148 - Led Zeppelin - Houses Of The Holy

Summary

Podcast Summary: The 500 with Josh Adam Meyers - Episode 148: Led Zeppelin - Houses Of The Holy

Introduction

In episode 148 of The 500 with Josh Adam Meyers, host Josh Adam Meyers delves into Rolling Stone Magazine’s list of the 500 Greatest Albums of All Time by focusing on Led Zeppelin’s seminal release, Houses of the Holy. Joined by comedian and drummer Bill Burr, the episode offers an in-depth exploration of the album’s tracks, the band’s evolution, and the intricate musicianship that defines their legacy.

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Guest Introduction

Josh Adam Meyers (A) welcomes Bill Burr (B) to the show, highlighting Burr's multifaceted career as a comedian, actor, and musician. Meyers expresses excitement about Burr’s insights into Led Zeppelin, given Burr’s experience as a drummer and his deep appreciation for the band.

[00:01] A: "The 500 with Josh Adam Meyers... It's our first Zeppelin record."

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Initial Impressions of Houses of the Holy

Bill Burr shares his nuanced view of Houses of the Holy, describing it as a "divisive" album. While he appreciates each song individually, listening to the album in its entirety reveals a variety of styles that showcase the band's growth and experimentation.

[06:27] B: "This album is one of these albums where I like all the songs individually. But listening to them in a row... it’s all over the place."

Meyers concurs, noting the album’s eclectic mix of reggae, funk, and hard rock elements, which contribute to its wild and innovative nature.

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Evolution of Led Zeppelin’s Sound

The conversation transitions to Led Zeppelin’s progression from their earlier works (Led Zeppelin II and Led Zeppelin IV) to Houses of the Holy. Burr reflects on how the band was striving to surpass their previous success, experimenting with diverse musical influences while maintaining their signature sound.

[07:03] B: "They were listening to all this different kind of music, and I think they were selling so many records that gonna say anything. And it makes it awesome and also makes it a little wild."

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Track-by-Track Analysis

1. "The Rain Song"

Burr praises "The Rain Song" as Jimmy Page’s masterpiece, highlighting its sophisticated arrangement and emotional depth. He admires John Bonham’s drumming, which adds complexity without overshadowing the song’s delicate composition.

[31:44] B: "You gotta have a little bit of rain... it's an absolutely gorgeous song."

2. "Over the Hills and Far Away"

Meyers and Burr discuss the seamless transition from the acoustic "The Song Remains the Same" into the hard-hitting "Over the Hills and Far Away." Burr emphasizes the song’s groove and Plant’s compelling vocals.

[37:22] B: "This is the first song that... you feel like this is Led Zeppelin. This is why we love them."

3. "The Crunge"

Analyzing "The Crunge," Burr corrects a common misconception about its funk influences, asserting that the song isn’t genuinely funk but rather Led Zeppelin’s unique take on the genre. He criticizes the notion that Zeppelin were a funk band, clarifying the song’s true musical foundations.

[39:28] B: "This is not a funk song at all."

4. "Dancing Days" and "Doomsday Eve"

"Dancing Days" piques interest with its title suggesting an easygoing vibe, yet Burr finds the rhythm challenging to dance to, reflecting on the song’s unconventional structure. Similarly, "Doomsday Eve" showcases the band's experimental side, which Burr appreciates for its groove despite its odd time signatures.

[51:53] B: "Zeppelin's not a dance band."

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John Bonham’s Drumming Mastery

A significant portion of the discussion centers on John Bonham’s exceptional drumming skills. Burr marvels at Bonham’s ability to infuse intricate rhythms without complicating the song’s foundation, maintaining both power and precision.

[23:57] B: "Bonham never did it. He just kept it on the kick drum and then went right back to one."

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Comparisons to Other Bands and Musical Influence

The conversation touches on Led Zeppelin’s place alongside other legendary bands like The Beatles, highlighting their approach to songwriting and album composition. Burr draws parallels between Zeppelin’s experimental nature and the Beatles’ evolution from a pop band to pioneers of sophisticated album artistry.

[17:03] B: "Beatles started off... they went from 'She Loves You' to 'Come Together.'"

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Personal Stories and Experiences

Burr shares anecdotes from his personal life, including his initial exposure to Led Zeppelin while working in a warehouse and the impact of listening to "Whole Lotta Love." He humorously recounts struggles with modern technology and relates them to the challenges faced by musicians in adapting to new styles and expectations.

[11:03] B: "I first got into Zeppelin because of a guy who loved Bonham and everything..."

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Favorite Tracks and Closing Thoughts

As the episode nears its end, Burr and Meyers highlight their favorite tracks from Houses of the Holy. Burr expresses particular admiration for "No Quarter" due to its dark tone and intricate arrangement, while Meyers shares his love for "Dancing Days" and "The Crunge."

[75:34] B: "The wanton song has my favorite Bonham drum fill of all time."

They conclude by emphasizing the album’s lasting influence and its ability to challenge and inspire both musicians and listeners.

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Notable Quotes with Timestamps

• Burr on the Divisiveness of the Album:

  [06:27] B: "This album is one of these albums where I like all the songs individually. But listening to them in a row... it’s all over the place."

• Burr on "The Rain Song":

  [31:44] B: "You gotta have a little bit of rain... it's an absolutely gorgeous song."

• Burr Clarifying "The Crunge":

  [39:28] B: "This is not a funk song at all."

• Burr on John Bonham’s Drumming:

  [23:57] B: "Bonham never did it. He just kept it on the kick drum and then went right back to one."

• Burr on Beatles Comparison:

  [17:03] B: "Beatles started off... they went from 'She Loves You' to 'Come Together.'"

---

Conclusion

Episode 148 of The 500 with Josh Adam Meyers offers a comprehensive and engaging examination of Led Zeppelin’s Houses of the Holy. Through thoughtful dialogue and personal insights, Josh Adam Meyers and Bill Burr shed light on the album’s complexity, its standout tracks, and the enduring legacy of one of rock’s greatest bands. Whether you’re a seasoned Zeppelin fan or new to their music, this episode provides valuable perspectives that enrich your understanding and appreciation of Houses of the Holy.

Transcript

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Sending a password to WhatsApp, it's all just this.

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So whether you're sharing the streaming password in the family chat or trading those.

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Late night voice messages that could basically become a podcast, your personal messages stay between you, your friends and your family. No one else, not even us.

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WhatsApp message privately with everyone. This show is brought to you by Distrokid. Bring your music to the masses. The 500 the 500J been walking us down through that 2012 edition so it ain't nothing to you. Hundreds more to go and in need of a friend the king of peaceful 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 Ah, that's Over the Hills and Far Away. It's by Led Zeppelin. It's our first Zeppelin record. It's from their record Houses of the holies. Number 148 out of 500 on the 500 with Josh, Adam, my Yaz. And that is me. I'm a comedian. I'm going through Rolling Stone magazine's list of the 500 greatest albums from 500 down to 1. We are chipping away after this record. We got 147 episodes left and I don't know what the fuck we're gonna do, baby. Right now I am probably on a plane to Ibiza. I just saw Oasis, the last two, actually. I've seen him three nights because I went the first night I got there too, in England. I want to thank all the people that came to see my shows in England. I've got shows coming up the rest of the year. I will be the last weekend, the 29th and the 30th of August. I will be at Plano Mic Drop in Texas. It's. I don't know, I think it's near Dallas. We're doing four shows there. Then I will be in Pittsburgh, Jacksonville, Saudi Arabia with today's guest playing an arena at a comedy festival. Vancouver, Arizona, La Jolla. I will be busy. Vegas. Not Vegas, no. Yeah, Vegas. Yeah, Vegas. I'm doing Kimmel again and then I'll be in New Orleans doing Skank Fest. There's a Bunch of Josh Adamyers.com for tickets at Josh Adam Myers on all social media. Subscribe to this page YouTube YouTube.com backslash the 500 podcast. You can watch the episodes. Subscribe to my YouTube Josh Adam Meyer 79 and subscribe to the Patreon patreon.com backslash the 500 Podcast. For $5 you support the show and we love you. For 25 you support the show, we love you and we send you merch merchies. Wear it at your next show. Join The Fleece army patreon.com backslash the 500 podcast. Get all the episodes early and you get Master Fleece Theater with me, Wayne Fetterman, DJ Morty Coyle and JT of Ibiza. Let's dig it. Lead Zeppelin. Our first one, we've done iterations of it. We've done the Yardbirds. Yeah, I think that's basically it. I don't think John. Well, John Paul Jones did do the strings and Automatic for the people. So yeah, we've had little bits and cadoodles of everything. And today's guest, it's the only man I could think of. The purse. The first person I asked, the one and only Bill Burr. If you don't know who he is, you've been living under a rock. He's the host of the twice weekly Monday morning podcast. He's one of the strongest comedians working today. He is my Yoda, he is my dad, he is my bike riding buddy. I'm on his show F is for Family. I am in his movie Old Dad's playing a strip club dj. I've opened for him at Madison Square Garden and him and I will be in Saudi Arabia the end of September. If you don't know who he is, watch his one of the best and it couldn't be a better guest today have for our first lead Zeblong raid review and most importantly subscribe to the 500 listen free on all platforms or anywhere you get your podcast. Follow me at Josh Adam Myers on all Social. 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 the500podcast.com. All right, y', all, here we go with 148 out of 500 with houses of the Holy. Dude, I thank you, Bill, for taking the time out to do this because.

[B]

Oh, you guys tell everybody how long it took me to set this thing up.

[A]

Okay. 18 minutes. 18 minutes. Yeah, 18 minutes. But, dude, we're doing it. You look great.

[B]

No, I'm hiding the anger in my eyes because I love this album.

[A]

That's not what you said via text. Dude, I've heard multiple different reactions about this record. You.

[B]

No, no, no, no, no. This. This. This is the most divisive. I don't have the drum music. I wasn't going to show up with the bottom score to every song. This is the level nerd. I am. No, this. This album is one of these albums where I like all the songs individually.

[A]

Yeah.

[B]

But no, I can't say that either. But listening to them in a row. Yeah, this album is all over the place.

[A]

All over the place.

[B]

It's all. It's. I feel like it's. You know, they were going through a growth period and put out an album. So this was. It was like between Zeppelin 2 and Zeppelin 4. They had Zeppelin 3, and that was them going to this acoustic thing and blah, blah, blah. And then it all came together. And then I feel like with Houses of the Holy, they're like, well, how do we top that? And then they. Then they just. They. You know, they were listening to all this different kind of music, and I think they were selling so many records that gonna say anything. And it's what. It makes it awesome and also makes it a little wild. So it's fucking wild, dude. I'm not angry.

[A]

Okay, good. Thank God. All right. Goosebump.

[B]

Oh, my God. Go into settings. Allow the camera.

[A]

Allow the microphone.

[B]

I just did that. Refresh the page.

[A]

Dude, Jeremiah, I told you Streamyard is gonna piss people off. And of course, out of all the people that I knew would fucking figure out the way to it up. Not because he doesn't know how to do it, but he'll get pissed off.

[B]

This is the thing about getting older. If you live long enough, stuff that you used to know how to do, you don't know how to do anymore. I can't turn on a TV anymore. I can't turn the lights on. I have to Call the front desk half the time in a hotel to figure out how to turn the lights off, how to. Where's the menu?

[A]

The worst thing about hotels. You ever get in one of those hotels where you got to put your. You got to put the key in the wall thing, and you're like, why is it nothing but the worst? You gotta walk over there. Why are you making me do that? Like, just turn the fucking lights on with the switch.

[B]

The next time some douche tries to tell you everything's better in Europe, be like, oh, really? The key in the wall, that thing? That's better. That's better. I'm in bed. I want to shut. Ah, fuck. The keys in the wall.

[A]

Key's in the wall.

[B]

Gotta get over. 3, 2, 1. Unfamiliar room, bumping into shit.

[A]

If we get him talking about Bonham, he will be fine. And I know this. I know this 100%. So. Because we have a limited time, and I really want to get you out of here, so, you know, I love you for taking time out to do this.

[B]

I actually really relate to John Bonham because, like him, I am also misunderstood. People think I'm like this all the time. It's like, no, it's just because I had to turn on a computer right before you talk to me. Before that, dude, I was living my analog life. Rainbow lollipops, life, Josh. I had my little coffee machine. I was driving my three on the tree car. You got to turn the key to unlock it. I was in my analog.

[A]

Oh, my God, me.

[B]

Into the future. Oh, God.

[A]

But it's Zeppelin, dude. And this is. Truth be told, Bill, like, because you know what I told you, I fucked up. And I was listening to Physical Graffiti by accident. I listen to House of the Holy, but then somehow I stumbled onto Physical Thinking. That was the record for a moment.

[B]

The song Houses of the Holy.

[A]

Yes.

[B]

Is on Physical Graffiti.

[A]

Confusing. Very confusing. Very confusing. But that was what was so beautiful. Because the opening track on Physical Graffiti is Custard Pie, which is the first song that we did at the Jam. And I was like, oh, that'd be great. We'll talk about that first. And then I was like, oh, wrong. Wrong album. Song remains the same as the first song. And. And. And to know that, like, you and I have connected over music and your love for Led Zeppelin and bottom, you know, which we'll get into you having his drum set and all that. But I want to get it back, because when we did the jam and the first song that you recommended was Custard Pie, so obviously, I know that's something that you love and. And have always just been in your back pocket as one of your favorite bands up there with ACDC and so many others. Like, who turned you on to Led Zeppelin? Like, what album did you hear first? And like, how did you hear.

[B]

I was working in a warehouse. And the warehouse was this great mixture of jocks and burnout musicians. And the common thing that we had, we all went to summer school. We hated people in the carpeted area with their cubicles and their positions.

[A]

Yeah.

[B]

And we were kind of. We were way freer than. We were making less money, but we were way freer than they were. So the druggies, the burnouts, you know how it worked was we were shipping this software, right?

[A]

Yeah.

[B]

So if you ran this, everyone was pack picking, picking and packing. And whoever was running the scale controlled the radio. So you were. You were at the. Their mercy. And there was this one guy there, and he loved Edie Brickell and the New Bohemians, loved them. He knew that we, you know, he had burned the tape out. So to piss this off, I think he had Thursdays on the scale. And Thursdays on the scale was Ed all day. And he would just go in and just play the thing the whole day. And it was so funny. And, like, the shippers ran the radio. So everybody that was like, you know, unloading trucks, they had no say in it. So as much as we were frustrated, it was driving them even more frustrated because at least we were going to have the radio one day.

[A]

Yeah. Yeah.

[B]

I couldn't. I mean, I love Ed. I like the band and shit, but, like, after listening to it all day for an entire fucking summer, one day a week, I couldn't stand them. But how much it annoyed the completely powerless people that were making more money than us but had no say on the radio made me enjoy it. So it was fun. So anyway, so when one of the guys who played bass in a band, but also, like, he was sort of like a closet drummer, he loved Bonham and everything, so he was the one they started playing. They played everything from Zeppelin to, like, Crosby, Stills and Nash. Pure Prairie League, all of that shit. And so that's when I got in to Zeppelin. Because the first Zeppelin song I heard was like Whole Lot of Love. And that whole breakdown in the middle and the screaming, just that weird. I was just too weird for me. And I was just like, I don't know if I'm into this.

[A]

Yeah.

[B]

I have another slumber in my life. I like more the good time Vibes of AC DC and my crew.

[A]

Yeah.

[B]

Even though those guys, I think at least Molly Crew, I know that they listened to Zeppelin, so that's how I got into it. And I. Obviously, I liked a lot of their earlier stuff because that's what I heard on the radio more probably the, you know, 1, 2, and 4.

[A]

Yeah. So then 3 is very divided, right? 3 is like 3. And this record, a lot of the songs that are very divided amongst Led Zeppelin fans.

[B]

Well, that, you know. You know how fans are. They get into you and then they don't want you to change, and then they make fun of you because you become a parody yourself. So at some point you have to just keep growing, knowing you're going to lose a few of them, you know? So I. But I think there's. There's so many things. There's. On three, there's Immigrant Song.

[A]

Yeah.

[B]

And Since I've Been Loving youg. And then it's Celebration Day. Like, Bonham's groove in that. It's just fucking insane. And then, like, some of the simpler things that he did on, like, Bronur Stomp or whatever. Like.

[A]

Yeah.

[B]

It's like he always played for the song. And, you know, I've said this a million times. Like, you know, we. You know, there was no Internet dude. There was no. You had a record player, you had a tape, and he just kept rewinding it or bringing it back and slowing down the record yet. No fucking. Like, we had no idea what they were doing. We all thought Bonham was playing, you know, telephone poles. And then you finally watch the concert and he's playing with, like, five A's, and he's. He's all down here and, like, wrists and shit. You know, the song Enders, when he's doing all of this shit, if you really look at him, he's still not bashing the shit out of the drums. You know, that's the show. But when he's playing the song, he's playing. He's a drummer. He's playing the fucking song. So anyway, which brings us to Houses of the Holy. I'm into half the songs on this.

[A]

You said that to me. Yeah, you said. When I texted you about it, you. You. You already started pumping stuff at me, which we'll get through, because I want to go through some of the tracks with you.

[B]

It's the second act, the. And then the first act and the third act of this album. I love the second act. It's just. It's just fucking. It's all over the Place really is.

[A]

It really is. And it's almost like, for a drummer there ever. Like, there's so many songs on this record. Like, even Dancing Days, which is called Dancing Days, you can't find the fucking one. They make you work for it in almost every song of words where the one is. And I find that extremely interesting, you know, especially because they're doing reggae on this, they're doing funk on this. But then, of course, you have, like, what people love about Zeppelin.

[B]

Can we get to their funk a little later?

[A]

Yo, yeah, yeah, yeah, dude.

[B]

We.

[A]

I want to go tracky. By tracky, I mean, there's. Because this is. For me, it's like. I remember first Led Zeppelin was Led Zeppelin 4. My. My cousin had the album, and I remember listening to it in his bedroom and putting, like, the humidifier on and, like, thinking that was, like, the smoke effects of the show. Such, like. It's just such an iconic record. I mean, not just Stairway, but Black Dog and Rock and Roll and. And so. So all of these songs, this is like you're. They have that record. This is them being arguably the greatest band in the world. And they're not a single band, meaning they're releasing singles like the Beatles did. Like, they're doing full albums. And they make you work to listen to these records and find everything. And I mean, there's the history.

[B]

Beatles. Beatles started off, they were a boy band. They should have been over in two summers. And the fact that they figured it out.

[A]

Yeah.

[B]

And got in control. And they went from, you know, she loves you. Yeah. To like, you know, come together. And all the stuff that they were doing. And the other Beatles are unfucking believable. They're just guilty of having been around for 60 years. So it's like trying to explain them to a younger person. It says, like, let me tell you about Benny Goodman and why he was.

[A]

So.

[B]

I get. When young people are like, oh, my God, they're so overrated, it's just like. Well, I mean, there's no way to put them into perspective now. It's 60 years. Fucking.

[A]

Yeah. We'll never get. They'll never get it. But it's like. I mean, it's the same thing.

[B]

Put it this way, it would be like in. When they came out in 1964, you were trying to tell people about music from 1904 and why it's so fucking important. Yeah. Playing like, the entertainer. Automobile. Gonna get that Automobile Me Slappy.

[A]

This is. This is like. I think for the first record that we're Doing on the podcast for. For. For Led Zeppelin. I'm actually glad it's this one, because I. Like I said, I think this is. Whereas Physical Graffiti feels like their white album, this is a challenging record. I mean, three, like we said, is a little divided, but Those, you know, 1, 2, and 4 are just gold.

[B]

Physical Graffiti lives somewhere between the White Album.

[A]

Yeah.

[B]

And lose. Use your illusion.

[A]

Yeah.

[B]

Where, like, a band gets so fucking big.

[A]

Yeah.

[B]

That there's nobody going, hey, man, we got to, like, maybe fucking. You know, like. Like, I feel. Leave them wanting more. Every big band, sort of a ban abandons that. Leave them wanting more thing. Once they're allowed to.

[A]

Yeah. You got one.

[B]

Or. Or it's because everybody's, like, on drugs and they can't get it together to get back in the studio, so they put out a double live album.

[A]

Yeah, yeah, yeah.

[B]

That's when that shit came out. You're like, all right, they're either gonna learn from this or they're about to break up.

[A]

Yeah.

[B]

That's what always. That was, like, always. Just always happened. Like, oh, fuck. They did the double live album. Coming to an endless amounts of blow. They're all on different tour buses and everybod in their ear, and this whole thing is gonna. It's gonna be. It's going away, man.

[A]

That's so true. That's so true, man. All right, so this is. Can right into the record. All right. It opens with the song Remains the Same, which you mentioned, which I thought was really funny, is like. This is like. This is one of those things. Like, I think Queen did this too, with one of their album names. And then the song isn't on there. It's actually on the next record. Like, you know, the Song Remains the Same is the concert video or concert that they recorded at Madison Square Garden, by the way. There was a. I don't. Jerry, I didn't tell you this, but I reached out to Tom Murillo, because when they did the Five Nights in the Garden, when I texted him, I was like, dude, it's like, I see you up there celebrating. And he goes, how could you not? It's like. It's like Led Zeppelin doing the song Remains the Same there. And just. It just meant so much. So I reached out. I was hoping he would, like, pop in for, like, two seconds just to.

[B]

Like, here's something for you. The audio was fucked up, and some of the video was fucked up from the night. Maybe not the audit, one of the two. So they went on a soundstage and had to Reshoot a lot of it. And every once in a while they'll just do a close up on Bonham and he looks like he's playing in his basement. And like, the fuck is that? That's what that is. And once you know that, you can't unsee that. It's still an incredible concert film. Oh, damn.

[A]

They slapped it together. It's what Kiss did for Kiss Alive 2. Or is it Kiss Alive 1 where it's like they rerecorded basically the whole live album, you know, because it was like they really wouldn't. They thought they were going to release it or they knew they were going to release it knowing. And that's actually would change the whole like functionality and popularity of the band. But having the name Houses of Holy, but the song actually being on Physical Graffiti and then having the song remains the same and then having the concert video with that. It's like they only played, I think two songs on from this record on the. The. On that concert video. Am I right? They only did this.

[B]

Yeah, this expl. Ext. There's ex. You know, directors cut video. The songs just got cut for whatever reason.

[A]

Yeah.

[B]

So that's kind of. But it was the how, if I remember correctly. Dude, I haven't gone down this rabbit hole in a while. I believe that that was. It was the Houses of the Holy Toy. Yeah. Because it was nothing. They didn't play anything from Physical. Yeah. This was the House of the Holy tour.

[A]

What do you think of the opening track? What do you think of like, you know, coming off of Absolutely Epic Archer.

[B]

From anything else that they did. And the driving, it's cinematic where like the way it starts before Bonham hits the snare and then they're in. I just like, you know, there's this weird thing where like I'm a fan of music. You know, I'm a guitar center drummer guy and I'm mainly a comedian, but I've gotten into acting and directing. But my whole life I've always. So much of songs made me fantasize, you know, hero fantasies of me doing something awesome and people liking me, you know, during my dark days.

[A]

Yeah, yeah.

[B]

Your hero fantasies where you prevent 911 from happening, you know, all the way up. But a lot of them, like I saw scenes in movies, so there's all of these songs that. And like, you know, like I've come up with ideas for scripts and shit, listening to songs. So this is one of the songs with the song Remains the Same. When I see that it's. It's a big Hollywood movie, but it's one of those ones that wins like an Oscar. It's not like, you know, some fucking, you know, the Martians are coming. Let's get Will Smith and. Or Tom Cruise to say, it's not one of those movies. Yeah, it's one of those ones that somehow makes half a billion dollars. And it's, it's. As an actor to watch it, you learn all this great stuff, like a Russell Crowe gladiator type of thing. There's something about this song that, that I love. And you know, a lot of it's going to go back to Bonham like that, obviously.

[A]

Yeah.

[B]

That snare, just the way he. He builds it and starts it on the hi. Head. A ghost. And then it's all accented and then it just. It's just like how he takes something here that you feel like it's at the ceiling and he's. No, no, no, no, here's. It can go even higher.

[A]

Yeah.

[B]

And just. I just. I don't know, it's just. It's an incredible song. Yeah, I know. I've never tried. I haven't tried to play along to it ever. I'm just like, this is just like his feel on this song. I just don't. Can't see myself ever even attempting to even try and replicate it.

[A]

I think you could do this. I mean, dude, if we were. If we all were fucking jammed out to this, you could fucking keep up with this.

[B]

What it is, is, is this, this song, the way he's playing on this. Because it sounds like he's playing quarters, but he's playing ace. It's like it's not tethered to anything that I know how to like, okay, let me start here and build this thing up like I like. But listening to the album, it made me want to try. Like, there's a lot of shit that just is so intimidating. And then you revisit it as you keep playing a couple years later, you're like, ah, you know, I think I could, you know, kind of fake some of this shit in or whatever, but I don't know. This isn't going to be about me and my lack of a drumming skills.

[A]

No, no, I would. See, I'm.

[B]

This is.

[A]

I want to spin it because I have like a question. I was like talking about taking it to the next level and it's like, I feel like when they did this recording of this, all the pieces just fit in out of all the specials that you did. And I remember every time I Talk to you. I know that you're like. With the special you're working on at that moment is the one you're like, yes, but what was the. What was the. Out of all the specials that you've done, when you look back and you've been like, that's the one. That's the one where I made the jump from. From Bill Burr to Led Zeppelin. You know what I mean? Like, was there. Was there a moment? Or, like, because you've had so many great ones.

[B]

I mean, no, they all. They all serve a purpose. So there's some that are like, ones where I was growing, and then there was other ones that it was the completion of that growth and then the next. We know. So there's like, you know, there's a lot of. If you, like, if you're following a band that's trying to keep challenging themselves. And this is another thing, too, for music is. I get, like, inspired as a comedian by watching people not resting on what they. Okay, this is what's selling tickets. We have to stay from here to here. I get whether it makes it or not. But as far as, like, which specials and stuff, I would talk to you off the air about this. I'm not going to do this. Because what happens is, is then people will take that information and then be like, you know, act like they figured it out, which really fucking annoys me. It's bad enough. It's bad enough that they post my jokes and they rename them.

[A]

Sure.

[B]

It's always like. It's always like, you know, this one out there says, women ruin everything. It's like, I never said that.

[A]

You've never said that, dude. That's the same.

[B]

I never.

[A]

Some YouTube trying to get clips.

[B]

Yeah. And I know the subtext of all that. You know what I mean? But, like, you know, they. They don't give a.

[A]

All right, well, then. Then they're talking about naming what was the hardest special to name.

[B]

I. I'm. I suck at that. So I feel like they've all been difficult for whatever reason. Or.

[A]

Or maybe what was the easiest. You pick one. Easiest or hardest?

[B]

I mean, live at Red Rocks. I mean, it was really. No.

[A]

Can'T miss on that one.

[B]

Yeah. This is where I was and I recorded it live. Yeah. No, there's just been. They've been everything. They've been random things that I've heard. They've been things that I felt. They've been my reaction to what's going on. Like, say, like, why do I do this Was something that I would say back when I was doing college gigs, and I'm waiting for this somebody to bring me on stage. It's a cafeteria at one in the afternoon. Nobody knows that there's going to be a show and I have to do an hour. Yeah, there's no way this is going to go good. It's just going to be an hour of humiliation. And I was just thinking, like, you know, I'm a shy, introverted person. Why do I. Why would I ever. Out of all of the jobs to pick, why would it. Why do I do this?

[A]

Like, yeah.

[B]

Or like, I work so fucking hard and I've come out here to entertain me. Entertain you. And, like, I have this amount of fucking obstacles, like, why? Why the fuck do I do that? Like, this is just fucking stupid. Was this. This is what chasing a dream is like. I thought it was going to be fun and exhilarating. I didn'. I didn't know about this part.

[A]

Oh, God.

[B]

Seats to the fucking Celtics and Bruins or whatever. You know, I thought that that's what was going to be like. No, there's a reason.

[A]

There is a reason. Yeah.

[B]

Yeah. Why Chasing a dream is difficult. So there was that one. And then there was more, like, things that were like a reaction to the time. So, like, Paper Tiger was my reaction to the fallout to the MeToo movement, where it went from, hey, don't rape people at work, which everybody agreed with, at least publicly, 99% did, except for the people raping people. To. All of a sudden it was like, you know, there was just all these, you know, female comics. Like, I don't like what you said in your act, and it doesn't make me feel safe. And then all of a sudden, my career is going to end the way somebody who fucking raped somebody is gonna. Like, what the fuck happened? And then also putting all of this importance onto standup. Like, we had the ability to completely change the way people thought. So my thing, Paper Tiger, that was making fun of myself and making fun of the way they would. They were demonizing Stand up.

[A]

Yeah.

[B]

While somebody else had taken control of the food supply, turned it into poison. It was literally feeding your kid cancer.

[A]

There it is.

[B]

We're not paying attention to that. But did you hear what he said about Jenner? Yeah. And then this unfunny person with hairy legs is going to be like, this is why I can't have a good set. It's like, no, I have nothing to do with. Like, I would never blame somebody for the fact that I can't carry A tune. When I say.

[A]

That'S not true. Dude, you killed. Take that job and shove it. Don't. Don't poo poo yourself, man. You murdered that.

[B]

Oh, yeah.

[A]

All right, for timing issues, let's jump right into the rain song. Dude, this is one of the most loved songs on the record because it does what Led Zeppelin does. You got Jimmy Page with the interesting tuning and then the rock and roll part at the end. It's two songs putting together, and you don't even know it's coming. But I feel like you do. You feel like just the way it starts, you know, they're going to turn it.

[B]

I just. I feel like. I feel like this song is Jimmy Page's masterpiece and the whole band coming together and everything that everybody does. I feel like the lyrics that Plant wrote on this, you know, little. Little life coachy, you know, in everybody's life, there's a little bit of rain. You gotta have a little bit of rain, you know, that a sunny day should be appreciated. You know, not to get all hippie dippy Bonham with the brushes. And I just feel the way that, like, this is a song where people, even if they don't like Led Zeppelin, listen to it and they like the song.

[A]

I could. Yeah.

[B]

You know, like, you know, I mean, if I put on Led Zeppelin, too, and I'm making the kids for breakfast, my wife's coming down the stairs like, Bill, can we. Can we ease into the day here? Yeah, but I could put this song on any time of the day, and it would be appropriate because it's an absolutely gorgeous song.

[A]

It really is. It's gorgeous. The. I think a little thing inspiration for this was George Harrison pointed to Bonzo that Led Zeppelin never wrote a ballad. Not only did Jimmy set to prove George wrong, but he based the chords on Harrison's song Something in a Wink. And. Let me turn the camera back on. I don't know what is going on with my camera. It says this was recorded on the same board used for the who Live at Leeds. This is. I. What. This is like. This is how you do, like a mixtape. You come out with the banger song Remains the Same, and then you bring it down with the rain song. And it's. I'm not saying, like, for the ladies, but then it's like. It gets right back up to where we know Led Zeppelin.

[B]

And here's my thing, though, is if. If I'm a fan and I heard one, I heard two, I heard three, and then I heard four, I'm hearing These first two songs, and I'm already like, I don't know how they could ever top those first four albums. And two tracks in. They've already done it.

[A]

Yeah. Yeah.

[B]

I feel like the songwriting and the arrangements on the first two is way more sophisticated than anything that they. They had done previous to that. You know, I just. It's. It's. I mean, it's. It's almost like if you're a comedian. I feel like what they did, the way they did the track listing is they started off with their opening joke and then did their closer.

[A]

Yeah.

[B]

Like, just starting. Like, this album goes so fucking hard in the first two songs. It's kind of like, where did you go?

[A]

A little bit.

[B]

This album is. If they did, like, it wouldn't make over the Hills and Far Away. And then if they did no quarter after that and you were flipping over the album, you were just. Your face is already melted.

[A]

Shock. Yeah.

[B]

Yeah. But I understand why they. They waited with no quarter because of the second act was coming. So. Anyway.

[A]

But I want to talk about the advice that George gave him. And then also what. What Robert is saying in the song. What's the best advice or critique you got from somebody that you respected?

[B]

There's too many.

[A]

Manything early on.

[B]

Well, one of the things I always go to was watching Dave Attell in Tempe, Arizona, at the old improv out there. And it was the first time I saw him not in New York city doing the 12 o' clock spot, 20 minutes at the Cellar. And I was sitting there going like, all right, here's the king of New York in Tempe, Arizona, a place that could not be any less New York. Like, how is he? How does. How does he adjust? And not only did he not, he went even harder. And then there was jokes that were absolute masterpieces, and he was still riffing on them. So the whole idea that a joke was never done, that in, like, the fun of discovery, of any idea is never done if you continue to push yourself. And, you know, a lot of those lessons that I learned, I applied in trying to get better at my hobbies or trying to be a better husband and father, a better dad.

[A]

Yeah.

[B]

Just a fucking better human being to hang around with that it's never done. And if it's never done, you're constantly seeking. If you're constantly seeking, you're not old in a way. You don't settle into that, you know, that stupid mindset of an older person that I've done and seen it all. And now you know how I sort of appease myself is I just talk down to younger people that telling them that they missed it, like, that's the worst thing. The thing that I see on the Internet, all these fucking Gen X people, we didn't even fight a fucking war. And with the way we talk about ourselves because we didn't have cell phones and road bikes, it's like, well, that's an easy thing to do when all of that shit didn't exist. Yeah, but if they had virtual reality porno.

[A]

I would have left the house.

[B]

No, you're sitting there telling young people that they missed it during the prime of their life. These fucking kids today in 2050. The dumb ones are going to be telling kids in 2050 that they missed it. Oh, man, 2020. You have no idea how fucking great the 2020s were. Of course it was great. Your first kiss, your first time you get high, the first girlfriend. All of that shit. Yeah, the bands and all of that shit's going on. The movies and the bands that you listen to or for them, I don't know, the video games or the fucking scooter they were riding. They gotta reminisce about that shit.

[A]

Yeah.

[B]

With the same passion we did. Nobody's missing anything.

[A]

No, they're not.

[B]

Yeah. We're just old, so shut up and let's totally.

[A]

All right. Over the hills and far away. I mean, this is. This is the. This is Led Zeppelin, dude. This is the acoustic into the hard rock. Bonham comes in with the thunder. Thoughts on this? I don't really have much on this one, no question or anything, but, I mean, this is like gang, gang. I mean, this is. This is the. Dude, this is Led Zeppelin. This is why we love them.

[B]

And this is a song that I've listened to a million times. Yeah, I played drums along to it, and I can't tell you the fucking lyrics unless it came on and then I can sing every word and I still don't even know what it's about.

[A]

But Hills and far.

[B]

This is the first song that. It's like. I feel like this is a palate cleanser. Like they melted your face on the first two, and now it's like, all right, man, let's. Let's let them up off them. Because they get. They get. It's a ride. You can't just be, you know. I don't know. That's the amazing thing about ACDCs. ACDC is like the one band that could just be. I guess, other than, like, death metal bands that are just on 11 the whole album. And you're just like.

[A]

Beat you over the head. But. But that's when. That's when you. When you see acdc, you know, that's what you're getting. You like, if you're. You're not just going to see them in a willy nilly. The people that love them already love them. People that love Pantera love pantera.

[B]

You know, D.C. back in the day was the only band you could come out and your lighter still had all the fluid in it. They never brought it down for the ladies.

[A]

They didn't give a Dude no ballads. One ballad. This song was. The lyrics were inspired by the Hobbit. That's the only thing I just wanted to throw in in terms of like 90 of their songs. Dude, he's very. Yeah, they're very, you know, mysterious. And then went back to the. Well later, of course, you know, he gets. He gets accused of black magic and blah, blah, blah. You know, we want to get to that. I want to get to the weird songs on this record because I want Bill's take. All right. The crunch, the crud. Even the name of it sounds like a Japanese horror movie that.

[B]

Okay, so this evidently, was their reaction to James Brown and his music.

[A]

Yeah, yeah, you got it. Yeah, 100%.

[B]

And also, I feel like one of the things that I. That baby boomers were saying a lot. Somebody said it and then all. Everybody latched onto it and they go, you know, Led Zeppelin, you know, they were actually a funk band. It was like, what, One song?

[A]

One song.

[B]

And this song is. This is not a funk song at all.

[A]

Well, I mean, dude, you got. You got fucking Plant doing the. You know, take me to the bridge. Like, it's.

[B]

There's.

[A]

Like you said, they're doing James Brown.

[B]

I'm not saying it's not four white guys from England trying. I'm not saying that.

[A]

This is a jam that started. That's. It started as a jam, and then it's basically standards. 50s. You can even hear it because Bonham, he starts playing I. I hear you knocking by Little Richard at the beginning. And you. And you know this because they're kids during that time.

[B]

They don't put. No, not on this one.

[A]

Yeah, yeah, this is. This is. This is what I had. This is what I got from me and my. Right, Take it to the bridge. This is the crunch. Like, this is. But it's. It's basically.

[B]

No, I think they'll know the Little Richard thing. He did that on Rock and Roll.

[A]

Jared, check the math while we do this. I trust DJ Morty Coyle. Big shout out to him. My. Am I right?

[B]

I don't. I. Dude, this, this, the opening group is in nine. I don't think Little Richard had a song that was in nine.

[A]

Dude, did he this up then run on first time. This is the. This is the James Brown thing. Am I wrong? Yeah, this is the James Brown one. You said so then.

[B]

Yeah, there's nothing. James. Because you say take it. Where's the bridge? Doesn't mean you're doing James Brown. There's nothing James Brown about this song at all. The guitar phrasing, the bass, the drums, there's nothing.

[A]

Yeah, it's rock and roll is what I dug up on the Internet.

[B]

Yeah. Rock and roll. Thank you.

[A]

Cut this. Cut it, cut it.

[B]

No, no, leave it in.

[A]

Leave it in.

[B]

No, no, leave it in, leave it in. You got to leave it in. No, this song. Listen. Four white guys from England, five white guys from England have made some of the greatest rock and rock music ever. I would never say that. But there's nothing funky about this or this band at all. At all. At all.

[A]

Hey, everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing 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 these? 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. 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 VIP the 500. That's distrokid.com VIP the500 for 30% off your first year. Dig it.

[B]

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[A]

Yeah, there really isn't. But this is also kind of cool because, like, if it's the way it's influenced, I think this is like kind of them. There's a few of the songs on this record where they're basically going back to the stuff that they kind of grew up listening to, you know, and also knowing that these guys were like session dudes and then they turn into.

[B]

Red, Led Zeppelin agent and John Paul Jones was session guys. Plant and Bonham were playing bars. And that what it is. And then when, when, when Paige saw Plant, he got him in the band and Plant said, I know a band, I know a drummer, played in Band of Joy with Bonham. That's how they got him in. And then they all sat down, played, played train, kept a rolling, looked around like, wow, we got something here. That's how it went. But as far as them being influenced by James Brown, they were almost the same age as him, if not the same age. James Brown was only like, you know, like five, six years older than them. So they didn't, they didn't grow up listening to James.

[A]

No, no, no. I'm talking about 50 stuff. Because there's still like a 50s thing about this song as well. You don't think so?

[B]

No, not at all.

[A]

Jesus Christ, Morty. All right.

[B]

No, no, he, he, he steeped. He did. No, that's rock and roll you're talking about. If you misheard him. He's talking about completely different song.

[A]

But you even said this was a James Brown. They're like. They're almost like roasted.

[B]

Their interpretation of it. If you. If you somehow took all the funk out of James Brown but still said, take me to the bridge. That's what you have here, basically.

[A]

There's also a reference to Otis Redding. It says, yes, this song is a mess.

[B]

If this was the first song they brought to a record label, they would not have gotten a deal.

[A]

You're not wrong.

[B]

But I will say it's fun to try to play along to, but like it. It's. Yeah, it's. No, but. But that whole thing where they say they're a funk band. It's like that. You, you, you. I don't know what music you're listening to that you think. It's almost like, you know, there's this whole generation that, like, you know, before the Internet, like white drummers, you know, they listen to James Brown and we thought it was, you know, we would play it faster, like. So it was like we infused what we listened to with like, thrash and put it into funk and then it became something else. But it's not.

[A]

No, I dig it. I dig it. No, I did what you're saying.

[B]

It's not Parliament.

[A]

Sure.

[B]

It's none of that. There's nothing. The phrasing and the licks were the same, but the feel and the tempo and it was just. It's something completely different.

[A]

Well, I. I think with this kind of one goes hand in hand with Jermaker. But we'll get into.

[B]

I don't hear any of that in. Let me get. Band came after this, but I'm just.

[A]

Came after. For sure.

[B]

But I'm just saying, like, that is like, there's nothing.

[A]

But this would be their funk song and Jermaker would be the reggae song. No. All right, well, let's. Let's.

[B]

Okay. And go. Go play these at the Apollo and see what the.

[A]

Cane come out.

[B]

Sandman would come out.

[A]

Just pull me off stage. All right, let's. Let's do Dancing Days. Let's do Dancing Days. Funny enough, the first time I heard this was the STP version. Stone Temple Pilots covered the song. I loved that band. So that was me getting into it. I love this version. This song feels very celebratory, but has. Has such a. Interesting flare. And once again, what I mentioned earlier about where the one is, it's called Dancing Day. And supposedly they. On the album cover or somewhere, they wanted to put like, dance steps And I think it was to the crunch. They wanted to make that a dance. But I'm not gonna do any more crunch because I'm so far off. But Dancing Days, what I love about.

[B]

This stress in the end of four. Yeah, but if you just listen to Bonham, it's easy where it is. But if. If you listen to sort of the. I guess the rift. I guess maybe.

[A]

Yeah. It's just. It's like if you're trying to dance, they're almost like. Because I know this is what's cool about this song 1. Do you. I mean, is. Is this one of the ones?

[B]

You know what? I got the drum music here. I'm sure they lop off an eighth note here or there or play a bar of three. They kind of love doing that on purpose or not.

[A]

Let's see what I found. There's the interesting tuning. It's like this song you like. For you. The one isn't like completely locked in for it. For a song that's called Dancing Days, you know what I mean? You would think that it would be something. Be like, ah, this was an easy.

[B]

Groove, something you could shake your ass to. Well.

[A]

We tried to crunch, but we can't. No failure.

[B]

Yeah. I. At quick glance, I don't see. I mean, how many guys showed up with the fucking drum music?

[A]

I love that. I love that. We've had a few people that showed up with the actual records, like, and they've been like. And then this. But nobody shows up with sheet music.

[B]

Yeah, I don't know. I. Quick glance with my comedian eyes, I didn't see.

[A]

Well, I want to ask you because you're. You're. What's very interesting about you is that you not only are a comedian and everybody knows that you're a drummer as well. And it's like this song, you know, you really. Like I said you can't dance to this. It's like calling it Dancing Days and trying to get people to figure out how to dance to it. And as a drummer, fucking with your audience is a very interesting thing because most of the time that's what gets chicks dancing. But as a comic, you know, you can just do. It's the same thing where you can just do the four on the floor comedy. But, you know, you in a sense, like, kind of challenge your audience. Like, do you ever just like write a premise that you. That you're like, you know, they're going to react to that. They wouldn't normally on purpose and, you know, and just walk out and see Let me see if I can say something and then make this funny.

[B]

I did that a long time ago when I was trying to figure out how to do it, how to be a comedian. So I would consciously try to see how far can I go with this? Can I dig a hole and crawl out of this? Can I start it this way? And then, I don't know. Somewhere along the line, I don't even think whether they're going to like it or not. I just think about what I want to talk about.

[A]

Interesting.

[B]

So it's. It's not. But not in, like, a selfish. Like, you are going to listen to this. Obviously, if it's something I want to talk about and they're giving me a vibe after, like, a minute that they're not into it, you know, I'm not here to torture you. You know what I mean? So I, I. At the end of the day, and I don't give a. If it's a Tuesday, I'm still gonna make you laugh.

[A]

Sure.

[B]

That's not fair to you to, like, watch somebody staring at their sneakers trying to. What else happened? Oh, I'm not doing that. But, yeah, like, Zeppelin's not a dance band.

[A]

Not at all.

[B]

Yeah. So that's. That's not a bad thing. I'm just, you know.

[A]

No, for sure. Do you feel like being a drummer has helped you be a comic, too?

[B]

No, there's. There's that whole thing, you know, because, like, comedic timing, like, fits into the da, da, da. No, I guess my rim shots are a little more.

[A]

But that's, like. That's my favorite, like, little bit.

[B]

Do you know what makes you good at something other than you have to have some sort of talent for it.

[A]

Yeah.

[B]

What makes you good is caring and respect. Okay. You have to give a fuck if you're sitting down to just say, jam with other people. If the whole thing is you just want to show what you can do and it's about you, then you're not listening to the other two, three people that you play. You got to lock in with them. And. And it isn't just that. You have to. If they're playing a solo or something, you have to get out of the fucking way. You have to have a foundation for them to stand on. And then you also have to have that. That thing like talk show hosts. Like talk show hosts that understand if my guest is killing, then I'm killing. The show is killing.

[A]

Yeah.

[B]

But the talk show host that tries to guess where you're going or jump on the funny or Thinking what they're doing, it never gets going. So that's applicable to, like, being in a band. Like, we're in a band. Like, this is a band. It's a tug of war. We're all pulling in the same direction. And there's like, there's responsibilities that you have to get out of the way to. If you feel like the energy slows you give somebody look, come on, man, let's go. Let's fucking kill these people. You know, you amp fucking people up. You know, we. When we're doing the play on, we're doing Glengarry Glen Ross, you know, having to do the. The matinee, even a quick play, you know, it's a lot of work to do, you know. So, you know, I would come in and I would. Jokingly, I would come in and I would just start clapping. I was like, glengarry Glen Ross, strongest matinees on Broadway. Hey, let's matinee these motherfuckers. And I would make a joke out of it. Like, we were getting ready to go play a game, you know, like, Donald Weber, I love him. And he always brought the. Donald had, like, you'd want to play sports with him. Always has the good vibes. So he would come up and him and Bob would start to start to play. And I, you know, one of the jokes, I would say, I was like, you know what's funny about this crowd? Donald?

[A]

He'd be like, what?

[B]

I go, they think that you're gonna bring matinee energy. They think you're gonna be like, oh, they're wrong. They're wrong. Yes, they are. They don't realize you're bringing Saturday night fucking energy. You're gonna wake up these old ladies out here, Wendy. And we would just start laughing because he knew what I was doing and he was doing it too. But, like, that's the type of shit if you're, like in a band and you're playing, you know, not as many people showed up as you wanted to. Same thing as a comedian. Third show Saturday night, nobody knows me. Ten people shows up. You have a choice. Am I going to give you. Ten people showed up.

[A]

Yeah.

[B]

Energy. Or am I going to come out there and make all 10 of you wish you brought 10 people? So there's those things that come into play, you know, and all of that stuff is giving, you know, that you got to learn that thing of, if I give this energy, I'm gonna get it back tenfold. I'm not gonna come in here and take. I'm Gonna take the spotlight. Oh, oh, oh. He's doing that thing on the guitar, and the girls are looking. So I'm gonna do this, Phil. Now. That doesn't need to happen.

[A]

Yeah. Well, this is my question for no quarter, but I feel like it's apt with this to go along is, like, where did that come from, though? Because, like, And I'm gonna use the word savagery, but that's. I don't think that's really how to explain what you do. And I'm not just talking about, like, the Philly. The Philly thing with the Virus tour, like, where you. You're in a situation and you go off when we. Remember when we did those outdoor shows during COVID and the first one that you did back, you know, because we're playing to Cars, Jeremiah, and nobody's killing. Nobody's having. And. And you had the first set you did that you saw. I did Friday. You came Saturday. You had a set that you weren't happy with, and then you showed up Sunday. You didn't talk to any of the comic because on the. On the Saturday show, you were hanging out because we hadn't seen everybody. But on that Sunday, man, you came in focused. You didn't talk to. You said hi to everybody. You walked over to the side, you studied your notes, and then you went up there and you annihilated. And it was. It was like in front of Cars, like, where did that come from? And I say savagery, but I don't think that's what it is. It's like. It's a. It's that thing. And I agree with you about giving 100% for five people the same thing that you would do for 5,000. But, like, did you just learn it right off the bat, or is that something that was engraved in you, maybe from even working in the warehouse or just. You're. You know, you're growing up in Boston.

[B]

No, I just. I worked with great comics, and I would watch, like, and I would just learn. A lot of times, like, you're not even trying to learn. You're just learning because you're there. So I've talked about this a lot. I went down to the Cellar one time, and there was, like, six people in the crowd. This is pre Internet. They weren't even barking.

[A]

Yeah.

[B]

And no one was showing up. And I watched, like, five great comedians, and each one of them dealt with it in a different way. And I loved what all of them did. But the one guy that really stuck with me was Gary Valentine. Went up and he acted like he was in front of 6,000 people and was about ready to accept the Mark Twain Award. Like, the level of fucking fun that he was having. And he did not adjust his energy. He absolutely went up there. Like, he was opening for a band in, like, one of those fucking indoor outdoor. Those barns they call them. And, dude, he absolutely fucking annihilated. And there was. There was something about the fun that he was having. It was just contagious. And, like. And, you know, there's a way, like, you know, other people I saw that night gave into the situation and almost kind of blamed the six people that were there. And they showed up and he went up there fucking murdered. And then other people, if they dealt with the sadness of the situation, they did it in a different way. But it was funny. Like, Darryl Hammond went up. Yeah, you know, he's got the killer jokes. So he could just stand there and do his shit. So he would do his jokes and everybody would laugh. But the laughter was so quiet because there was only six people. So he would tell a joke, their little smattering of laughter, and then he would just hang his head and be like. And then he would go right into the next joke, and that would slay, but it was still like a golf clap. And after his joke, he would just go. But then that became the joke.

[A]

Yeah, it became funny.

[B]

I got this callback, and then what's funny is I just realized years later, I was bombing in Helsinki, Finland, as you do, and I was like, 15 minutes in, they hadn't laughed at anything. And then I finally finished a joke, and this guy in the back went, well, why didn't you just tell your wife? But blah, blah, blah, blah, blah, blah. And I went like, wait a minute. Uh, oh. I'm like, is that what you guys are doing? I was like, you don't have to figure these things out, bitches. Jokes. So then how I got through my set was I would just tell a joke. It wouldn't work. And then I would just imitate one of them, like, well, why didn't you just take a truck instead of my car? And then they would all laugh. And then, you know, you learn so much about people, about what they laugh at or don't laugh at. And then towards the end of my set, I was talking about religion, and I said, what goes on with you guys? Do you guys believe in an afterlife here? And they were like, no. I go, so, what do you think happens when you die? And then this guy was like, do you remember what it was like, before you were born. And I go, no, I don't. And he goes, it's like that. And then it was like, oh, these people are super logical. When you get the other side of the Baltic Sea.

[A]

Yeah.

[B]

Finland, Russia, Estonia, Latvia, Lithuania, they are fucking. There's. There's a coldness.

[A]

Yeah.

[B]

It's like that German Midwest. If you had family from out there, the no hugs. Like, you know, it's very that. So to come up, they were like, hey, man, you know, I've been going to therapy. Like, they don't know. Like, they're looking at you like this guy is this guy like a clown in a little car.

[A]

So the readjustments, dude, that's. That's what I love. It's like you and the. That Philly clip and seeing you do. I've seen you do it a million times. It's brilliant. All right, look for time, because I know we got to get you out of here. Yeah, yeah. Jermaker, this is a. Around the studio, started his do op. It is very 50s pasty.

[B]

Yeah, yeah. Growing up, we all called it dire maker. And this is their whole. Yeah, like, Jer maker. I don't know why they put a D there.

[A]

Well, actually, we'll see if I think I have something. So it's. This is so. All right, so because reggae and dub became popular with British people, Bonham puts the reggae beat on this doo wop song. It's supposed to be. Did you? Did you.

[B]

Not a reggae beat. Not even remotely. But Bonham was frustrated. I don't know where you get your information. Bonham was pissed in the studio because he couldn't play a reggae beat.

[A]

This is from YouTube documentaries and Morty Coyle that I watched anybody in the world. That's how you learned how to fly, dude. Didn't you watch YouTube dogs, too? You learned a lot from you. Don't come at me.

[B]

You.

[A]

You're a YouTube guy as well. I know you are.

[B]

I know. Okay, fair enough. But, like, I also know that, like, there's no rules of libel or slander on the Internet, okay? We've gone from everybody knowing the earth is round to people being like, you know what? I don't think it is.

[A]

Yeah.

[B]

Anyway, no, this is not a reggae song. This is not a reggae beat. This is reggae. The way the crunch is funk. I don't know what this is. This is just them being like, oh, this is in. Let's try this. Like, you know, a couple of, like, you know, they made some attempt. This. This is the growth songs let's see. Is this something we want to fudge do? And fortunately, they abandoned both of those.

[A]

Yes. And then they. Luckily they end the album with I think, two of the strongest songs.

[B]

No, I'm talking about for the rest of their time as a band, they didn't try to do this again.

[A]

Oh, yeah, yeah, yeah. And they never performed this song live. Why would you. I mean, it's. It's just. It's cheeseball, man. I don't know. It's like if I was. If I was alive, they were boring, famous. If I was at the time of the going to concerts and love and rock the way I am now. And I heard this from one of my favorite bands that gave me a whole lot of love and fucking. You know, when the levees break, I'd be like, what the fuck is this shit? It's like, it's. It's a. It's a dick joke.

[B]

I will always forgive an artist for trying. Sure. Okay. And then also they understood, you know, we tried that. It didn't take. Fuck it, move on. So at this point, like, this album went from like, holy, they topped Zeppelin 4 to what the is going on?

[A]

Yeah.

[B]

All of a sudden no Quarter comes on, which is an absolute masterpiece.

[A]

Dark as. It's just another example of the piano on this. He's got the Leslie. I think that's what it's called on his vocal. So it's like that quivering. This is the only song from the record besides song remains the same that is on the concert film. No quarter is what you get when you're a prisoner and get no reprieve no time to catch their breath. It's a dark song. I. I love it. I feel I. I see why they ended it with the ocean, but I. You know, this. This is how they could have gone out. And I would have been happy if they would have switched these two songs.

[B]

No, no, you can't leave your fans in this dark place.

[A]

They.

[B]

They needed something uplifting, I think. But what I love, like John Paul Jones is the whole arrangement with the keyboards, the mood that it sets, the way they played it live with the fucking dry ice coming out and all of this shit. I mean, that was fucking epic back in the day. And then Bonham's groove on it just the way like, you know, if you're always playing in four, you get bored after a while. Putting snare on two and four. He, from the beginning, never did it. And this is just a classic that. Bones Cadet. Bone Cadet Bones. Oh my God. It's So, like, greasy. I just. And. And then the. The starts in the stops and sort of the. The special effects, you know, Jimmy the Wizard stuff. I love when he's the wizard. I don't like Rasta Jimmy. Or maybe I should have been, you know, playing with Bootsy Collins. Jimmy. I like. This is the Jimmy that, like, this is his fucking wheelhouse. And then that whole middle section, which, when they played it live in Bonham's, you know, got the little hi hat, barks, the 16th notes, the whole fucking thing, you know, I believe wasn't this. This was Plant's, you know, fantasy sequence in. In the. The concert movie. And I just felt like it really. Like that was probably the high point of that mo. That concert film for me, was the fantasy sequence with Plant and this song. Like, it was almost like they had that footage first and then scored this music to it. I thought it worked perfectly. Thumbs up.

[A]

I. You guys hear me? Because I. I Out for a second. You guys got me. Okay, perfect. I. I missed everything you said there, but I'm assuming it was good. I came in right at the last minute. You're like. And that was.

[B]

That works.

[A]

And that's the last song, which I love, because you get to hear. You get to hear Bonham's voice to open it. It really is really cool, you know, I know you love them. And then this is a song that. I used to be friends with these guys. You might remember them, Jer. Like, they. They worked with Andrew Needleman at this Mongolian restaurant in Bethesda. They had a band called Lion Eyes, and they used to cover this. And it just rules. This might be one of my favorite Led Zeppelin songs of all time. So good. It's. I think. Oh, you know what, dude? When we were jamming with. With Matt, we actually. After you left, I think we did this.

[B]

No, I was there. We did it.

[A]

Are you there for that? Yeah. I mean, it's. It's just. It's just such a groove. The coolest is that the Beastie Boys sampled this on She's Crafty as amongst other songs that they sampled. You know your thoughts. I mean, you. You're. This is. This is your album, man. What do you think of closing the record on the Ocean? And, like, what do you love? Is there anything you dislike? I mean, I'm assuming probably not, but it's got to be.

[B]

No, no, I think it's. It's. It's. Was the perfect out of all of these. That's a great song to end on. It's. It's more up. It's fun. And then, you know, I just. As a drummer, I love that it's not in four, you know, and then it is and then it isn't. Then it is, and then it just turns into something else in the end, Like, I don't even know what. So I was playing along to when I was a kid, and I had no idea this shit. Like, what I love about their odd time stuff is it grooves. So, yeah, I've never understood 12, 8. I don't understand what the 12 at the end is in 12, 8. Okay. All right. But then, you know, there's a bar, like, you know, boom, boom, dad boom. That. That bona dead bonk bon. Oh, so that was in seven. I never knew what the fuck that was. But, like, it's funny, it was like, the way Bonham played it. You ended up doing what he was doing, which was he was listening to Jimmy. So you just end up listening to Jimmy. And there was this weird thing where you sort of understood, I guess, his approach to the song. I have no idea. I'm in way over my head. I'm just a.

[A]

No, you're. Everything you're saying is right. Everything you're saying is right, but you have a butt.

[B]

But what I love, like, as much as Bonham was loved by everybody, he never, like, showed off when he was recording, like, a song. Like, it was like, you know, you can listen to the live version of, like, Immigrant Song, and he throws in that killer Phil, you know, when he's at the Forum right before they go into the chorus, like, he. But, you know, he's putting on a show. But, like, when it came to, like, when he was in the studio, like, he was just such a fucking pro. And, like, everything that he did just added to the song and it lifted, it held it together, made it more interesting. And just his whole approach to that bar, that's in seven, eight. He didn't do all of this tricky shit. He just kept it on the kick drum and then went right back to fucking one. And, you know, making stuff like, I mean, the amount of. Just the average person would know that there was a bar of seven in that. And that's really, like, you know, like, Vinnie Kaliuda, you know, when. When he would do those albums with Sting, that was Sting's thing. I want to play it in an odd time, but have the crowd who aren't musicians not notice. And the challenge of that and that these guys did that. And then years later, like, I feel like, like, some of these fucking like metal drummers like that guy from Gajera.

[A]

Or the French band.

[B]

Oh my God, the Polyrhythms that they can play and, and still make it feel like four. I. I think all of that, like, it sits on the shoulders of this stuff coming up. Because that would be, like, interesting. I mean, obviously, I would think a lot of those guys were also listening to like, Prague and Zeppelin and that's, I'm sorry, Zappa and stuff like that. But like, this was, this was always like, for me anyway, that those guys, Bonham and Vinny Kaliuda. Vinny Kaliuda was Sting was my gateway into odd time. Which was super intimidating when you just had a boombox and no Internet and no one to explain it to you. And you were just kind of like, I. I'm barely hanging in there with four. Four. What the fuck is this shit? I don't know. Like, I, I. And I've also maintained with a lot of these bands that get back together from my era, the 80s. I think one of the things that pigeonholes them is if they do come back with the new album is like, they're just stuck in one time signature.

[A]

Yeah.

[B]

And you want to be like, dude, you know, like, like look at, you know, Ozzy, who just passed Black Sabbath. The amount that they used Odd Time Ozzy, like, on his solo stuff. The amount that they would slip something in every once in a while. Like, it would almost be like if you were a comedian. And it's just like, I am only doing observational comedy or I am only doing family stuff. I am only working clean or I'm just working super dirty. Like, it's like, why wouldn't you keep all of that open to you? Which is what I love about Zeppelin. And that's what they did. Look at this. Bringing it home here. Yeah, bringing it on home. That's what they did with this album. Yeah, they, they, they're challenging themselves. And who the fuck am I to criticize?

[A]

You're not know, you're critiquing. You just were making like.

[B]

Yeah.

[A]

And it's like observations.

[B]

Well, you know, I mean that one of the fun things about creating is the hilarity of doing something like, ta da. And then you feel stupid and then your buddies are on the back wall. Like, their favorite joke is always the joke that didn't fucking work.

[A]

Always.

[B]

And you hope that it was gonna work. So I listen any one of these songs comes on the radio. I'm still listening to them.

[A]

Yeah. Yeah. Even the, even the, the I'm gonna fuck the name up. Even the. The crunch. The crunches on. You can't cook eggs to the crunch with the kids. Like, what the is this, dude?

[B]

Yeah, definitely break a few yolks listening to. To this or whatever. But, like, I don't know. It's. It's. I'm glad that you brought me on.

[A]

Oh, I'm so happy you came for this.

[B]

This album. Because it actually talking about it made me appreciate it even more because I do love this album and I neglect it good. When I listen to. Because sometimes I just feel like it's a lot Song remains the same into the Rain song. Like, the amount of emotion that they build up to in that before, it's like, what the fuck am I listening to? And then all of a sudden, Plant is scaring the fuck out of me on no quarter. Yeah, that's also just a great expression. That's. Yeah, he gives no quarter.

[A]

Yeah. So just to wrap this up, because before we do the final questions, I want to throw an extra one in because I'm very curious about this. What if you had to rank your top five Zeppelin records? What would they be in order? You can start at one, or you can start from the lower half. But what. How do you. How do you place them? And is this in there? Is this in the top five?

[B]

I've listened to all of this stuff so many times that it's not even albums anymore. It's just all of their songs.

[A]

Sure.

[B]

And that is constantly changing because I always discover something, you know, do that isolated listening, like, you know, I'm just gonna listen to John Paul Jones and I'm gonna this album. Or I'm just gonna listen. I mean, Plant's the obvious because that's what I did in the beginning, of course. But I'm gonna listen to Jimmy's army of guitars. And I also have the. The. The Bonham Ore. What a John Paul Jones and Bonham doing right now to hold this together while, you know, Robert and Jimmy are doing that or whatever. If I. If I did top five albums, Gee, I. I don't. I don't even know how to answer that. I would all. There's something that I would be like leaving out. But as long as the top five albums doesn't mean the other albums don't exist anymore.

[A]

No, no, no, no. I'm just. I just said. Instead of saying rank all of them, I was like, what would be your. What's your favorite? If you had to take one, it's like to be like desert island Led Zeppelin record. But what would be the one you'd want to stick with? Would it be like Physical Graffiti because it's the longest? Or is it like. Or are you just like there's.

[B]

There's sections of Physical graffiti that the 10 years gone in the light. I'm really like a side two, first half. The wanton song has my favorite Bonham Drum fill of all time.

[A]

Yeah.

[B]

Where it feels like he just stopped the song. It's just like the genius and the simplicity of that fill. It literally makes the hair on my arms stand up.

[A]

Yeah.

[B]

So I am at this point, like, it's sections.

[A]

Oh. Be like side two of this. And you would take three of songs of that.

[B]

Yeah. Like, I'm not a Zep1 guy. But I love. Oh, my God. What is the song Not Days Confused. How Many more times.

[A]

Yeah, yeah, yeah, yeah.

[B]

I just love Rosie. That breakdown and then. Then that. What? Bone Public. But Don't Took a Ben. He's playing it on the snare with. With his. Don't Took a Deco. That almost like the Immigrant song underneath it. Yeah. I just love that aspect. I can't do it. I can't answer the question. It's that it's tough. They're too big for me to step back and look at.

[A]

No, I dig that. I dig that. I mean, I think four is always going to have a special place in my heart. It's. I mean, I know it's the cheesy thing to say, but one of my favorite videos is watching not Led Zeppelin playing it, but watching Ann Wilson from Heart sing it in front of them and her just murder it with. With Bonham Son on drums. It's just. I love it, man. And it's like. It's just such an interesting song. We did it at the Jam.

[B]

Nancy Wilson is still horrifically fucking underrated. Singer, guitar player. Like.

[A]

Oh, God, yes.

[B]

Yeah. Like, they should be up there with, like, Queen, everybody in that time as far as, like, the singers and what they were doing.

[A]

Yeah.

[B]

Oh. All right. My opponent.

[A]

All right, here we go. All right. Favorite song on the record.

[B]

Favorite song on the record.

[A]

On this record. Yeah.

[B]

Oh. Ah.

[A]

Quick, we got the appointment.

[B]

Because I'm a dark guy.

[A]

Yes. What do you skip over?

[B]

Dancing Days and Die Maker.

[A]

Oh, Dancing Day's Rules. Dude. Crunch. All right. Can you fuck?

[B]

I. I play the crunch because I like fucking, you know, drumming along to that. And then I go right to no Quarter. But Dance Days in Jeramaker, the only time I hear those is when they're on the radio.

[A]

Can you to this record?

[B]

No.

[A]

Okay. And how do you. How do you elevate or pitch it? What's. How do you sum this record up?

[B]

Do. My wife is like calling me now. It's like, I know.

[A]

All right, well, dude.

[B]

What was the last question?

[A]

How do you. How do you sum this up for somebody to get him to listen to this record? Like, how do you to get. What would you say to get somebody listen to it?

[B]

What would I say to them?

[A]

Yeah, what's your elevator, first of all?

[B]

Well, I'm almost offended that I would have to talk to somebody into this fucking album. How would I. It all depends on like, give me. What am I talking to? Non white person, young, old, what?

[A]

30 year old guy that you know on the set of a movie. You guys are talking about music and he's like, I like Tyler, the creator. But I'm interested in.

[B]

If I do anything, I would. I would have them start with the rain song.

[A]

Yeah, it's a good way to ease into the bathtub and indefinitely.

[B]

Well, I also feel like these kids are all eating gummies. They're into sort of Lowi music and shoe gaze. I like this is shoe gaze before. There's a little bit of Instagram coach stuff in there. Rain, you know that is true.

[A]

I love you, buddy. Get out of here, man. Thank you so much.

[B]

The. The foliage of my ideas grow without the water, not fauna.

[A]

Dude, do me a favor. I'm leaving for Europe on Tuesday. Send me recommendations for food in London and Paris and Brussels and all these places. I know you and me have gone.

[B]

Oh my God, dude, I ate at a fucking. Oh my God. What's his name? Muammar Kadaf. Libya. Libyan or Lebanese? Lebanese fucking restaurant, dude, was un. Fucking believable. I even got fucking club soda Kenny to try new shit. I gotta get out of here.

[A]

I'll text you. I'll text you and I love you, buddy. Have a great night. Okay, thank you. What I tell you? What did I tell you? The one and only Bill Burr. Follow me on in Twitter at Bill Burr, Instagram at Wilford Burr and on TikTok at Bill Burr Bits and go to Bill Burr.com for all tickets. Come see us in Saudi Arabia for new music this week. Distrokid has Brought Us Love is a by the Rasmus. And you can find links to their music on our website, the500podcast.com and if you want your song played and you were influenced by one of these bands, we'll play it. Send your song to 500podcastmail.com put the album in ours and influence you in the subject line. Next week it's number 147 with Crosby, Stills, Nash and Young week with their 1970 record Deja Vu Vu. And we have got a guest that is dumb and dumber. Hint, hint, hint. If you haven't done your homework yet, listen to the record. You're gonna love it. See you then. You got that S fold. You stole my soul sold it to.

[B]

The devil that's how you roll do.

[A]

You put that knife in me? Stab me in the back like a killer could have me free but you.

[B]

Make me bleed Now I'm on my.

[A]

Knees Love is a drug and I need a fix Sam lose I've been a loser since the day you lit.

[B]

The.

[A]

Keeping it fleecy for the Fleece nation on the 500.

[B]

The 500 take an Amex card with you on your morning coffee run and earn cash back.

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