same because you can really get good angles. And the camera for the. For the. For the pictures is better when it. Until it converts to video. And it's a good video camera. It's just not as good. So the shots of, like, the piano. I would have gotten a full thing. Thing. And I had to only get, like, 70 of it in the screenshots I posted. Plus, I had, like, the songs I was gonna do. Like, when I walked into Honza.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

And the guy let me into what is now a ballroom where, you know, Depeche Mode and David Bowie. And I'm talking like you right now. And you two act on, baby. They all put everything in. That's where they go. The guy was like, here. I was like, here, just open the door. And then I'm gonna walk through in like a 0.5 fisheye. And then I did this really cool like thing with it and I put like you choose one to it and it was beautiful. And I was like, I'm gonna do that for, for the Beatles thing. Like there are places I remember and couldn't do any of that. So I'm gonna wait a little bit and then I'm gonna post it. I'm gonna wait until she's not paying attention and I'm gonna drop it in.

[Wayne Federman]

Oh my God. What an incredible. That was incredible. Wayne. With one word to describe everything. That was incredible. Incredible. Well, I'm so glad you went there. I'm so glad. I have never been there. So I've obviously, I've seen many photos of that studio through the years.

[Josh Adam Myers]

It's. It's really is like just the. Like she said, people will walk in and like kiss the floor. And you know, and I, I just, I touch certain things, but I didn't, I didn't like go. I didn't get as emotional as I thought I would. Also, there was like, it was tough because there were like people setting up for something or breaking down and.

[Wayne Federman]

Right. It's just. They rent that studio, right?

[Josh Adam Myers]

You can rent it, by the way. You can rent. You can, you can say you've recorded at Abbey Road Studios because that's all she was doing was like taking me around like to something. Like somebody would be interested in renting it. Yeah, yeah, yeah, yeah. And so she was like, this room's 600 now for the day. This one's, this is 3,000, dude. It's like, I think it's like $3,000 for a 10 hour day in studio two. But then you got to pay for the engineer, you know, and you can rent all the equipment and stuff. But it was.

[Wayne Federman]

They get you. That's how they get next. Wait, did you use this cable? Gonna rent you the.

[Josh Adam Myers]

Yeah, yeah, yeah. Rent the cable. I was like, couldn't. Do you mind dressing up? You want him to dress up as George Martin? That's enough for 400. It's like you can get all of it. I, I just, I just chose for the, for the small package, which is just the tour, and then say, no, thanks, just looking. Angelo used to have a really funny joke. It was like I'm recording my first comedy record. It's called Live at Guitar Center. No, thanks, just looking.

[Wayne Federman]

Why? Because they're all on commission there.

[Josh Adam Myers]

Yeah, nobody ever buys anything. Everybody's just playing the guitars and then they go, go, okay, help you out. They're like, no, thanks, just looking. I'm just looking. Just. Just noodling around. Just right.

[Wayne Federman]

You can always tell when the guys, they bring their own picks to the thing. Yeah, yeah, they're ready to go.

[Josh Adam Myers]

I just take this bucket of picks at Guitar Center. I just take a handful and leave. That's what I do. All right, so tell me about B.B. king, because I feel like we. Maybe in the first round, we did this. We didn't really go deep.

[Wayne Federman]

I don't know if you know, means big balls, no blues. Jesus. And it's always tough to call a African American gentleman a boy, but that's what BB Stands for. His real name's Riley, believe it or not. Riley King.

[Josh Adam Myers]

Really interesting.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

Riley B. King. Yep, yep.

[Wayne Federman]

And he's about to, you know, again made it to 89. Didn't quite make it to September 2015, but, you know, sort of somehow created this sound using his guitar. He's famous for having a guitar named Lucille. There's many versions of Lucille, but I'm sure you spoke about in the last one how he got the name Lucille for his guitars.

[Josh Adam Myers]

That was. That was in 2018. So why don't you tell us?

[Wayne Federman]

Okay, well, okay. He was playing, you know, he's. Again, he's a chitlin circuit act. You know, he's playing all these black clubs throughout the south, throughout the Midwest, and just trying to eke out. Eke out a living. And he's in this in Texas. I can't remember. Oh, tweed, Twix, some. I'll look it up. He's in this little club in Texas in 1949, not even playing electric guitar, still playing acoustic guitar at that time. And it was cold at night. And in these little chitlin circuit rooms, they had no heating system, so they would put a big can of kerosene in the middle of the floor and just light it on fire. And that would be the heat for the room for the shows. And of course, there's a couple of guys who are drunk and are arguing over a woman. They get into a fight. They hit the kerosene can, it spills out, which. What. What he described as a river of fire goes through the club. Everyone's like, get the hell out of the club. The club is burning down. Everyone Exits. And then Riley. I don't even know if he's BB at this point. He might be. He's like, oh, my God, my guitar is still in there. So he runs back in. In the flaming. In amongst all the flames, saves his guitar and leaves. The two guys who are in the fight get killed in the fire.

[Josh Adam Myers]

They're dead good, those guys.

[Wayne Federman]

And they were fighting over a woman named Lucille. And so he was like, this is to remind me two things. One, never run back into a burning building, ever. That was stupid. Can't believe I did that. You know, I mean, I guess I could have bought another guitar and then. And two, as tribute to this woman, Lucille, who's like, caused this fight, caused these two guys to. To die and caused this little juke joint to burn down completely.

[Josh Adam Myers]

I heard that was the same thing that happened during the Great White Fire.

[Wayne Federman]

They ran back in to get the equipment.

[Josh Adam Myers]

No, there was a woman, Lucille, that set off the. The pyro in a club that was filled with asbestos. Do you remember that, y'?

[Wayne Federman]

All? I remember. I didn't know it was.

[Josh Adam Myers]

You know. The worst part of that was for the family members of the people that died is that they had to tell other people that they were watching Great White live way past their prime.

[Wayne Federman]

I like. There's a couple Great White albums that are excellent, by the way.

[Josh Adam Myers]

Really?

[Wayne Federman]

In my opinion. Yeah. Yeah, I think. I know. I know they're. They're in that group of the bands you make fun of, but. Yeah, I really like them.

[Josh Adam Myers]

All right, well, that's.

[Wayne Federman]

Dude, they actually do a. I think it's like a. Their version of Red House is incredible. Really? Yeah. The Jimi Hendrix. Yeah. I mean, it's obviously a cover tune when Jimi Hendrix did it, but sure. Yeah. Yeah.

[Josh Adam Myers]

All right, well, that's everybody. We're learning. We're learning more and more about Fetty Wap today. He's a cute Great White fan. I'm gonna get you a vintage T shirt of theirs. I think it's. I think they pay you to wear it.

[Wayne Federman]

Oh, my God. Stop making fun of the band. Yes. It's thing. Everyone makes fun of that band. I get it.

[Josh Adam Myers]

Keep going. Tell us more about BB King.

[Wayne Federman]

So he was. This all goes back to Bobby Blue Bland, baby. This. Yes, because. Yes, because he, along with Bobby Blue Bland and Johnny Ace and other performers, were part of what was called the Beale Streeters in Memphis. Not in Chicago. Not in Chicago. In Memphis. And they were like kind of a loose band that backed up other performers. And this is where he really developed his electric blues sound that eventually made its way up to Chicago with Chess Records and all of that. But yeah, so he was part of the. He was a DJ there in Memphis. And then down on Beale street they would just become these legendary musicians. Junior Parker was they. The harmonica player. It was just a, it was a real, it was a scene. And this is the thing about Memphis. You should know it's one of the few big cities in the United States that yes, it's black and white, but it's predominantly black. It's like 50, 60, 70% black. So it is, it is like black culture there. And so it was really a. A real petri dish of musical ideas. And of course, our old buddy from Sun Records, I don't know if you remember that guy who, he opened his Memphis recording studio down there to capture this scene before it was Sun Records.

[Josh Adam Myers]

Interesting.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

You know, and Memphis also was one of the first places we did when we started working with Jelly Roll.

[Wayne Federman]

You did?

[Josh Adam Myers]

And yeah, it was the. We did. Well, right outside, it was like. Right. Mississippi. There was a Mississippi. You know, because it's only like 15 minutes away from the Mississippi border.

[Wayne Federman]

Right.

[Josh Adam Myers]

And my, my band was in a Airbnb and the driver that of the Uber that dropped them off there was like, you sure you're staying here? He's like, this is, this is a bad area. And they're like, no, we're fine. He goes, I'm gonna wait here and make sure you guys get into the house because it's bad. Hey, everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing stuff songs and performing in front of crowds. Just like with comedy. As a musician, it can be kind of hard to cut through the noise and really stand out as an artist. I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us? But then again, that was before there was Distrokid. Distrokid is a digital music distribution service that brings your sound to the masses. It's a one stop shop for getting your songs on itunes, Spotify, Apple Music, YouTube Music, Amazon, Deezer, Tidal, and many more. What's Deezer? I never even heard of Deezer. How many of them are there? I know all that. That's like the holy grail of streaming services, though, and getting paid. They want to. We want to get you paid for your music. That's huge. Because A lot of bands go broke before they get big, but Distrokid collects earnings and payments and sends 100% of these earnings to artists minus banking fees and applicable taxes. And that's just one of the tons of benefits of using Distrokid. You can send big files to anyone with their Instant Share feature. You can use the Hyper Follow feature to promote your release and get pre saves on your song. You can even create personal landing pages for yourself, your band, your brand, and whatever you like. It has a free Spotify Canvas generator too to generate your own Spotify Canvas for your songs. And the Mixia feature instantly masters your tracks for higher quality audio. So if you're ready to bring your band to the next level, it's time to check out Distrokid. The Distrokid app is now available on iOS and Android. Go to the app or Play Store to download it. Listeners of this show can get 30% off their first year by going to distrokid.com that's distrokid.com VIP the 500 for 30% off your first year dig it?

[Wayne Federman]

Eczema isn't always obvious, but it's real.

[Josh Adam Myers]

And so is the relief from EBGLIS.

[Wayne Federman]

After an initial dosing phase, about 4 in 10 people taking EPGLIS achieved itch.

[Josh Adam Myers]

Relief and clear or almost clear skin at 16 weeks.

[Wayne Federman]

And most of those people maintain skin.

[Josh Adam Myers]

That'S still more clear at one year with monthly dosing.

[Medical Ad Voice]

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[Wayne Federman]

Ask your doctor about Epglis and visit epglis Lilly.com or call 1-800-LilyRx or 1-800-545-5979. So like I was saying, Sam Phillips Creates the Memphis recording studio which eventually becomes Sun Records. And we know the legacy of that. So it was a very fertile area. And oh, I forgot to mention also one of the other Beal Streeters is a singer I think you would love, who died playing with his gun. And he was in his 20s named Johnny Ace. Do you ever. Do you ever heard.

[Josh Adam Myers]

I feel like that name's familiar. Yeah, but tell me about it. What happened?

[Wayne Federman]

Well, he was part of the Beale Streeters down there and he was a piano player. Played with BB King, played with the. The scene down there was part of the scene down there. And then luckily like one day in the recording studio was like, oh, I could sing this song better than the person singing it. And they did it and it was like, oh my God, you're a vocalist. And then he had these strings of very emotional R and B slow. Mainly slow R and B songs that are to this day just in just wild, wild that. So anyway, he was part of that scene along with Junior Parker and BB and our buddy Bobby Blue Bland, the big vocalist down there. So. So that's Johnny Ace. And then he was on the road with Big Mama Thornton, who's the original person who sang Hound Dog.

[Josh Adam Myers]

Nothing but a Hound Dog and all the baby.

[Wayne Federman]

Written by the Lieber and Stoller who went on to write all of those incredible jailhouse rock, all those songs for Elvis, many songs. And he was just playing with his gun and was like, this gun isn't like. And then shot himself in the face and died.

[Josh Adam Myers]

Wow.

[Wayne Federman]

Drunk. The road, baby. The road, dude. That's what's amazing that B.B. king lasted, to tell you the truth, as long as he did, considering he was overweight for the last, I don't know, 10 years or when I saw him, he was, he was sitting down. He wouldn't even stand up in for his shows.

[Josh Adam Myers]

I only noticed, I only saw him as, as standing that, you know. Sitting down. Yeah, I never saw him standing.

[Wayne Federman]

Yeah, now apparently he did. And you know, and that was the, that was the thing. And there was this, you know about the chitlin circuit, correct?

[Josh Adam Myers]

Ish. I mean but go ahead and just give it a better description because I might.

[Wayne Federman]

Well, the chitlin circuit was a series of black theaters, juke joints, small clubs, nightclubs, pop up shows all throughout. There was all four and by African American performers, performers, comedians performed on this circuit. But it was mainly R B acts like, you know, James Brown, B.B. king, Blues, all of this stuff just performing all over. But the four big theaters you played to be like at the top of the chitlin circuit world were the Regal in Chicago, the Howard in Washington D. C. I'm sure you know that one right there was a club, I think it was in, in Philadelphia. I can't remember the name of it. I, I'll look it up. Oh, the Uptown in Philly.

[Josh Adam Myers]

And then Uptown Philly, chickens are getting burned.

[Wayne Federman]

And then of course the crown jewel, the Apollo Theater. Yeah, so with those were these base. So that was like the dream of these performers when for the most part show business was very segregated at that time. I mean there were some exceptions What Sammy Davis Jr. Was doing, what Bill Robinson was doing before he died. You know, there were some exceptions with Lena Horn or Ella Fitzgerald. They could play white clubs, but for the most part it was very segregated. So these shows were extremely vibrant, crowd pleasing shows. Jimi Hendrix toured the chitlin circuit. That's where he learned how to play behind his back. And all of that, all of the showmanship that goes into. When you think of James Brown coming out, having the band behind him, that's all developed at these very raucous clubs throughout the South, Midwest, east coast, even as far west as maybe Oklahoma. And So that's where B.B. king learned to do these extremely vivacious crowd pleasing shows. And what's great about B.B. king, if you listen to Live at the Regal, he's not introduced as the guitar, the greatest guitar player or anything like that. He's introduces the singer. Like that's kind of what he was known for as much as the guitar playing. So he. Yeah, listen to the, the album Regal, Live at the Regal. That's how they introduced him, the singer.

[Josh Adam Myers]

BBK I did hear that. I did hear that. Yeah.

[Wayne Federman]

Yeah. So it's. And then, you know, and another thing that's fascinating about Riley King, I like to call him Riley because I don't like to call him a boy. Is that he. He didn't really play chords. He didn't really play along rhythm guitar along with the songs he was either singing or soloing. He wasn't like chunka chunka chunka chinka. I'm playing the E minor to the A seventh. None of that. He wasn't doing that. So it's really like when you consider one of the greatest guitar players of all time isn't really playing along with the song is Wild.

[Josh Adam Myers]

That is.

[Wayne Federman]

And I think he could play chords, but he really liked singing these songs just from the deepest part of his soul. And then just when you think it couldn't get more emotional, he would Just these incredible guitar solos. And he was not super fast, like. Like, I don't know, like, even Buddy Guy, like. Or Eric Clapton. He was. He was known for being extremely expressive and emotional with his guitar playing. It would remind me of. Here's something. We just talked about them. The way David Gilmore plays guitar solo.

[Josh Adam Myers]

Oh, he always. He always mouths what he's doing too. He's always like.

[Wayne Federman]

He does.

[Josh Adam Myers]

Oh, yeah, dude. When he's doing solos, he's. He's. When he's doing the solo for Comfortably. Is it Comfortably Numb?

[Wayne Federman]

Yeah.

[Josh Adam Myers]

No, it's not just. No, it's. It might be. Wish you were here. But it's like you watch the video of him doing it. He's always just like.

[Wayne Federman]

Well, basically, that's what they're doing. They're recreating the human voice with the guitar. Making the guitar sing. I didn't want to say it, but.

[Josh Adam Myers]

Yep.

[Wayne Federman]

Yeah. So that's what he's. No, that is what he is really known for. And it was, you know, getting panties wet all across the chitlin circuit for years. And then just. People just loved what he did. And then obviously the Chicago blues Electric Blues explosion with Muddy Waters and all of those guys, and our buddy Howlin Wolf, you know, the singer. But I think he sort of helped really create the template for electric blues. Little Riley King. Little Riley King. You really did it. And this is. I just love every track. You know, I'm. I'm already ready for this track to skip that question. We'll. We'll get to that later. And. And also the. You know, he never really had a big hit until much later. Like in 70 had this song called the Thrill Is Gone. And that was his big kind of breakout mainstream hit. So these were all R B hits that he. He would play on these albums here at Cook County Jail. That. That type of thing was it.

[Josh Adam Myers]

So he was. He was. You could call him more of like an underground artist. Because I know as you're saying, like, the Beatles and stuff are. Are popular and it's all the hollies and this and that. So is it. Did he not really become mainstream until someone like Eric Clapton got big and then they all started talking about him. Yeah, I figured that.

[Wayne Federman]

Yeah, that's exactly what happened. And look, he. He recorded records, but they were all on the R B charts, which was kind of considered race music. So it was still kind of segregated, the whole. The whole industry. But yes, when Clapton hit and started talking about them, and then all of those blues guys went over to England and the white kids in England just loved them. And then from then on, BB King and those guys all played to young hippies as well as, you know, Chitlin Circuit fans from, you know, the 40s and 50s when they were still segregated. But yes, that is exactly what happened.

[Josh Adam Myers]

So what are some other interesting things about him?

[Wayne Federman]

You.

[Josh Adam Myers]

You mentioned some earlier, but, like, what are the things that you're like, you know, he's a big womanizer.

[Wayne Federman]

Yeah. Yeah. I mean. Yes, he had a number of. Yeah. I mean, I'm not an expert on his 15 children that he had out of what?

[Josh Adam Myers]

15. 15.

[Wayne Federman]

Oh, this is something you should know about him. He was a road dog. Like, even up till the end when he has type 2 diabetes and can barely move around. Yeah. He would do hundreds of show. I believe even on his last year live, he did hundreds of shows. He would do. He. He would like to tour all the time. He also sort of used very light, lighter gauge strings, so he could easily bend them and get that otherworldly vibrato, I guess is the way you would describe. He had a very fast vibrato on his. When he played. Almost like a. A buzzing sound. Like a. Like it was incredible. And it's. Yeah. So that's kind of what he's known for, is creating this plain blues music, hitting that blue note, bending up into it, and then just milking every bit of emotion out of those guitar solos.

[Josh Adam Myers]

Yeah. It says. It says here.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

Was it fathered 15 children with several women after his death have come forward claiming him as their father.

[Wayne Federman]

18. So nowhere up to 18.

[Josh Adam Myers]

Neither of his marriages produce children.

[Wayne Federman]

Yes.

[Josh Adam Myers]

His biographer is that. I know, but his. This is even crazier. His biographer, Charles Sawyer.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

Wrote that. That doctors found his sperm count too low to conceive children, yet he never disputed any of the 15 claims and by all accounts was generous in bankrolling college tuitions and establishing trust funds. Yeah.

[Wayne Federman]

What do you make of that?

[Josh Adam Myers]

I mean, I don't know. I mean.

[Wayne Federman]

He.

[Josh Adam Myers]

It's like, pull out, dude. I know it feels good to finish, but just pull out.

[Wayne Federman]

No, no, no. I mean, you think like, he paid for all of these things, yet never had a kid with either one of his wives?

[Josh Adam Myers]

I mean, that's. I find that odd, obviously.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

You know, but also, maybe he was so tired from on the road.

[Wayne Federman]

Yes.

[Josh Adam Myers]

That. That when he got home, you know, he's like. You said, he's a road dog. He was never home. That's probably why. Yeah.

[Wayne Federman]

So it's like, no question.

[Josh Adam Myers]

I Mean, you know, it's. It's great to have 15 children.

[Wayne Federman]

18, maybe another three. That's high, right?

[Josh Adam Myers]

He wanted. He wanted. He wanted to break 20. He wanted to hit the record. That's crazy, man. You know?

[Wayne Federman]

Well, and then I don't know if. Did you ever see the movie Rattle and hum?

[Josh Adam Myers]

The YouTube movie? Yeah, I do remember it, but I don't think I've seen it in a long time.

[Wayne Federman]

Oh, it's so good. Anyway, they go back to Sun Studios in Memphis, Sam Phillips old place, and record this song called When Love Comes to Town. And he played that almost at every concert. Until the end. Till the end. Because that was a real crossover hit for him. And YouTube just played it at the Sphere. Just played it at the Sphere in their last little residency there.

[Josh Adam Myers]

I wish I would have gone to that. I really bummed.

[Wayne Federman]

You do?

[Josh Adam Myers]

Oh, man, I would have loved. I. I've never seen you two. And what a cool place to see them for the first time. I think that would have been.

[Wayne Federman]

Oh, you've never seen.

[Josh Adam Myers]

You, too.

[Wayne Federman]

Interesting.

[Josh Adam Myers]

No, but I do think. Look, I. You want to talk. When we talk about super bowl halftime performances, I think Prince is the best. But I think you two, after 9 11. Yeah, that was doing where the Streets have no Name. Oh, with all the names in the back, like you said.

[Wayne Federman]

Just.

[Josh Adam Myers]

And then it drops, and then it's just. It's. I watch that all the time. I still get emotional.

[Wayne Federman]

Have you ever seen their set at Live Aid? YouTube?

[Josh Adam Myers]

Yeah, it's old. It's. It's like, probably like Sunday Bloody Sunday. And.

[Wayne Federman]

Yeah, and I think he, like, he ends up going into the crowd and hugging a girl, and the band is mad at him because they're like, now we can't play this other song because you're busy trying to get some.

[Josh Adam Myers]

Get some puss.

[Wayne Federman]

No, no, no. It was more just trying to create a moment for yourself as opposed to the band. You know what I mean? Like the.

[Josh Adam Myers]

Sure.

[Wayne Federman]

Anyway.

[Josh Adam Myers]

Anyway. I mean, come on, dude, it's.

[Wayne Federman]

Yeah, yeah.

[Josh Adam Myers]

By the way, he's been on the Cosby Show, Young and Restless, Sesame Street, Married With Children, Touched by an Angel, General Hospital, Fresh Prince of Bel air, appeared in McDonald's and Burger King commercials. Interesting. Interesting. Yeah. And he's a pilot. He had his pilot's license.

[Wayne Federman]

Yeah. Look, I mean, what can you say?

[Josh Adam Myers]

B.B.

[Wayne Federman]

King? And the weird thing is, he doesn't. Outside of the Thrill Is Gone and maybe Three o' Clock Blues, like, he doesn't have a lot of, like, big hits and that YouTube song that he was just. People would go to listen to him sing and play guitar and bend those notes and. Wow, he was really entertaining. Really entertained, by the way. You know what? Or do you know what chitlin means?

[Josh Adam Myers]

Chitlin is like. Like pig intestines.

[Wayne Federman]

Yes. Yeah, Yeah.

[Josh Adam Myers]

I know that I always thought it.

[Wayne Federman]

Was fried pig intestines, but now I've heard that it might be boiled.

[Josh Adam Myers]

Oh, God. No, but this is.

[Wayne Federman]

But when I think of, like, when I was a kid, we used to have brisket in the house, which is.

[Josh Adam Myers]

Love brisket.

[Wayne Federman]

Yeah. But the same thing, like, brisket is one of the worst cuts of meat in that you can get off the cow. So poor people would buy brisket and let it, marinate it for 24 hours to loosen it up a little bit and then cook it. It's the same kind of thing. It's like poor people have these, like, you have to eat the worst part of the cow as opposed to, you know, the fillets and things like that.

[Josh Adam Myers]

Oh, God. Dude.

[Wayne Federman]

I know. Think about it.

[Josh Adam Myers]

I had, when I was in England, when you have the big breakfast, you have. They have blood pudding, which is like. I mean, I think it's intestines with liver and. And then it's like blood. And I mean, it has a weird taste to it, but the, The British guys that were like, the security for Jelly Roll, we're just like, you're not gonna eat it? I'd love to have it. And they just. They gobble it up. And you're like, yeah, yeah. It's just. To me, it was. It's like, I love the breakfast, but good God, the sausages over there just. I'm just. So you just, you just feel the fat Now.

[Wayne Federman]

Did you get a chance to hear this album yet, or.

[Josh Adam Myers]

Oh, no, I listened to it. I listened to it on the flight because I knew we were prepping for it. And then I listened to it today while I was unpacking and you like.

[Wayne Federman]

The Cook County Jail one a little better?

[Josh Adam Myers]

Well, no, no, no, no, no, no, no, no. Don't say that. I, I would say. I'd say, you know, I feel like they're both very similar in sound. You know, I don't think one. Even though it's a few years later, I don't know if it's so much of a, you know, he's, he's better or worse. I, I, I, I just. It's one of those things that this record and the other one, you just put it on and it's A vibe. And I don't. I don't mind it. I actually quite like it. I love slow blues, so I think it just sounds really pleasant and. Yeah, I mean, dude, it was. It's a good record, you know. Is it better than some of the we've done recently? Is it better than Phil Spector's Christmas jive? I mean, I don't know. It's. You know. Can you put this on and kiss somebody under the mistletoe?

[Wayne Federman]

Yeah, I think so. It's not all slow blues. This. This is like. There's some real rocking songs here. Have you ever heard Please Love Me like that song is rocks? You Upset Me, baby. That's like a swing tune. Those are really Worry, worry. They're. I don't know. I just. I feel like there's not. There's only one bad cut on the whole album. Can we. Can I get to that?

[Josh Adam Myers]

You want to do the. You want to do the finale? We're at. We're at. We can just dick around for the next few minutes.

[Wayne Federman]

Yeah, yeah, yeah, yeah.

[Josh Adam Myers]

All right. So what's your favorite song?

[Wayne Federman]

That's a hard one. I mean, it's hard, those first two songs. If. I hate to split the Baby, but Sweet Little angel and Every Day I have the Blues. Like how he starts off. The concert is just at 10. He starts at 10. It's just incredible. So that's wonderful to hear that.

[Josh Adam Myers]

It is, it is, it is.

[Wayne Federman]

But I really like. You Upset me, Baby, please love me Gotta pick one. Yeah. I would say. I don't. Every day I have the blues I just. I just think it. The. It starts off with just. That band is cooking.

[Josh Adam Myers]

Cooking, yeah. Every day. Every day. Every day I have the blues like the blues are.

[Wayne Federman]

It's so funny. The form of the blues of say the word, say the lyric, repeat the lyric, and then rhyme the lyric. It's like, you know, went down to the red house, it's all my baby down. And then you repeat it. The exact same line, and then you rhyme it. And that's. That's the whole form for these. For a lot of these blues songs.

[Josh Adam Myers]

Why do you think it's that way?

[Wayne Federman]

Because at its core, blues music is heartbreak music. Obviously, it's the blues. So it's more about the expressiveness of the vocalist than the. The simplicity of the songs. Of. I Want this Baby, she Cheated On Me and Then I Killed Her. That's the song. Yeah, I. You know, that's basically. That's it. So it's. It's just a Very. It's like the opposite of like, what Cole Porter would do or what George Gershwin or George and Ira Gershwin would do or Irving Berlin, which is very clever lyrics out of the. The whole world of a musical theater or the. Why am I blanking on the name of it? Tin Pan Alley. Tin Pan Alley, dudes. Where it was very clever lyrics. And this is much more about. I hate to say it, like emotion. I would say below the waist kind of music. It's like, okay, this is for copulating and this is for the deepest kind of emotion. Stop all the clever, clever lyrics and let's get to what it's like to be a human being on the planet Earth. And the deep feeling and heartbreak that comes along with just being alive. All of it. So I think that's what resonates with it. That's also what limits, in my opinion, the blues music to lyrically is there. You know, I went down to the crossroads Fell down on my leaves Went down the crossroads Fell down on my knees Help me, please like, it's very. The simp. Like the simplest little frame. And then from there they just explode with musical ideas. Especially. Especially with the. Once they were able to plug in those electric guitars.

[Josh Adam Myers]

Yeah.

[Wayne Federman]

And, you know, he. He used mainly Gibson guitars into Fender amplifiers. So it was just a great combination of these two American brands.

[Josh Adam Myers]

Hold on for a second. Because they. Rolling Stone magazine ranked him the 8th greatest guitarist of all time.

[Wayne Federman]

Yeah. And he's a phenomenal vocalist. Phenomenal.

[Josh Adam Myers]

On a. Greatest guitarist of all time. Let's see.

[Wayne Federman]

How can I guess the list?

[Josh Adam Myers]

We're gonna go. I'll go to. No, see, I'm. Oh, there's 500 of them. All right, here we go. All right, here we go. Let me go down real quick. Are we gonna. He's number eight. Do you want to start at number one?

[Wayne Federman]

Yeah.

[Josh Adam Myers]

Who do you got?

[Wayne Federman]

I'm guessing Rolling Stone is going to go James Jimi Hendrix.

[Josh Adam Myers]

Yep. Knock that out of the park. Who's number two.

[Wayne Federman]

Then? I'm gonna. I. They might. It depends on what year they wrote this.

[Josh Adam Myers]

2003.

[Wayne Federman]

Oh, 2003. Oh, yeah.

[Josh Adam Myers]

No, no, no. 20. 23. I'm sorry.

[Wayne Federman]

Oh, 2000. Prince. No.

[Josh Adam Myers]

Chuck Berry.

[Wayne Federman]

Oh, Chuck Berry. Oh, I love it.

[Josh Adam Myers]

Who's number three? Who is number three?

[Wayne Federman]

Just give me a hint. Give me a hint.

[Josh Adam Myers]

Huge. Never mind. I was gonna say huge Dick. It's Spinal Tap made fun of him with the. With the cucumber in their pants. Oh, I'm trying to be. I'm not trying to give it Away. Mysticism.

[Wayne Federman]

Jimmy Page.

[Josh Adam Myers]

Yep.

[Wayne Federman]

That's Robert Plant. Okay, okay. Let's keep.

[Josh Adam Myers]

Okay, My bad. I'm sorry.

[Wayne Federman]

No, it's no big deal. Sorry.

[Josh Adam Myers]

Who's number four? Number four coming in. Probably, you know, more famous than his singer.

[Wayne Federman]

Oh, Jeff Beck.

[Josh Adam Myers]

Nope.

[Wayne Federman]

More famous than his singer.

[Josh Adam Myers]

Singers.

[Wayne Federman]

Singers. Oh, that's a hint.

[Josh Adam Myers]

It's a big hint.

[Wayne Federman]

He's multiple singers. Oh, my God. What am I. What's wrong with me? I don't.

[Josh Adam Myers]

Eddie Van Halen.

[Wayne Federman]

Oh, of course. Oh, okay. I gotcha. I thought there were multiple singers. Yes.

[Josh Adam Myers]

At number five.

[Wayne Federman]

Oh, my God. I miss Eddie Van Allen so much. That kid.

[Josh Adam Myers]

We've. You've. We've talked about this dude many, many times. At number five. Even today, you've done a bunch of the episodes.

[Wayne Federman]

Not Stevie Ray Vaughan.

[Josh Adam Myers]

No, you said it already today.

[Wayne Federman]

Oh, I did?

[Josh Adam Myers]

You just. You just.

[Wayne Federman]

Clapton. Eric Clapton. No.

[Josh Adam Myers]

Jeff. Becky.

[Wayne Federman]

Sorry, sorry, sorry.

[Josh Adam Myers]

Coming in at number six. I would. You're. There's no way you're getting this one, dude. It's a woman.

[Wayne Federman]

Oh, I know who it is. Who? It's Sister Rosetta Thorpe.

[Josh Adam Myers]

Yeah. Holy. Because I said a woman. That's why.

[Wayne Federman]

Yeah, yeah, that was. That was the. Oh, she's great. She's great. She's. She played kind of religious music and. But really fun guitar player.

[Josh Adam Myers]

I don't think you're gonna get part of that tour.

[Wayne Federman]

Remember we talked about that tour that went to England?

[Josh Adam Myers]

Yes, of course.

[Wayne Federman]

Inspired all. Yeah, she was part of that tour. Yeah.

[Josh Adam Myers]

You're not gonna get this one. I don't even know that this guy was considered one of them, but he is.

[Wayne Federman]

He's.

[Josh Adam Myers]

He's become an incredible producer over the years.

[Wayne Federman]

Oh.

[Josh Adam Myers]

Gap. He's got a gap in his teeth.

[Wayne Federman]

Is it. I think I know who this is. I think I know who this is. This is. He plays, like, rm. He's a black guy, plays R B music and dance.

[Josh Adam Myers]

I'd say Dan. More dance music.

[Wayne Federman]

Yeah. Yeah. Does he do the. Let me take you to Funky town? Is that his song?

[Josh Adam Myers]

I don't. Maybe he's. I mean, he wrote.

[Wayne Federman]

Yeah, Yeah. I. I can't.

[Josh Adam Myers]

David Bowie. Daft Punk. Duran Duran. It is Nile Rogers.

[Wayne Federman]

Yes. Nile Rogers, of course.

[Josh Adam Myers]

Then number eight, obviously the ambassador of blues, B.B. king. And who's after Ambassador? Not the who's after him. Would have never thought this. Nor do I think you're ever gonna get this. There is no way. So give me the night. No, it's not. It's not.

[Wayne Federman]

Wait. West Montgomery.

[Josh Adam Myers]

I love West Montgomery. But it is not West Montgomery. I. Dude, I. I'm just gonna give it because there's no.

[Wayne Federman]

I love it. I love it.

[Josh Adam Myers]

Joni Mitchell.

[Wayne Federman]

Yes. Yeah, she's. Yeah, that's a. That's a very Rolling Stone magazine.

[Josh Adam Myers]

Yeah.

[Wayne Federman]

Answer placement there. Yeah, they love that scene. They love her. And she is very creative. Acoustic guitar.

[Josh Adam Myers]

Sure. Is she better than number 10? I don't think so. You're not. I think the one. This is where I fell in love with this guy. He played the solo and Loan Me a Dime by Boz Skaggs. Part of the Muscle Shoals.

[Wayne Federman]

Oh, yeah. Let's just stop right there. Is it Steve Cropper?

[Josh Adam Myers]

Dwayne Almond?

[Wayne Federman]

Oh, Dwayne Almond. Yeah. These guys. These are all legendary guys. Wait a minute. Clapton is not in the top 10.

[Josh Adam Myers]

He. No, Clapton did. He's not even. Holy. I'm going. Oh, my God. No, Clapton. No Clapton. Hold up. This might have been after the 1920. Wow. Where. Where the Is he? This is crazy.

[Wayne Federman]

This is what happened. Post the racist rant. Yeah, yeah, yeah. Post rant, you get dropped down. He would have definitely been in top 10. There's no.

[Josh Adam Myers]

Yeah, dude. I'm already at 31. 32. Know him. 34. I don't see up 35. They got clapped in at number 35.

[Wayne Federman]

Erased from history.

[Josh Adam Myers]

Erased. Because, dude, they got. They got Brian May, Jack White, George Harrison, Neil Young, Eddie Hazel, David gilmore, buddy guy, St. Vincent. I don't know whether she's in there. John Frusciante, James Burton.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

Atfield and Kurt Hammett together. Albert King holding with a pipe in his mouth. Randy Rhodes at 21. Vaughn at 20. Freddie King at 19. Tom Murillo at 18. Good buddy mother. Mabel Carter at 17.

[Wayne Federman]

I don't know.

[Josh Adam Myers]

Robert Johnson at 16. Keith Richards at 15. Prince at 14. Tommy, I'm gonna. I always. His name up. Tommy. Iommi. Iommi.

[Wayne Federman]

Yes. Yeah. Yeah.

[Josh Adam Myers]

And that's Black Sabbath. Yep. And then Jimmy Nolan at 12. And at number 11, Carlos Santana. That's it.

[Wayne Federman]

By the way, Carlos Santana is a huge BB King devotee.

[Josh Adam Myers]

Well, I wish we would have known that. We could have booked them. But I'm also happy that we've got. Wait, Lil Wayne, Fetty Wap.

[Wayne Federman]

I know he's on, but they're also the Grammy Awards in February, so in like five months. Is doing huge tribute to BB King at the Grammy Awards.

[Josh Adam Myers]

Oh, wait. Joe got in touch with me. He said, who are you? Okay, never mind.

[Wayne Federman]

He's.

[Josh Adam Myers]

Yeah. So he's not coming on.

[Wayne Federman]

Okay.

[Josh Adam Myers]

All right. Anything on this record you skip over?

[Wayne Federman]

Yes. I hate to say it, it makes me look like the worst person in the world. What, what is that track number 10. It's called help the Poor. It's called Help the Poor? The one like social commentary track on the album. Yeah, the one like in the ghetto kind of song on the album. And yeah, it's not great. It's not great. And again, I appreciate the sentiment. I'm all for helping the poor. I know I sound like a, a privileged guy who steps on homeless people, but that's, I'm just talking about the song number 10 on this 10 track album, help the Poor. That's.

[Josh Adam Myers]

Yeah.

[Wayne Federman]

Did you hear it?

[Josh Adam Myers]

Yeah, I did. I did listen to this twice. I, I, I listen to the records. Trust me, dude.

[Wayne Federman]

Yeah.

[Josh Adam Myers]

I give it the time and the, and the, I give it, I give it what it deserves. And to make sure that I don't come in here, sound like an idiot, but when I have you on, I don't got to do anything. I just let Wayne talk and I.

[Wayne Federman]

No, no, no, B.B. king. I mean, when you told me that this was happening, I couldn't believe it. This album is so not only influential, it's just, it holds up so well. I put it, I put it alongside that James Brown Live at the Apollo, which again, two of the four most iconic Chitlin Circuit rooms are these shows. And so I just like connected to that world of those guys working the road day in, day out, getting women pregnant all over America. With low. Even with a low sperm count.

[Josh Adam Myers]

Even with low T. With low T. B.B.

[Wayne Federman]

King is killing it. Riley Ro. Riley King.

[Josh Adam Myers]

Oh, just, just, just, just, just. I'm not gonna say what I'm gonna say because if it was another comedian here, I would have said what I was going to say and they would have laughed, but you would have gone, oh, God, why do we have to work? What is going on here? All right, can you neck to this? Can you.

[Wayne Federman]

All of it.

[Josh Adam Myers]

You can. Heavy pet to this record.

[Wayne Federman]

This is what the blues is about. It's about, it's, again, it's sex music. It's like, it's very basic primal music. That's what's incredible and. All right.

[Josh Adam Myers]

It really is. All right, how do you sum this up? What's your elevator pitch?

[Wayne Federman]

Oh, well, if you want to know where the electric blues the, again, the actual, the prism of which all electric blues get shot out from all the different colors, you could start with B.B. king. And this album absolutely captures on a scale of 10 to 10, 10 out of 10. What it was like to see that guy live, to see what these shows were live. And the electricity that's created between performer and audience on that night in 64 or 65 or whenever it came out, I think it was recorded in 64, came out in 65. In this iconic theater now torn down in. On the south side of Chicago.

[Josh Adam Myers]

Well, promote away, buddy. I know you gotta. You got going on. I guess we should tell everybody. Don't take Tylenol anymore. It's bad for you.

[Wayne Federman]

I remember the Tylenol scare. Do you remember that thing? There was a guy who poisoned Tylenol. Killed. I believe he killed some people, put poison into Tylenol. And the way they caught him is that he shorted the stock. Like he knew the stock of the pharmaceutical company would drop when they found out the Tylenol was being. And so he made a lot of money that way. And they're like, oh, this guy, this. This stock manipulator is. Is caught. So that's how they caught the guy. And that's the reason we have all medicines have like that seal on top that you have to peel off. It used to be you just open up a bottle of aspirin. It was open.

[Josh Adam Myers]

No way.

[Wayne Federman]

Because of that one dude who tried to manipulate the stock market by killing people with Tylenol.

[Josh Adam Myers]

Interesting.

[Wayne Federman]

Yeah. And now. Well, I'm gonna look, I'm gonna look into it before I endorse anything, any Tylenol.

[Josh Adam Myers]

Promote away. I know you've got some docs coming up and, you know, we thank you for coming on for this. I, you know, and tell the listeners. And I'm gonna say it during the intro too. What a gift to have you and. And be a part of the show because you know how much I love having you on. If you could do every episode, I'd have you on. On. But. But it's like we're gonna get back to. There's. There's always a chance. You never know. There's always a chance that. That Wayne Federman might be coming on to do blind again.

[Wayne Federman]

Yeah. Again. People keep canceling on you. I get it.

[Josh Adam Myers]

It's not canceling. It's scheduled. It's been scheduling because of this trip. This trip was.

[Wayne Federman]

You will admit, the. Your itinerary was packed this summer.

[Josh Adam Myers]

The. Especially the last. The last month was. I had no time whatsoever, so. And I was on jelly roll, so. And he goes and goes and goes. So there was no like to try to set a date. Oh, we're Going to do this date. It was like, that was why there was that one night where we were like, can you do right now? And you're like, yep, let's go. And. And then we did it because I didn't realize it. And then all last week I was in London, which I should have just knocked out a bunch that way. But it's also that time difference, man, that just kills you too. Like, that's like to do, you know, a 3pm is really X and to do, it's just, it's a lot, dude. So I love you, buddy. Thank you for coming on. But promote. I know you got the Mel Brooks. Are we getting close?

[Wayne Federman]

Yes, we're getting close on the melt the Mel Brooks. But I wanted to talk about a gig. I have a stand up gig in believe it or not, Auburn, not Alabama. Auburn, New York, at the Auburn Public Theater. Wayne Fetterman doing a big show at the Auburn public theater on the 4th of October. If you happen to be in upstate New York, near Syracuse, come on by. I'm gonna be doing an hour. I'll be doing piano. It'll be great. And so that's a big, big gig for me.

[Josh Adam Myers]

Big, big, big gig. Go see Wayne, everybody. Wayne, I know I'm gonna have you back, so thank you for coming on, bud.

[Wayne Federman]

All right, later.

[Josh Adam Myers]

What did I tell you? What I tell you, the one and only Wayne Federem. Go see him in Syracuse. Support everything he does. He is arguably one of my favorite people in this world and it is a gift that we have him on standby to do these shows. So thank you. I know you guys love it too because I get the messages. But like I said, next week, regularly scheduled programming, hopefully follow him on Instagram at instafetterman and go to WayneFetterman.com now. We just listened to Live at The Regal from 1965. For new music picked this week brought to you in part by Distrokid is Don't Want to Go Home by Eric Gales featuring friend of the podcast Joe Bonamassa. And you can find links to the music on our website, the500podcast.com and if you were in a band or directly influenced by one of these albums, artists and you want your music Featured on the 500, send us your song to 500podcastmail.com all right, next week it's Blondie Parallel Lines at 140. Oh, sniz. Apparently it's gonna be a goodie. I think we still got a good guest lined up. It's a. If this comes through it's gonna bleed Mind blowing. I love you guys. Thank you for tuning in. We'll talk soon.

[Guest Performer/Singer]

I just catch my check I'm going to party all night long when I go home my wife gonna be so mad be raising hell and arc and at me there I'll be in trouble but oh what fun I've had.

[Wayne Federman]

It'S.

[Guest Performer/Singer]

Not that I'm messing around with nobody else every now and then I won't go out by myself all my bills are baby and my work is through you think I'm you going Bo then you got to feel free I just met work and I sure don't want to go home I don't.

[Josh Adam Myers]

Going to.

[Guest Performer/Singer]

Party all night long till all my money's gone till all my money's gone let's go spend Bring his money, jokey. My wife's so fine she spends my fasting time she goes shopping every day you dragged me out of my mind don't mean no disrespect but this paycheck's gonna be mine I just left work I sure don't want to hold.

[Josh Adam Myers]

I.

[Guest Performer/Singer]

Just got paid.

[Josh Adam Myers]

I feel like doing.

[Guest Performer/Singer]

Wrong I just cash my check I'm going party all night long.

[Wayne Federman]

I just.

[Guest Performer/Singer]

Catch my check I'm going to party.

[Josh Adam Myers]

All day long yeah, I think I'm.

[Wayne Federman]

Going have myself a good time.

[Guest Performer/Singer]

The 500. Keeping it fleecy for the Police Nation on the 500. The 500 laundry.

[Josh Adam Myers]

And Doug, here we have the Limu imu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug. Limu is that guy with the binoculars watching us.

[Wayne Federman]

Cut the camera.

[Josh Adam Myers]

They see us. Only pay for what you [e-mail] Liberty, Liberty, Liberty, Liberty Savings vary underwritten by Liberty Mutual insurance company and affiliates. Excludes Massachusetts. For a limited time at McDonald's, get a Big Mac Extra Value meal for $8. That means two all beef patties, special sauce, lettuce, cheese, pickles, onions on a sesame seed bun and medium fries.

[Wayne Federman]

And a drink.

[Josh Adam Myers]

We may need to change that jingle. Prices and participation may vary.

[Wayne Federman]

Next chapter. Podcasts.