August 18, 2025 • 47 mins
This week on Comedy Saved Me Lynn Hoffman sits down with the one and only Red Peters—the musical mischief-maker best known for his hilariously raunchy novelty songs that have scandalized radio waves and delighted late-night troublemakers for decades.
From his early days sneaking dirty songs past censors to building a cult following with tunes you definitely can’t play at the office (or at grandma’s house), Red has made a career out of pushing boundaries and finding joy in the outrageous. But beneath the naughty punchlines, there’s a story about resilience, creative freedom, and how comedy—and sometimes a perfectly timed dirty joke—has the power to save us when life gets a little too serious.
Get ready for laughs, unbelievable stories, and a reminder that sometimes the filthiest jokes can carry the purest truth.
Support the show: https://musicsavedme.net/
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Comedy Saved Me.
Speaker 2 (00:04):
When you have an idea, a good, strong idea in
the beginning, all the time another line will pop in
or another part of it. Oh maybe they could be
doing this, but you know, a lot of times it's
a fake out. But at the same time, you know
it celebrates the human spirit, like you ain't getting shit
(00:24):
for Christmas.
Speaker 1 (00:25):
Welcome to another episode of Comedy Saved Me, the show
where we dive deep into the wild, weird and wonderful
world of comedy and the people whose lives that have
been shaped, shaken, and yes, sometimes even saved by laughter.
I'm your host, Lynn Hoffman and Lucky Me. Today's guest
is a true legend in the world of comedy music,
(00:47):
Red Peters. Now, if you've ever left out loud at
a song that was just a little too outrageous for
the radio, chances are Red Peters was behind it. He
is known as the King of comedy music, and his
career began in the mid eighties when he and his
writing partner Ed Grenga started recording off color double entaundra
songs as a way of blowing off steam from the
(01:08):
buttoned up world of commercial music production. Red's irreverent boundary
pushing songs have earned him a loyal following and two
best selling comedy albums. By the way, So whether you're
a longtime fan like myself or just discovering Red's unique
brand of musical mischief, get ready because this comedian will
(01:28):
literally blow you away with a conversation that's as funny
as it is fearless. Welcome Red Peters to Comedy Save Me.
I have to start off by saying, I'm a huge fan.
It's an honor to meet you. I started off in
radio back in Boston with John Lander, who introduced me
to your wacky, amazing stuff, and I've been a fan
(01:49):
ever since.
Speaker 2 (01:50):
So welcome, Thank you, Thank you. I've been around a
long time. Yeah, but no, I enjoyed you on the
radio myself. You know, I've known your name from a
long time. For a long time.
Speaker 1 (02:04):
Red, You're killing me. This is so amazing. I'm so
glad we got to meet. Thank you. All right. Well,
I want to start with you because I know you're
a busy guy, so I want to get right into it.
Speaker 2 (02:16):
Is that, all.
Speaker 1 (02:16):
Right, let's start off with the early days. Take us
back to the beginning of Red Peters. What what first drew
you to comedy and music, because that's an interesting combination.
Speaker 2 (02:30):
Yeah. Well, I've always been into comedy, but I also
had a music production company. We created music for advertising
and for films and that sort of thing, and during
the pressure of doing this, we would blow off steam,
(02:51):
if you know what I mean.
Speaker 1 (02:53):
I get to have a room shot in here.
Speaker 2 (02:57):
After after an intent couple of weeks of recording for
various corporations, we started messing around. We'd always if we
were doing a commercial, and of course we'd hear it
a hundred times in the recording studio. Before long we'd
change the lyrics ourselves and start marking the what they want.
(03:20):
And that's pretty much how One day we were rehearsing
for that in Boston and my co writer Ed Grenger
and I came up with our first big hit in
nineteen eighty four, you Hardly Know Me song, And shortly thereafter,
(03:41):
in around two thousand, we wrote and created or created
and wrote How's Your Whole Family? So that's how it
started with those two. And you know, they hit the
jukeboxes across the nation and people went wow for them,
and they even back then DJ's could play them on
(04:05):
the radio before they were you know, either find told
not to play it anymore. So from there we recorded
our first album. I left, I cried, I fudged my andies.
I toured the US, played all the morning shows for
six months, eight months, and you know, spread the word
(04:29):
and you know it's still going strong to this day.
Speaker 1 (04:33):
It was so much fun. I mean, were you a
fan of weird Awl by any chance? Was that around
the same time?
Speaker 2 (04:40):
Actually, I took my daughter. My first concert I took
my daughter to was a weird Al concert. Other than that,
you know, I mean, I've followed him over the years,
and of course Doctor Demento plays my songs and so
I've heard all his material. I was more of a
George Carlin, Rodney Dangerfield, Frank Zappa, Bonzo Dog Band. The
(05:09):
comedians I liked, even like because I watched Ed Sullivan.
Of course back then was Jackie Vernon and Noam Crosby.
I loved them. So you know, whether they influence what
I do what I did, I'm not sure. But I
sure enjoyed them, oh.
Speaker 1 (05:27):
Boy, and we sure enjoyed you. I have to know,
was there something in your life personal that happened early
on that impacted you to sort of led you down
the path of comedy.
Speaker 2 (05:38):
Yes, I went to Pinocchio School for a couple of years.
I was in Aulti Roy. I even studied to become
a priest, believe it or not.
Speaker 1 (05:48):
Yeah, for real.
Speaker 2 (05:49):
And I was going to be a veterinarian when I
graduated from college. But I went to Massart and that's
where it all congealed, so to speak.
Speaker 1 (06:00):
It all started at mass College of Art.
Speaker 2 (06:03):
Yeah, and it was during the student strikes back then
and against the Vietnam War. So I was extremely rebellious,
joined in all the riots, in the protests and this
sort of thing. So I've sort of been maybe from
my Catholic upbringing, I'm not sure, but I went all
(06:27):
out on it, you know, not in an Antichrist type
of way, but definitely took some chances. And I've been
having so much fun ever since. So I would say
it was my Catholic upbringing. But then also my grandfather
played the piano. He lived in the same house as
(06:48):
us for five hours a day, so maybe that influenced me.
Speaker 1 (06:53):
Wow, who knows, that's so cool but so rebellious, but
still you know, you're having fun. But it was definitely.
Speaker 2 (07:02):
Probably Now I tampered down the rebellious part because you know,
you could get arrested really easy.
Speaker 1 (07:07):
These days, we can't have that.
Speaker 2 (07:10):
My friend, one of my friends the other day referred
to me as angelic, So yeah, now I'm angelic. Wow,
But I'm still crazy, you know.
Speaker 1 (07:22):
Well, you got to be a little crazy otherwise you're
not normal.
Speaker 2 (07:26):
Yeah, I'm definitely not normal, but I love it.
Speaker 1 (07:29):
That's good, all right. So I have to know, is
there a particular moment when you realize that comedy was
going to be more than just sort of a hobby,
that you were going to make a living at it.
Speaker 2 (07:39):
Well, I found it and produce the Comedy Cruise in
Boston Harbor for many years in the eighties. So I
had all the greatest local and traveling comedians on the
Comedy Cruise for several years. So I had that going,
but I also had the is it going? So at
(08:02):
one point I came to a juncture where I thought
I had to choose between comedy or music. So I
chose music, but and I also took comedy into considerations,
(08:24):
so they merged and the song started flowing in the bits.
Speaker 1 (08:31):
What made you decide to blend the I mean, what
was that moment where you realized, wait, I could do both,
I could make it the same.
Speaker 2 (08:38):
Yeah. Well I really wanted to. I thought like, okay,
I'm choosing music, but I was still doing comedy and
involved with the comedy scene. I couldn't just shut it
out right. So it just naturally happened where I blended
(08:59):
them both, and you know, we started writing some great
songs at that point, and my rebelliousness continued. You know,
Howard Stern picked up on it. So I was a
(09:20):
guest on his show. I premiered several of my singles
on his show, and at one point, I'm not sure
what it was, somebody he put out a call for
people who might want to have shows on his network.
So I sent them a one page and like two
days later, yes, you have your own show now on
(09:41):
the Howard channels. So I had never done any radio before.
So here I am, you know, a producer of music
and creator. Next thing, you know, I'm confronted. I don't
know if that's the right word. I said, holy shit,
now I have to I had to produce a one
(10:02):
hour special every two weeks. Wow, and with no experience
except in the studio recording that sort of thing. So
I a buddy of mind taught me pro tools and
I was on my own from that point. Wow. And
you know I've increased my chops quite a bit technically
in that sort of thing. So I think I produced
(10:24):
around seventy five one hour specials on the Howard channels.
Speaker 1 (10:30):
That's a lot. Yeah, did you ever have any resistance
from in the beginning just because of the content? And
also how were you able to write songs and comedy?
I mean that's like doubly putting pressure on yourself to perform.
Speaker 2 (10:45):
It's a craft, I have to admit. Like, let's see,
let me pick a song, well, the two Gay Irishmen
that took about three months to write because we research names,
research geograph graphy. In over three months we put that
song together. Same with I Want to Poke a Poka
(11:07):
and Ballad of a dog named Stains. They will all
worked and worked and worked until they were perfect in
our opinion. And you know, how's your whole family just
flowed out? Blow me? You hardly even know me, just
float out? Pretty much. All the songs flowed out, but
(11:30):
some of them needed extra attention to fine tune. Them,
so the comedy comes through at the right time and
the point gets across. So it's been a lot of
fun and it continues.
Speaker 1 (11:48):
Yeah, you have quite the legacy. Did you expect it
to take off the way that it did? I mean,
even before Howard Stern it was pretty popular.
Speaker 2 (11:56):
And yeah, you know, I like I say, I traveled
the morning shows after the first album, and I worked
with all these different DJs across the country, including Man Cow,
who was number one in Chicago at the time. I
went on his show a bunch of times. So then
(12:17):
also Stern was coming into the picture, so I knew
if I jumped to Stern, I was going to lose
Man Cow, but I figured I'd go with Stern, So
I think it was a good choice and he gave
me a lot of great opportunities. It was. It was
really good working with him, and Tim Sabian was very
(12:38):
supportive of me. He was the program director. Yeah, and
who I still talk to today.
Speaker 1 (12:45):
Does he sell like steaks now?
Speaker 2 (12:48):
Yeah, he saw together a probably a billion dollar operation
of steaks steak So it's kind of unusual to jump
from how I would star into stakes, but.
Speaker 1 (13:04):
Talk about a complete one eight.
Speaker 2 (13:06):
Yeah, yeah, yeah, who knows. Maybe I'll take a turn
at some point, and who knows, maybe I'll go back
into the priesthood thinking about it.
Speaker 1 (13:14):
But what they let you after your career, that's the question.
Speaker 2 (13:18):
Well, they're very forgiving, I understand.
Speaker 1 (13:20):
So let me ask, how do you walk the line
speaking of being edgy and stuff and potentially offensive in
your songwriting, especially in today's world. It's a tough line
to walk.
Speaker 2 (13:34):
Oh, there's not much I can do about what I've
already created that's out there, true. But I am writing
a new song right now, for a new Christmas song.
Speaker 1 (13:43):
Does anyone know about it yet? Have you told anyone?
Speaker 2 (13:47):
I don't know if I've told anyone yet. I mean
I just began working on it about a week ago,
and I think this is going to be another like
a dog named Stains or you know, it's going to
be a lot of work to get it, to get
it to the punchline. But I have some great ideas
going to contain sound design, which you know, I'm using
(14:09):
my skills that I've developed since first starting with pro tools,
and hopefully it's going to be very funny, and it's
going to be on a vinyl red Peter's Greatest Hits
and just you know, Late Fall probably, but that's what
we're putting together right now. So that's what I'm working on.
(14:31):
And this will be the bonus track on the on
the Greatest Hits album.
Speaker 1 (14:36):
So that's awesome. Can you give me any hint as
to the song working title right now? Seeing how you
always incorporate. If I told you the title, you'd have
to kill me.
Speaker 2 (14:48):
Somebody would definitely grab it and write there on song.
But I'll tell you off the air after Okay, okay,
it is. It's such a unique time but direct title
that even the title is hilarious. Let me just say that.
Speaker 1 (15:05):
All your titles are hilarious.
Speaker 2 (15:11):
It's definitely one of the most sophomoric songs, although that's
a pretty high bar, that's true. It's so silly and
stupid that I'm really psyched about it, so hopefully people
will agree with me.
Speaker 1 (15:29):
Is there a bell weather like when you're writing it,
when you get to that point where you're like, oh, yeah, that's.
Speaker 2 (15:37):
Yeah. The other night when I let the idea flow
and it was like eight hundred and sixty words, which
is way way, way too much, I'd be like a
five six minute song I was when I was writing it.
You know, I was on a roll, I think Sunday night.
(16:00):
While I was writing it. I was definitely laughing to
myself and thinking, oh yeah, this is great. You know
the you know, the section I was working on like
i'd have a breakthrough and it just psyched me up
to keep going. So I did a beginning, middle, and
(16:22):
end in one sit down, like say, a two hour session.
And then now I'm working with one of my writers,
Artie Johnson, and he's going to help me punch it
up and get it ready for recording. We'll probably record
it sometime in late summer. Also, we'll probably record another
(16:45):
couple of songs too, but we haven't decided on which
new ones yet, so I'm not sure what's going to
happen with them. But to answer your question, this has
no profanity in it. It's a foolish little song, Christmas song,
you know, so it can the foolishness continues.
Speaker 1 (17:09):
Yeah, So basically when you start cracking up to yourself,
you know.
Speaker 2 (17:13):
Yeah, oh yeah, oh it felt good. I knew I
was on the song.
Speaker 1 (17:16):
You were onto something. I can't believe there's no profanity though.
That's that's really cool.
Speaker 2 (17:21):
But no, but it's still it'll turn people.
Speaker 1 (17:23):
Off double onnon.
Speaker 2 (17:25):
Except yeah, no, I know there's no double on time either.
It's a nice little story. When it gets to the crescendo,
that's when it turns a.
Speaker 1 (17:38):
Little uh takes a left turn at Albo.
Speaker 2 (17:41):
Comfortable uncomfortable for some people. For that, I think it's
so funny, it's ridiculous. I've been preparing this for at
least six months in preparation for the big payoff. So
but that's a conversation for another time.
Speaker 1 (18:01):
I can't wait. I would love to hear more about
it when you release it. But do like making people
feel uncomfortable, Not in a negative way, but you know,
with the comedy, I.
Speaker 2 (18:11):
Think it's just my rebellious streak and weighing good and bad.
You know, I push the envelope a little bit. But nowadays,
like he was saying, I don't want anyone to be
knock on the door and take me out of the
house and handcuffs or anything like that. Never yeah, yeah,
(18:32):
well I'd fight like a bastard. But oh my gosh,
but no, it's a tricky. It's tricky now because there's
so much to use an old term political correctness and
morality and all this I mean underneath it all, I'm
a good person. I care about people, but I like
(18:54):
to make people laugh. I can't help it. That's who
I am, how I am, and I don't think I'm
going to change. So it's me from this point on.
Speaker 1 (19:07):
Well, please don't go changing. Don't go changing. No, But seriously,
that you bring up a really good point, because if
something's funny, it's just funny. It doesn't matter the content
or the topic, or the person or the event. If
something's funny, it's funny.
Speaker 2 (19:26):
Yeah.
Speaker 1 (19:27):
Yeah, And it's not meant to hurt.
Speaker 2 (19:29):
No, it's not meant to hear it. And you know,
my songs are goofy. A lot of my songs are goofy.
You just reminded me. I do have a new double entendres.
Speaker 1 (19:39):
Song, what's it called?
Speaker 2 (19:40):
Which maybe we'll recruit that one too. It's foolish, it's funny,
and I'm sure it will fake people out somewhat, but
the payoff is always innocent. So just like I am now, angelic.
Speaker 1 (19:58):
Angelic, you're hiding your wings, but I know they're back there.
Speaker 2 (20:02):
Yeah they are. It's uncomfortable in this year.
Speaker 1 (20:06):
But I'm sorry, I won't keep you much longer.
Speaker 2 (20:09):
But it is really it, And keep me as long
as you want.
Speaker 1 (20:12):
Oh I love that. All right. Well, let me talk
to you about your creative process a little bit more.
First of all, where do you find the inspiration for
your outrageous songs? I'm almost a little scared to ask,
especially with some of them.
Speaker 2 (20:26):
You know, they a lot of them come from that
mysterious place that you know where you talk to a
lot of songwriters and this sort of thing in your
other shows. But you just at some point they just
hit you. You know, a line will hit you, and then
you know if it's a worthy concept, you know, I
(20:50):
begin to develop it like that new double en Tender
song I worked on for several months to get it
just right. They just comes out of nowhere, you know,
the ideas come out of nowhere. What can I tell you? Maybe,
of course, my attitude about life and my observations in life,
(21:10):
you know, seeing people at the at the market, or
you know, seeing what people look like or whatever. It
could could come from anywhere, but it comes. And what
can I tell you? You know, and uh, it's a
challenge because sometimes you have an idea and it goes nowhere.
(21:31):
And then other times like this new Christmas song, which
I've been wanting to do for actually more than a
year since last Christmas. They take a lot of work
and they have to soak into your brain. When you
have an idea, a good strong idea in the beginning,
over time another line will pop in or another part
(21:55):
of it. Oh maybe they could be doing this, but
you know, a lot of times it's a fake out.
But at the same time, you know it celebrates the
human spirit, like you ain't getting shipped for Christmas? Where
the parents the parents prepare for the son and daughter
(22:15):
and their family to come to the house, and then
they bang in at the last minute. The daughter wants
to go to Hawaii, and the son's going to myrtle
beats no, no, somewhere down there, and so the the
old man and and his old wife sitting there, and
(22:36):
then they spew out you know, the eventual line, you
ain't getting shipped for Christmas. You can stick that fruitcake
up your ass because both of them sent them fruitcakes.
Speaker 1 (22:49):
Did this really happen?
Speaker 2 (22:51):
No?
Speaker 1 (22:51):
No, this this is great.
Speaker 2 (22:54):
Yeah, yeah. I wanted to paint a picture how the
kids were ingrates and the parents were preparing a postcard Christmas,
you know, and with gifts and hanging the stockings and
making sweets and bread and this sort of thing, and
(23:17):
the kids just didn't show up. So that song, I
really love that song. That one's a sleeper too, Like
on YouTube, you know, it's really popular there where people
get on and they comment about it and they get
(23:38):
in fights with themselves. Some will make a comment, some
will jump in, and then you know, all the way
down people are fighting about you're an asshole and this,
and you know, it's unbelievable, you know. On the other hand,
a song like holy shit, It's Christmas with the New
(23:58):
CHRISTI hamsters, O, what a what a recording session that was.
I think they were on something or they were drinking
or whatever, but they were uncooperative. But in the end
that song turned out great. We had a lot of
fun doing that. One that plays now bleeped on a
lot of get out here on terrestrial station.
Speaker 1 (24:20):
Oh I get that, Okay, Yeah.
Speaker 2 (24:22):
I have a bleeped version and everywhere else it plays.
You know, I think someday the words ship will be acceptable,
you know, it's like ready almost at the press, you know,
it's ready to go over into mainstream.
Speaker 1 (24:37):
The word ship it's been for crying out loud? What
if everybody boops? So why can't you say ship?
Speaker 2 (24:46):
Well, I'm looking forward to that day because then they'll
be able to play holy shit, it's Christmas and you
ain't getting shipped for Christmas. And then this new song
and the new song I think it will play everywhere.
Speaker 1 (24:58):
Awesome, awesome, I will say.
Speaker 2 (25:03):
You will be right back with more of the Comedy
Save Me Podcast.
Speaker 1 (25:12):
Welcome back to the Comedy Save Me Podcast. This is
what I wanted to ask you two things. First of all,
this morning, I was listening to a local radio station
and I heard someone say asshole twice on the air.
But it was funny because it was during a really
funny comedy yeah on the radio, and my husband and
I both looked at each other and we were like,
(25:33):
do we just hear what we think we heard? That's
that's great because again it's body part.
Speaker 2 (25:42):
I have something.
Speaker 1 (25:45):
And also, let me ask you certain words. Yeah, you know,
like is that what will spark? How you can pull
them apart to make them play like for example, dictation?
Speaker 2 (26:00):
Yeah?
Speaker 1 (26:01):
Yeah, Like is that working?
Speaker 2 (26:02):
I'm not even sure if people know it. H dictation
machine is any woman.
Speaker 1 (26:07):
But no, no, I'm sorry. That was my favorite one
of all because I wasn't ready for it.
Speaker 2 (26:17):
You know, take your pants down to the cleaners to day,
take cue pants down. So that was one of my
favorite lines. But of course, how's your whole family? Even
when we're recording that song, I forgot if you you know,
go to the near the end of the song. It's
more explicit. And while I was writing it, I said, oh,
(26:42):
I can't think of that line. I mean, that's that
line in the song. And I knew. I loved it.
One of my girlfriend's friends at the time knew it.
She remembered it, and she told me, and so it
got to be in the song. You know, it's probably
the rudest line of that song, but in some cases
I cut that one out and just have the rest
(27:04):
on the stupid ones. How's your dick Tasi machine, I'm
going to do your ass trilogical sign, you know that
sort of thing.
Speaker 1 (27:14):
Yeah, it's a craft, it's definitely.
Speaker 2 (27:17):
It really is a craft. They did don't come out
fast and we don't think about it. Like when I
was doing the Repeaters Comedy Music Hour on Howard. People
would send in the songs, and believe me, you would
not believe the songs that people sent me in. Most
of them were poorly recorded in so extreme it would
(27:42):
offend everyone no matter what. And then so I had
to pick through them and find songs. Some of them
were still over the top and extreme, but there was
something clever about them, and they did a nice recording
of them, which to me is the bottom line. They
have to sound good, you knows. As you know, we
(28:05):
spend quite a bit of time polishing our songs and
using the latest production techniques and make them sound as
great as they can be, you know, whether we're emulating
a big band or country, you know, zoom in on
each one of them and make them as authentic as possible.
(28:29):
So I'm hoping that for my new song, my new
Christmas song too.
Speaker 1 (28:33):
I'm so excited about the Christmas song, because you always
need new Christmas songs come on.
Speaker 2 (28:38):
Yeah, but you know, ones that maybe stick out a
little bit more than others, and this one, well, definitely,
I think this one could be good. But we'll see.
You know, I don't want to make any predictions, do
you do?
Speaker 1 (28:52):
You have to be able to this this is confounding
to me. How I don't know if that's the right
word or not. Sometimes I like to wish the big
But do you have to be able to laugh at yourself?
Number one? And number two? What would you say to
someone who gets offended easily? Like how could you help
(29:14):
them to understand how to loosen up a bit or
maybe not take it so seriously?
Speaker 2 (29:19):
You can't You can't know sometimes, Like I went to
a wedding in Chicago a few weeks ago, and I
got in the conversation, you know, the bride's father on
the breakfast, you know, at the end of the thing.
He was a straight guy, but he said, have you
(29:40):
ever been to Chicago before? I said, oh, yeah, I've
been a bunch of times. I was on Man Cow
many times. And he went, you were on Man Cow
because he had the number one show in Chicago for
a long time. And he goes, well, what kind of
songs would you do?
Speaker 1 (29:54):
And I don't know what I say? I know, well
what did you say?
Speaker 2 (30:02):
I'm telling you I feel guilty in like, why did
you do that? Why did you do that? He said, well,
what kind of what kind of songs should we good? Well,
I said My first hit was blow me. You hardly
even know me, and he was he didn't, he didn't
react extremely. So I foolishly told him blow me. And
(30:30):
my favorite when I jerk off, I think of you.
Speaker 1 (30:36):
I felt that you told him that. Yeah, I told
him that all of the ones they had.
Speaker 2 (30:44):
Just got married, it was they were so wonderful, the
whole family. And at the end I revealed that to him,
Oh my god, and I felt like a real ship
hell afterwards.
Speaker 1 (30:57):
You know what was his reaction?
Speaker 2 (30:59):
Not not at me for you know, a week or
two thinking oh, Red, why did you do that?
Speaker 1 (31:07):
Why? You know?
Speaker 2 (31:08):
So I have to be very careful. So you know,
I'm not reclusive, but I'm keeping things more to myself
right now until I release them to the public. So
that's right, that's where the angelic comes in. You know.
I avoid conflict and just try to be creative.
Speaker 1 (31:30):
That's really that's a sad thing to say.
Speaker 2 (31:34):
Right now, it is, but I mean nowadays you don't know,
you know, if something bad is going to happen to
you or you know what I mean. So I just
have to be very careful. I remember when Greg Hill
and his crew over at AAF I had bumper stickers made,
(31:57):
and you know, they went everything from Red Peters rules
to free the sperms, and I put ans on the
sperms and as on purpose. But I had a whole
bunch of them. You know, blow me. How's your whole
of course? Yeah, yeah, I can't think of all the
other ones. But LB put them all on the back
(32:21):
of his car. He got pulled over. Of course she
made him peel them all off.
Speaker 1 (32:28):
What yeah, when did this happen? What year?
Speaker 2 (32:32):
The nineties? What year are we talking about in the nineties,
I would say no, actually it might even have been.
My second album, All Blue Bolls Is Back came out
in two thousands.
Speaker 1 (32:45):
Just saying it's funny. Come on, I played these songs
for my mom read you know. I mean, she's not
easily offended, but still she finds the humor and the
way that you it's so creative. You're not trying to
hurt anyone. You're just saying, I'm trying to have fun.
Speaker 2 (33:02):
When the Ballad of a Dog Stains came out, you know,
I remember my mother of course, oh dog lists, you
have those filthy songs, Oh my gosh, you know, but
she was supportive. She came to all my premieres and
that sort of thing. But her next door neighbor in
(33:25):
her listen to the album and when it came to hold,
when it came to you know, listening to the whole song.
I think the woman was like seventy eight years old,
and she thought it was a real song. And a
lot of people think it's a real song, a real
(33:45):
sad song, right, And she was crying at the table.
She cried like for fifteen minutes after hearing the Poor
the story of Poor Bobby and his dog stains.
Speaker 1 (34:02):
It's like gold yellow.
Speaker 2 (34:03):
Yeah, yeah, that's all we studied, Uh, what's his face?
Walter Brennan. We started Walter Brennan, uh closely and listened
to all his songs and the orchestration, and we tried
to make a tear jerker but with a thinly veiled, ah,
(34:27):
you know, off color punchline. So that's probably one of
the best, such Howard Stearn's favorite. It's a lot of
people say, and my license plate his stands, Oh my god.
A lot of people, oh are you are you in the.
Speaker 1 (34:46):
Carpet cleaning business?
Speaker 2 (34:47):
Yeah, yeah, whatever, I just go, oh no, it's a
tribute to my dog I once had.
Speaker 1 (34:56):
Oh that's funny. Everyone can relate to that, though, I
mean when I mean anyone who has animals. Correct me
if I'm wrong, but like you've got stains all over
your house no matter what, like it doesn't matter, so
you can relate in any way to Yeah.
Speaker 2 (35:13):
Yeah, well the line when Bobby went into the hospital,
stains was back home. Oh wait, now if I sucked
it up, stains was back home on Bobby's bed. That
was the line. You know again, double on, Tandra.
Speaker 1 (35:37):
Uh see it takes a second sometimes. Yeah, that's the.
Speaker 2 (35:42):
Beauty of the dog is named stains. So just imagine
if the dog was out in the ad and it
was time to come in. What would you what would you.
Speaker 1 (35:50):
Yell Stains get in here? Hey?
Speaker 2 (35:56):
You wouldn't say come stands.
Speaker 3 (35:59):
I was letting you do that, Sorry, Camshange, Camshange, Right,
I swear I was thinking to myself when I was
going to talk to you today, I'm like, how am
I going to do this?
Speaker 1 (36:16):
It's going to be also interesting on your side of
things too, Not to be the the interviewee and talk
about this stuff with people, because it is funny, but
it's dirty and funny. And yeah, you know so, And
I thought he's such a lovely man. You know, I
(36:37):
wonder how am I going to look him in the
base and he's telling me about it?
Speaker 2 (36:41):
Yeah, yeah, you know, basically again going back to the
word angelic. But you know, the angels on this shoulder
and the devil's on this shoulder.
Speaker 1 (36:50):
Yep.
Speaker 2 (36:51):
And we'll see who wins.
Speaker 1 (36:54):
I am a feeling I know who's going to win there. Red.
I have just a couple of more quick questions for
you before I let you go. Is there a particular
song or a moment throughout your career that you feel
that you're most proud of?
Speaker 2 (37:12):
Well, I have my favorite songs, so I really can't pin.
I'm trying to think of what that would be a moment. Yeah, maybe,
you know. I mean performing for like fifteen twenty thousand
people singing blow me. That was good. I think that
was in New Orleans, New Orleans at some bikey convention
(37:38):
or something. I don't know.
Speaker 1 (37:39):
That was amazing.
Speaker 2 (37:41):
Yeah, and I sang the best I could. Holy shit,
it's Christmas. At Rick D's Christmas party on the Sauny
on the Sauny lot. There must have been fifteen twenty
thousand people there, But that was fun too. Probably the
high point was Howard Stern, you know, liking the songs,
(38:05):
and that gave me a big boost and I got
to do a lot of things when I was working
with him. So you know, I know there's so many
you know, No, that's a.
Speaker 1 (38:17):
Good one that I mean, that opens doors for sure.
You know. It leads to another question though. This is
all difficult for people, you know, when you're putting stuff
out there, when you're writing songs, write a book, write
a song, write a movie, whatever it is, you're putting
it out there to be judged. Yeah, so it's not
(38:37):
an easy thing. And a lot of people that I
know who are creative are very delicate minded, so you know,
it's hard to hear criticism and stuff. And I would
just be curious to know what you would advise someone
who is embarking on a journey into comedy or even music,
whatever it is, in a creative way. You know how
(39:00):
they'll be able to get past that. You know, considering
that Howard Stern took a liking to your stuff and
then now all of a sudden, millions and millions of
people know who read Peters is so what would you
say to somebody coming up through the ranks, how they
would you know, keep forging ahead.
Speaker 2 (39:15):
I mean I saw people on the comedy crews that
were just starting out, and I had everyone on there.
I don't want to listen to names, but you can
imagine the eighties in Boston. Yeah, a lot you know,
Brian Kylie, Jonathan Katz, you know, Craig Shoemaker.
Speaker 1 (39:34):
Stephen Wright, yeah, Dennis Leary.
Speaker 2 (39:37):
Yeah, and you know, we had a lot of comedians,
so you know, sometimes they would bomb, and you know,
I can't even imagine that. I did a little stand
up and luckily it went over. Luckily, Yeah, luckily it
went over because I'm thin skinned. But I would say,
(40:00):
just follow your heart and your brain and just keep writing.
It's important to keep writing and develop your skills, develop
you on stage persona. There'll be good days and there'll
be a lot of bad days, and you're gonna feel
(40:20):
like shit sometimes, but you just keep pushing ahead. Some
people can make their way through it and others can't.
But you just have to repetitive on the stage, saying
the same jokes. Sometimes the jokes go over big in
(40:44):
one show, and then the next day you do another
show and nothing works. So it's stand up is tough.
I kind of. That's one of the reasons why I
went with my strong suit to music. Yeah, in the comedy,
because I don't think I could take being out on
(41:04):
stage and using one of my best lines or whatever
and the people sit there, you know, and no no reaction.
You know, it would be worse than me telling the brides.
Speaker 1 (41:20):
What do you do for a living?
Speaker 2 (41:21):
Oh?
Speaker 1 (41:22):
My gosh, I look that you still find it funny,
It's hysterical.
Speaker 2 (41:27):
It wasn't funny though, And the next day when I
woke up, I went, no, you didn't, and I was guilt.
I felt guilt for maybe ten days, two weeks.
Speaker 1 (41:39):
Wow.
Speaker 2 (41:40):
Yeah, it's it's a tough racket, I'm telling you.
Speaker 1 (41:43):
It is, and rackets a good word. Let me ask,
what's the most surprising reaction you've ever gotten from a
fan or critic? Do you do you have one that
you always think of when you're when you're going through
your mind.
Speaker 2 (41:57):
Uh?
Speaker 1 (41:58):
Oh.
Speaker 2 (41:58):
In general, people who very nice in the complimentary But
I remember one time in somewhere in the Midwest, I
was doing it. I did the radio show and that
night I did a short concert at this club, and
at one point someone slipped me a note and it said, oh, Read,
(42:25):
I enjoyed you so much tonight. My husband's name was Read,
and he passed away not too long ago, and seeing
you today just I just felt so great and I
appreciate you so much. And I kept that little note
for years and years. And then in my latest move,
(42:48):
I live on cape card now, I was going through
some notes and I found that note and I looked
at it and I recognized the handwriting. It was my manager. Yeah,
you know, and I was like so proud of myself,
and I'm going, wow, I'm really I'm really helping people,
(43:10):
you know, get along in life.
Speaker 1 (43:12):
How many years went by?
Speaker 2 (43:14):
How many years that son of a bitch? All these
years I've felt so good about that show, and it
was it was a fake note?
Speaker 1 (43:25):
Did you call him?
Speaker 2 (43:26):
Oh of course?
Speaker 1 (43:27):
Oh that's hysterical. Wow, wow wow.
Speaker 2 (43:32):
Yeah, I would you know, these things pop out? I
remember that. That was so funny.
Speaker 1 (43:39):
Whenever you say things now, I'm thinking like whenever you
say like when things pop out or soup For me,
I don't know what happened. Something happened to me, but
you know that line, that's what she said. Yeah, well,
I do it all the time, and sometimes I get
in trouble for it. So I feel like I'm read
peters at that moment. You know, it just slips out.
Speaker 2 (43:59):
You say what you say, that's what she says.
Speaker 1 (44:01):
Yeah, if someone says something like they're talking about a
poll or you know, yeah, and I can't I can't
help myself, and sometimes it gets me intole. I know.
Speaker 2 (44:11):
Mind we're joking around. One of the musicians and co
writers was living on the north shore somewhere and the
land would would landlord. A woman would come in and go,
you know you people, you know you people, she started.
So then we started saying you people as a as
(44:31):
a joke. But actually it's like semi hurtful to some
people when you say that, really, you know, yeah, when
you say you know you people, all you do is
cry about things you're ruining the world or whatever.
Speaker 1 (44:46):
You know.
Speaker 2 (44:46):
Oh, I see to using the term you people. It's condescending.
But we thought it was very funny and part of
a regular vocabulary. You know. We we use it all
the time, but at risk because you could insult somebody
or make somebody feel uncomfortable. So it's it's it's it's tough.
Speaker 1 (45:10):
Don't let that crap ever stop you, because you bring
so much joy to so many people, and you bring
so much laughter to so many people. And if and
if people don't know who you are, thank you very much.
As a person. At least my goal today was to
make sure that they know that you're a really sweet, generous,
(45:32):
kind normal Yeah. And I think that's not normal.
Speaker 2 (45:36):
Yeah, I think that's some people think, oh he must
be a pig, Oh you're just funny or whatever. You know.
And me and this is how I am in real life.
A'm mellow. I used to have, you know, not an
angry side, but when I was younger, I'd be more
willing to get in a fight with somebody. By now,
(46:00):
as an older person, I can be myself. You know.
People come up to.
Speaker 4 (46:06):
Me and they're expecting to go, hey, you read, and
you'll say something really I fell or use terms that
even I wouldn't use, you know, and then they're shocked
that I'm just this smellow person, like a regular person.
Speaker 1 (46:22):
How do you want to be remembered?
Speaker 2 (46:23):
I just want people to enjoy my songs forever, you know,
long after I'm gone. And there was a lot of
new people. A lot of people today don't know me.
You know, the younger people when they when they start
hearing the stuff, they love it. So the alcohol this
year and moving forward is going to be to reintroduce
(46:45):
me to a younger audience. And you know, hopefully it
will inspire more more great songs.
Speaker 1 (46:57):
Well I hope it does. I know it. And I'm
so grateful for your time today and to finally get
to meet the man behind all the hysterical laughter that
got me through the last thirty years of my life.
Speaker 2 (47:10):
It's very nice to meet you.
Speaker 1 (47:12):
And yeah, and likewise and let's talk you know, Christmas.
Speaker 2 (47:17):
Oh yeah, thank you very much.
Comedy Saved Me.
Speaker 2 (00:04):
When you have an idea, a good, strong idea in
the beginning, all the time another line will pop in
or another part of it. Oh maybe they could be
doing this, but you know, a lot of times it's
a fake out. But at the same time, you know
it celebrates the human spirit, like you ain't getting shit
(00:24):
for Christmas.
Speaker 1 (00:25):
Welcome to another episode of Comedy Saved Me, the show
where we dive deep into the wild, weird and wonderful
world of comedy and the people whose lives that have
been shaped, shaken, and yes, sometimes even saved by laughter.
I'm your host, Lynn Hoffman and Lucky Me. Today's guest
is a true legend in the world of comedy music,
(00:47):
Red Peters. Now, if you've ever left out loud at
a song that was just a little too outrageous for
the radio, chances are Red Peters was behind it. He
is known as the King of comedy music, and his
career began in the mid eighties when he and his
writing partner Ed Grenga started recording off color double entaundra
songs as a way of blowing off steam from the
(01:08):
buttoned up world of commercial music production. Red's irreverent boundary
pushing songs have earned him a loyal following and two
best selling comedy albums. By the way, So whether you're
a longtime fan like myself or just discovering Red's unique
brand of musical mischief, get ready because this comedian will
(01:28):
literally blow you away with a conversation that's as funny
as it is fearless. Welcome Red Peters to Comedy Save Me.
I have to start off by saying, I'm a huge fan.
It's an honor to meet you. I started off in
radio back in Boston with John Lander, who introduced me
to your wacky, amazing stuff, and I've been a fan
(01:49):
ever since.
Speaker 2 (01:50):
So welcome, Thank you, Thank you. I've been around a
long time. Yeah, but no, I enjoyed you on the
radio myself. You know, I've known your name from a
long time. For a long time.
Speaker 1 (02:04):
Red, You're killing me. This is so amazing. I'm so
glad we got to meet. Thank you. All right. Well,
I want to start with you because I know you're
a busy guy, so I want to get right into it.
Speaker 2 (02:16):
Is that, all.
Speaker 1 (02:16):
Right, let's start off with the early days. Take us
back to the beginning of Red Peters. What what first drew
you to comedy and music, because that's an interesting combination.
Speaker 2 (02:30):
Yeah. Well, I've always been into comedy, but I also
had a music production company. We created music for advertising
and for films and that sort of thing, and during
the pressure of doing this, we would blow off steam,
(02:51):
if you know what I mean.
Speaker 1 (02:53):
I get to have a room shot in here.
Speaker 2 (02:57):
After after an intent couple of weeks of recording for
various corporations, we started messing around. We'd always if we
were doing a commercial, and of course we'd hear it
a hundred times in the recording studio. Before long we'd
change the lyrics ourselves and start marking the what they want.
(03:20):
And that's pretty much how One day we were rehearsing
for that in Boston and my co writer Ed Grenger
and I came up with our first big hit in
nineteen eighty four, you Hardly Know Me song, And shortly thereafter,
(03:41):
in around two thousand, we wrote and created or created
and wrote How's Your Whole Family? So that's how it
started with those two. And you know, they hit the
jukeboxes across the nation and people went wow for them,
and they even back then DJ's could play them on
(04:05):
the radio before they were you know, either find told
not to play it anymore. So from there we recorded
our first album. I left, I cried, I fudged my andies.
I toured the US, played all the morning shows for
six months, eight months, and you know, spread the word
(04:29):
and you know it's still going strong to this day.
Speaker 1 (04:33):
It was so much fun. I mean, were you a
fan of weird Awl by any chance? Was that around
the same time?
Speaker 2 (04:40):
Actually, I took my daughter. My first concert I took
my daughter to was a weird Al concert. Other than that,
you know, I mean, I've followed him over the years,
and of course Doctor Demento plays my songs and so
I've heard all his material. I was more of a
George Carlin, Rodney Dangerfield, Frank Zappa, Bonzo Dog Band. The
(05:09):
comedians I liked, even like because I watched Ed Sullivan.
Of course back then was Jackie Vernon and Noam Crosby.
I loved them. So you know, whether they influence what
I do what I did, I'm not sure. But I
sure enjoyed them, oh.
Speaker 1 (05:27):
Boy, and we sure enjoyed you. I have to know,
was there something in your life personal that happened early
on that impacted you to sort of led you down
the path of comedy.
Speaker 2 (05:38):
Yes, I went to Pinocchio School for a couple of years.
I was in Aulti Roy. I even studied to become
a priest, believe it or not.
Speaker 1 (05:48):
Yeah, for real.
Speaker 2 (05:49):
And I was going to be a veterinarian when I
graduated from college. But I went to Massart and that's
where it all congealed, so to speak.
Speaker 1 (06:00):
It all started at mass College of Art.
Speaker 2 (06:03):
Yeah, and it was during the student strikes back then
and against the Vietnam War. So I was extremely rebellious,
joined in all the riots, in the protests and this
sort of thing. So I've sort of been maybe from
my Catholic upbringing, I'm not sure, but I went all
(06:27):
out on it, you know, not in an Antichrist type
of way, but definitely took some chances. And I've been
having so much fun ever since. So I would say
it was my Catholic upbringing. But then also my grandfather
played the piano. He lived in the same house as
(06:48):
us for five hours a day, so maybe that influenced me.
Speaker 1 (06:53):
Wow, who knows, that's so cool but so rebellious, but
still you know, you're having fun. But it was definitely.
Speaker 2 (07:02):
Probably Now I tampered down the rebellious part because you know,
you could get arrested really easy.
Speaker 1 (07:07):
These days, we can't have that.
Speaker 2 (07:10):
My friend, one of my friends the other day referred
to me as angelic, So yeah, now I'm angelic. Wow,
But I'm still crazy, you know.
Speaker 1 (07:22):
Well, you got to be a little crazy otherwise you're
not normal.
Speaker 2 (07:26):
Yeah, I'm definitely not normal, but I love it.
Speaker 1 (07:29):
That's good, all right. So I have to know, is
there a particular moment when you realize that comedy was
going to be more than just sort of a hobby,
that you were going to make a living at it.
Speaker 2 (07:39):
Well, I found it and produce the Comedy Cruise in
Boston Harbor for many years in the eighties. So I
had all the greatest local and traveling comedians on the
Comedy Cruise for several years. So I had that going,
but I also had the is it going? So at
(08:02):
one point I came to a juncture where I thought
I had to choose between comedy or music. So I
chose music, but and I also took comedy into considerations,
(08:24):
so they merged and the song started flowing in the bits.
Speaker 1 (08:31):
What made you decide to blend the I mean, what
was that moment where you realized, wait, I could do both,
I could make it the same.
Speaker 2 (08:38):
Yeah. Well I really wanted to. I thought like, okay,
I'm choosing music, but I was still doing comedy and
involved with the comedy scene. I couldn't just shut it
out right. So it just naturally happened where I blended
(08:59):
them both, and you know, we started writing some great
songs at that point, and my rebelliousness continued. You know,
Howard Stern picked up on it. So I was a
(09:20):
guest on his show. I premiered several of my singles
on his show, and at one point, I'm not sure
what it was, somebody he put out a call for
people who might want to have shows on his network.
So I sent them a one page and like two
days later, yes, you have your own show now on
(09:41):
the Howard channels. So I had never done any radio before.
So here I am, you know, a producer of music
and creator. Next thing, you know, I'm confronted. I don't
know if that's the right word. I said, holy shit,
now I have to I had to produce a one
(10:02):
hour special every two weeks. Wow, and with no experience
except in the studio recording that sort of thing. So
I a buddy of mind taught me pro tools and
I was on my own from that point. Wow. And
you know I've increased my chops quite a bit technically
in that sort of thing. So I think I produced
(10:24):
around seventy five one hour specials on the Howard channels.
Speaker 1 (10:30):
That's a lot. Yeah, did you ever have any resistance
from in the beginning just because of the content? And
also how were you able to write songs and comedy?
I mean that's like doubly putting pressure on yourself to perform.
Speaker 2 (10:45):
It's a craft, I have to admit. Like, let's see,
let me pick a song, well, the two Gay Irishmen
that took about three months to write because we research names,
research geograph graphy. In over three months we put that
song together. Same with I Want to Poke a Poka
(11:07):
and Ballad of a dog named Stains. They will all
worked and worked and worked until they were perfect in
our opinion. And you know, how's your whole family just
flowed out? Blow me? You hardly even know me, just
float out? Pretty much. All the songs flowed out, but
(11:30):
some of them needed extra attention to fine tune. Them,
so the comedy comes through at the right time and
the point gets across. So it's been a lot of
fun and it continues.
Speaker 1 (11:48):
Yeah, you have quite the legacy. Did you expect it
to take off the way that it did? I mean,
even before Howard Stern it was pretty popular.
Speaker 2 (11:56):
And yeah, you know, I like I say, I traveled
the morning shows after the first album, and I worked
with all these different DJs across the country, including Man Cow,
who was number one in Chicago at the time. I
went on his show a bunch of times. So then
(12:17):
also Stern was coming into the picture, so I knew
if I jumped to Stern, I was going to lose
Man Cow, but I figured I'd go with Stern, So
I think it was a good choice and he gave
me a lot of great opportunities. It was. It was
really good working with him, and Tim Sabian was very
(12:38):
supportive of me. He was the program director. Yeah, and
who I still talk to today.
Speaker 1 (12:45):
Does he sell like steaks now?
Speaker 2 (12:48):
Yeah, he saw together a probably a billion dollar operation
of steaks steak So it's kind of unusual to jump
from how I would star into stakes, but.
Speaker 1 (13:04):
Talk about a complete one eight.
Speaker 2 (13:06):
Yeah, yeah, yeah, who knows. Maybe I'll take a turn
at some point, and who knows, maybe I'll go back
into the priesthood thinking about it.
Speaker 1 (13:14):
But what they let you after your career, that's the question.
Speaker 2 (13:18):
Well, they're very forgiving, I understand.
Speaker 1 (13:20):
So let me ask, how do you walk the line
speaking of being edgy and stuff and potentially offensive in
your songwriting, especially in today's world. It's a tough line
to walk.
Speaker 2 (13:34):
Oh, there's not much I can do about what I've
already created that's out there, true. But I am writing
a new song right now, for a new Christmas song.
Speaker 1 (13:43):
Does anyone know about it yet? Have you told anyone?
Speaker 2 (13:47):
I don't know if I've told anyone yet. I mean
I just began working on it about a week ago,
and I think this is going to be another like
a dog named Stains or you know, it's going to
be a lot of work to get it, to get
it to the punchline. But I have some great ideas
going to contain sound design, which you know, I'm using
(14:09):
my skills that I've developed since first starting with pro tools,
and hopefully it's going to be very funny, and it's
going to be on a vinyl red Peter's Greatest Hits
and just you know, Late Fall probably, but that's what
we're putting together right now. So that's what I'm working on.
(14:31):
And this will be the bonus track on the on
the Greatest Hits album.
Speaker 1 (14:36):
So that's awesome. Can you give me any hint as
to the song working title right now? Seeing how you
always incorporate. If I told you the title, you'd have
to kill me.
Speaker 2 (14:48):
Somebody would definitely grab it and write there on song.
But I'll tell you off the air after Okay, okay,
it is. It's such a unique time but direct title
that even the title is hilarious. Let me just say that.
Speaker 1 (15:05):
All your titles are hilarious.
Speaker 2 (15:11):
It's definitely one of the most sophomoric songs, although that's
a pretty high bar, that's true. It's so silly and
stupid that I'm really psyched about it, so hopefully people
will agree with me.
Speaker 1 (15:29):
Is there a bell weather like when you're writing it,
when you get to that point where you're like, oh, yeah, that's.
Speaker 2 (15:37):
Yeah. The other night when I let the idea flow
and it was like eight hundred and sixty words, which
is way way, way too much, I'd be like a
five six minute song I was when I was writing it.
You know, I was on a roll, I think Sunday night.
(16:00):
While I was writing it. I was definitely laughing to
myself and thinking, oh yeah, this is great. You know
the you know, the section I was working on like
i'd have a breakthrough and it just psyched me up
to keep going. So I did a beginning, middle, and
(16:22):
end in one sit down, like say, a two hour session.
And then now I'm working with one of my writers,
Artie Johnson, and he's going to help me punch it
up and get it ready for recording. We'll probably record
it sometime in late summer. Also, we'll probably record another
(16:45):
couple of songs too, but we haven't decided on which
new ones yet, so I'm not sure what's going to
happen with them. But to answer your question, this has
no profanity in it. It's a foolish little song, Christmas song,
you know, so it can the foolishness continues.
Speaker 1 (17:09):
Yeah, So basically when you start cracking up to yourself,
you know.
Speaker 2 (17:13):
Yeah, oh yeah, oh it felt good. I knew I
was on the song.
Speaker 1 (17:16):
You were onto something. I can't believe there's no profanity though.
That's that's really cool.
Speaker 2 (17:21):
But no, but it's still it'll turn people.
Speaker 1 (17:23):
Off double onnon.
Speaker 2 (17:25):
Except yeah, no, I know there's no double on time either.
It's a nice little story. When it gets to the crescendo,
that's when it turns a.
Speaker 1 (17:38):
Little uh takes a left turn at Albo.
Speaker 2 (17:41):
Comfortable uncomfortable for some people. For that, I think it's
so funny, it's ridiculous. I've been preparing this for at
least six months in preparation for the big payoff. So
but that's a conversation for another time.
Speaker 1 (18:01):
I can't wait. I would love to hear more about
it when you release it. But do like making people
feel uncomfortable, Not in a negative way, but you know,
with the comedy, I.
Speaker 2 (18:11):
Think it's just my rebellious streak and weighing good and bad.
You know, I push the envelope a little bit. But nowadays,
like he was saying, I don't want anyone to be
knock on the door and take me out of the
house and handcuffs or anything like that. Never yeah, yeah,
(18:32):
well I'd fight like a bastard. But oh my gosh,
but no, it's a tricky. It's tricky now because there's
so much to use an old term political correctness and
morality and all this I mean underneath it all, I'm
a good person. I care about people, but I like
(18:54):
to make people laugh. I can't help it. That's who
I am, how I am, and I don't think I'm
going to change. So it's me from this point on.
Speaker 1 (19:07):
Well, please don't go changing. Don't go changing. No, But seriously,
that you bring up a really good point, because if
something's funny, it's just funny. It doesn't matter the content
or the topic, or the person or the event. If
something's funny, it's funny.
Speaker 2 (19:26):
Yeah.
Speaker 1 (19:27):
Yeah, And it's not meant to hurt.
Speaker 2 (19:29):
No, it's not meant to hear it. And you know,
my songs are goofy. A lot of my songs are goofy.
You just reminded me. I do have a new double entendres.
Speaker 1 (19:39):
Song, what's it called?
Speaker 2 (19:40):
Which maybe we'll recruit that one too. It's foolish, it's funny,
and I'm sure it will fake people out somewhat, but
the payoff is always innocent. So just like I am now, angelic.
Speaker 1 (19:58):
Angelic, you're hiding your wings, but I know they're back there.
Speaker 2 (20:02):
Yeah they are. It's uncomfortable in this year.
Speaker 1 (20:06):
But I'm sorry, I won't keep you much longer.
Speaker 2 (20:09):
But it is really it, And keep me as long
as you want.
Speaker 1 (20:12):
Oh I love that. All right. Well, let me talk
to you about your creative process a little bit more.
First of all, where do you find the inspiration for
your outrageous songs? I'm almost a little scared to ask,
especially with some of them.
Speaker 2 (20:26):
You know, they a lot of them come from that
mysterious place that you know where you talk to a
lot of songwriters and this sort of thing in your
other shows. But you just at some point they just
hit you. You know, a line will hit you, and then
you know if it's a worthy concept, you know, I
(20:50):
begin to develop it like that new double en Tender
song I worked on for several months to get it
just right. They just comes out of nowhere, you know,
the ideas come out of nowhere. What can I tell you? Maybe,
of course, my attitude about life and my observations in life,
(21:10):
you know, seeing people at the at the market, or
you know, seeing what people look like or whatever. It
could could come from anywhere, but it comes. And what
can I tell you? You know, and uh, it's a
challenge because sometimes you have an idea and it goes nowhere.
(21:31):
And then other times like this new Christmas song, which
I've been wanting to do for actually more than a
year since last Christmas. They take a lot of work
and they have to soak into your brain. When you
have an idea, a good strong idea in the beginning,
over time another line will pop in or another part
(21:55):
of it. Oh maybe they could be doing this, but
you know, a lot of times it's a fake out.
But at the same time, you know it celebrates the
human spirit, like you ain't getting shipped for Christmas? Where
the parents the parents prepare for the son and daughter
(22:15):
and their family to come to the house, and then
they bang in at the last minute. The daughter wants
to go to Hawaii, and the son's going to myrtle
beats no, no, somewhere down there, and so the the
old man and and his old wife sitting there, and
(22:36):
then they spew out you know, the eventual line, you
ain't getting shipped for Christmas. You can stick that fruitcake
up your ass because both of them sent them fruitcakes.
Speaker 1 (22:49):
Did this really happen?
Speaker 2 (22:51):
No?
Speaker 1 (22:51):
No, this this is great.
Speaker 2 (22:54):
Yeah, yeah. I wanted to paint a picture how the
kids were ingrates and the parents were preparing a postcard Christmas,
you know, and with gifts and hanging the stockings and
making sweets and bread and this sort of thing, and
(23:17):
the kids just didn't show up. So that song, I
really love that song. That one's a sleeper too, Like
on YouTube, you know, it's really popular there where people
get on and they comment about it and they get
(23:38):
in fights with themselves. Some will make a comment, some
will jump in, and then you know, all the way
down people are fighting about you're an asshole and this,
and you know, it's unbelievable, you know. On the other hand,
a song like holy shit, It's Christmas with the New
(23:58):
CHRISTI hamsters, O, what a what a recording session that was.
I think they were on something or they were drinking
or whatever, but they were uncooperative. But in the end
that song turned out great. We had a lot of
fun doing that. One that plays now bleeped on a
lot of get out here on terrestrial station.
Speaker 1 (24:20):
Oh I get that, Okay, Yeah.
Speaker 2 (24:22):
I have a bleeped version and everywhere else it plays.
You know, I think someday the words ship will be acceptable,
you know, it's like ready almost at the press, you know,
it's ready to go over into mainstream.
Speaker 1 (24:37):
The word ship it's been for crying out loud? What
if everybody boops? So why can't you say ship?
Speaker 2 (24:46):
Well, I'm looking forward to that day because then they'll
be able to play holy shit, it's Christmas and you
ain't getting shipped for Christmas. And then this new song
and the new song I think it will play everywhere.
Speaker 1 (24:58):
Awesome, awesome, I will say.
Speaker 2 (25:03):
You will be right back with more of the Comedy
Save Me Podcast.
Speaker 1 (25:12):
Welcome back to the Comedy Save Me Podcast. This is
what I wanted to ask you two things. First of all,
this morning, I was listening to a local radio station
and I heard someone say asshole twice on the air.
But it was funny because it was during a really
funny comedy yeah on the radio, and my husband and
I both looked at each other and we were like,
(25:33):
do we just hear what we think we heard? That's
that's great because again it's body part.
Speaker 2 (25:42):
I have something.
Speaker 1 (25:45):
And also, let me ask you certain words. Yeah, you know,
like is that what will spark? How you can pull
them apart to make them play like for example, dictation?
Speaker 2 (26:00):
Yeah?
Speaker 1 (26:01):
Yeah, Like is that working?
Speaker 2 (26:02):
I'm not even sure if people know it. H dictation
machine is any woman.
Speaker 1 (26:07):
But no, no, I'm sorry. That was my favorite one
of all because I wasn't ready for it.
Speaker 2 (26:17):
You know, take your pants down to the cleaners to day,
take cue pants down. So that was one of my
favorite lines. But of course, how's your whole family? Even
when we're recording that song, I forgot if you you know,
go to the near the end of the song. It's
more explicit. And while I was writing it, I said, oh,
(26:42):
I can't think of that line. I mean, that's that
line in the song. And I knew. I loved it.
One of my girlfriend's friends at the time knew it.
She remembered it, and she told me, and so it
got to be in the song. You know, it's probably
the rudest line of that song, but in some cases
I cut that one out and just have the rest
(27:04):
on the stupid ones. How's your dick Tasi machine, I'm
going to do your ass trilogical sign, you know that
sort of thing.
Speaker 1 (27:14):
Yeah, it's a craft, it's definitely.
Speaker 2 (27:17):
It really is a craft. They did don't come out
fast and we don't think about it. Like when I
was doing the Repeaters Comedy Music Hour on Howard. People
would send in the songs, and believe me, you would
not believe the songs that people sent me in. Most
of them were poorly recorded in so extreme it would
(27:42):
offend everyone no matter what. And then so I had
to pick through them and find songs. Some of them
were still over the top and extreme, but there was
something clever about them, and they did a nice recording
of them, which to me is the bottom line. They
have to sound good, you knows. As you know, we
(28:05):
spend quite a bit of time polishing our songs and
using the latest production techniques and make them sound as
great as they can be, you know, whether we're emulating
a big band or country, you know, zoom in on
each one of them and make them as authentic as possible.
(28:29):
So I'm hoping that for my new song, my new
Christmas song too.
Speaker 1 (28:33):
I'm so excited about the Christmas song, because you always
need new Christmas songs come on.
Speaker 2 (28:38):
Yeah, but you know, ones that maybe stick out a
little bit more than others, and this one, well, definitely,
I think this one could be good. But we'll see.
You know, I don't want to make any predictions, do
you do?
Speaker 1 (28:52):
You have to be able to this this is confounding
to me. How I don't know if that's the right
word or not. Sometimes I like to wish the big
But do you have to be able to laugh at yourself?
Number one? And number two? What would you say to
someone who gets offended easily? Like how could you help
(29:14):
them to understand how to loosen up a bit or
maybe not take it so seriously?
Speaker 2 (29:19):
You can't You can't know sometimes, Like I went to
a wedding in Chicago a few weeks ago, and I
got in the conversation, you know, the bride's father on
the breakfast, you know, at the end of the thing.
He was a straight guy, but he said, have you
(29:40):
ever been to Chicago before? I said, oh, yeah, I've
been a bunch of times. I was on Man Cow
many times. And he went, you were on Man Cow
because he had the number one show in Chicago for
a long time. And he goes, well, what kind of
songs would you do?
Speaker 1 (29:54):
And I don't know what I say? I know, well
what did you say?
Speaker 2 (30:02):
I'm telling you I feel guilty in like, why did
you do that? Why did you do that? He said, well,
what kind of what kind of songs should we good? Well,
I said My first hit was blow me. You hardly
even know me, and he was he didn't, he didn't
react extremely. So I foolishly told him blow me. And
(30:30):
my favorite when I jerk off, I think of you.
Speaker 1 (30:36):
I felt that you told him that. Yeah, I told
him that all of the ones they had.
Speaker 2 (30:44):
Just got married, it was they were so wonderful, the
whole family. And at the end I revealed that to him,
Oh my god, and I felt like a real ship
hell afterwards.
Speaker 1 (30:57):
You know what was his reaction?
Speaker 2 (30:59):
Not not at me for you know, a week or
two thinking oh, Red, why did you do that?
Speaker 1 (31:07):
Why? You know?
Speaker 2 (31:08):
So I have to be very careful. So you know,
I'm not reclusive, but I'm keeping things more to myself
right now until I release them to the public. So
that's right, that's where the angelic comes in. You know.
I avoid conflict and just try to be creative.
Speaker 1 (31:30):
That's really that's a sad thing to say.
Speaker 2 (31:34):
Right now, it is, but I mean nowadays you don't know,
you know, if something bad is going to happen to
you or you know what I mean. So I just
have to be very careful. I remember when Greg Hill
and his crew over at AAF I had bumper stickers made,
(31:57):
and you know, they went everything from Red Peters rules
to free the sperms, and I put ans on the
sperms and as on purpose. But I had a whole
bunch of them. You know, blow me. How's your whole
of course? Yeah, yeah, I can't think of all the
other ones. But LB put them all on the back
(32:21):
of his car. He got pulled over. Of course she
made him peel them all off.
Speaker 1 (32:28):
What yeah, when did this happen? What year?
Speaker 2 (32:32):
The nineties? What year are we talking about in the nineties,
I would say no, actually it might even have been.
My second album, All Blue Bolls Is Back came out
in two thousands.
Speaker 1 (32:45):
Just saying it's funny. Come on, I played these songs
for my mom read you know. I mean, she's not
easily offended, but still she finds the humor and the
way that you it's so creative. You're not trying to
hurt anyone. You're just saying, I'm trying to have fun.
Speaker 2 (33:02):
When the Ballad of a Dog Stains came out, you know,
I remember my mother of course, oh dog lists, you
have those filthy songs, Oh my gosh, you know, but
she was supportive. She came to all my premieres and
that sort of thing. But her next door neighbor in
(33:25):
her listen to the album and when it came to hold,
when it came to you know, listening to the whole song.
I think the woman was like seventy eight years old,
and she thought it was a real song. And a
lot of people think it's a real song, a real
(33:45):
sad song, right, And she was crying at the table.
She cried like for fifteen minutes after hearing the Poor
the story of Poor Bobby and his dog stains.
Speaker 1 (34:02):
It's like gold yellow.
Speaker 2 (34:03):
Yeah, yeah, that's all we studied, Uh, what's his face?
Walter Brennan. We started Walter Brennan, uh closely and listened
to all his songs and the orchestration, and we tried
to make a tear jerker but with a thinly veiled, ah,
(34:27):
you know, off color punchline. So that's probably one of
the best, such Howard Stearn's favorite. It's a lot of
people say, and my license plate his stands, Oh my god.
A lot of people, oh are you are you in the.
Speaker 1 (34:46):
Carpet cleaning business?
Speaker 2 (34:47):
Yeah, yeah, whatever, I just go, oh no, it's a
tribute to my dog I once had.
Speaker 1 (34:56):
Oh that's funny. Everyone can relate to that, though, I
mean when I mean anyone who has animals. Correct me
if I'm wrong, but like you've got stains all over
your house no matter what, like it doesn't matter, so
you can relate in any way to Yeah.
Speaker 2 (35:13):
Yeah, well the line when Bobby went into the hospital,
stains was back home. Oh wait, now if I sucked
it up, stains was back home on Bobby's bed. That
was the line. You know again, double on, Tandra.
Speaker 1 (35:37):
Uh see it takes a second sometimes. Yeah, that's the.
Speaker 2 (35:42):
Beauty of the dog is named stains. So just imagine
if the dog was out in the ad and it
was time to come in. What would you what would you.
Speaker 1 (35:50):
Yell Stains get in here? Hey?
Speaker 2 (35:56):
You wouldn't say come stands.
Speaker 3 (35:59):
I was letting you do that, Sorry, Camshange, Camshange, Right,
I swear I was thinking to myself when I was
going to talk to you today, I'm like, how am
I going to do this?
Speaker 1 (36:16):
It's going to be also interesting on your side of
things too, Not to be the the interviewee and talk
about this stuff with people, because it is funny, but
it's dirty and funny. And yeah, you know so, And
I thought he's such a lovely man. You know, I
(36:37):
wonder how am I going to look him in the
base and he's telling me about it?
Speaker 2 (36:41):
Yeah, yeah, you know, basically again going back to the
word angelic. But you know, the angels on this shoulder
and the devil's on this shoulder.
Speaker 1 (36:50):
Yep.
Speaker 2 (36:51):
And we'll see who wins.
Speaker 1 (36:54):
I am a feeling I know who's going to win there. Red.
I have just a couple of more quick questions for
you before I let you go. Is there a particular
song or a moment throughout your career that you feel
that you're most proud of?
Speaker 2 (37:12):
Well, I have my favorite songs, so I really can't pin.
I'm trying to think of what that would be a moment. Yeah, maybe,
you know. I mean performing for like fifteen twenty thousand
people singing blow me. That was good. I think that
was in New Orleans, New Orleans at some bikey convention
(37:38):
or something. I don't know.
Speaker 1 (37:39):
That was amazing.
Speaker 2 (37:41):
Yeah, and I sang the best I could. Holy shit,
it's Christmas. At Rick D's Christmas party on the Sauny
on the Sauny lot. There must have been fifteen twenty
thousand people there, But that was fun too. Probably the
high point was Howard Stern, you know, liking the songs,
(38:05):
and that gave me a big boost and I got
to do a lot of things when I was working
with him. So you know, I know there's so many
you know, No, that's a.
Speaker 1 (38:17):
Good one that I mean, that opens doors for sure.
You know. It leads to another question though. This is
all difficult for people, you know, when you're putting stuff
out there, when you're writing songs, write a book, write
a song, write a movie, whatever it is, you're putting
it out there to be judged. Yeah, so it's not
(38:37):
an easy thing. And a lot of people that I
know who are creative are very delicate minded, so you know,
it's hard to hear criticism and stuff. And I would
just be curious to know what you would advise someone
who is embarking on a journey into comedy or even music,
whatever it is, in a creative way. You know how
(39:00):
they'll be able to get past that. You know, considering
that Howard Stern took a liking to your stuff and
then now all of a sudden, millions and millions of
people know who read Peters is so what would you
say to somebody coming up through the ranks, how they
would you know, keep forging ahead.
Speaker 2 (39:15):
I mean I saw people on the comedy crews that
were just starting out, and I had everyone on there.
I don't want to listen to names, but you can
imagine the eighties in Boston. Yeah, a lot you know,
Brian Kylie, Jonathan Katz, you know, Craig Shoemaker.
Speaker 1 (39:34):
Stephen Wright, yeah, Dennis Leary.
Speaker 2 (39:37):
Yeah, and you know, we had a lot of comedians,
so you know, sometimes they would bomb, and you know,
I can't even imagine that. I did a little stand
up and luckily it went over. Luckily, Yeah, luckily it
went over because I'm thin skinned. But I would say,
(40:00):
just follow your heart and your brain and just keep writing.
It's important to keep writing and develop your skills, develop
you on stage persona. There'll be good days and there'll
be a lot of bad days, and you're gonna feel
(40:20):
like shit sometimes, but you just keep pushing ahead. Some
people can make their way through it and others can't.
But you just have to repetitive on the stage, saying
the same jokes. Sometimes the jokes go over big in
(40:44):
one show, and then the next day you do another
show and nothing works. So it's stand up is tough.
I kind of. That's one of the reasons why I
went with my strong suit to music. Yeah, in the comedy,
because I don't think I could take being out on
(41:04):
stage and using one of my best lines or whatever
and the people sit there, you know, and no no reaction.
You know, it would be worse than me telling the brides.
Speaker 1 (41:20):
What do you do for a living?
Speaker 2 (41:21):
Oh?
Speaker 1 (41:22):
My gosh, I look that you still find it funny,
It's hysterical.
Speaker 2 (41:27):
It wasn't funny though, And the next day when I
woke up, I went, no, you didn't, and I was guilt.
I felt guilt for maybe ten days, two weeks.
Speaker 1 (41:39):
Wow.
Speaker 2 (41:40):
Yeah, it's it's a tough racket, I'm telling you.
Speaker 1 (41:43):
It is, and rackets a good word. Let me ask,
what's the most surprising reaction you've ever gotten from a
fan or critic? Do you do you have one that
you always think of when you're when you're going through
your mind.
Speaker 2 (41:57):
Uh?
Speaker 1 (41:58):
Oh.
Speaker 2 (41:58):
In general, people who very nice in the complimentary But
I remember one time in somewhere in the Midwest, I
was doing it. I did the radio show and that
night I did a short concert at this club, and
at one point someone slipped me a note and it said, oh, Read,
(42:25):
I enjoyed you so much tonight. My husband's name was Read,
and he passed away not too long ago, and seeing
you today just I just felt so great and I
appreciate you so much. And I kept that little note
for years and years. And then in my latest move,
(42:48):
I live on cape card now, I was going through
some notes and I found that note and I looked
at it and I recognized the handwriting. It was my manager. Yeah,
you know, and I was like so proud of myself,
and I'm going, wow, I'm really I'm really helping people,
(43:10):
you know, get along in life.
Speaker 1 (43:12):
How many years went by?
Speaker 2 (43:14):
How many years that son of a bitch? All these
years I've felt so good about that show, and it
was it was a fake note?
Speaker 1 (43:25):
Did you call him?
Speaker 2 (43:26):
Oh of course?
Speaker 1 (43:27):
Oh that's hysterical. Wow, wow wow.
Speaker 2 (43:32):
Yeah, I would you know, these things pop out? I
remember that. That was so funny.
Speaker 1 (43:39):
Whenever you say things now, I'm thinking like whenever you
say like when things pop out or soup For me,
I don't know what happened. Something happened to me, but
you know that line, that's what she said. Yeah, well,
I do it all the time, and sometimes I get
in trouble for it. So I feel like I'm read
peters at that moment. You know, it just slips out.
Speaker 2 (43:59):
You say what you say, that's what she says.
Speaker 1 (44:01):
Yeah, if someone says something like they're talking about a
poll or you know, yeah, and I can't I can't
help myself, and sometimes it gets me intole. I know.
Speaker 2 (44:11):
Mind we're joking around. One of the musicians and co
writers was living on the north shore somewhere and the
land would would landlord. A woman would come in and go,
you know you people, you know you people, she started.
So then we started saying you people as a as
(44:31):
a joke. But actually it's like semi hurtful to some
people when you say that, really, you know, yeah, when
you say you know you people, all you do is
cry about things you're ruining the world or whatever.
Speaker 1 (44:46):
You know.
Speaker 2 (44:46):
Oh, I see to using the term you people. It's condescending.
But we thought it was very funny and part of
a regular vocabulary. You know. We we use it all
the time, but at risk because you could insult somebody
or make somebody feel uncomfortable. So it's it's it's it's tough.
Speaker 1 (45:10):
Don't let that crap ever stop you, because you bring
so much joy to so many people, and you bring
so much laughter to so many people. And if and
if people don't know who you are, thank you very much.
As a person. At least my goal today was to
make sure that they know that you're a really sweet, generous,
(45:32):
kind normal Yeah. And I think that's not normal.
Speaker 2 (45:36):
Yeah, I think that's some people think, oh he must
be a pig, Oh you're just funny or whatever. You know.
And me and this is how I am in real life.
A'm mellow. I used to have, you know, not an
angry side, but when I was younger, I'd be more
willing to get in a fight with somebody. By now,
(46:00):
as an older person, I can be myself. You know.
People come up to.
Speaker 4 (46:06):
Me and they're expecting to go, hey, you read, and
you'll say something really I fell or use terms that
even I wouldn't use, you know, and then they're shocked
that I'm just this smellow person, like a regular person.
Speaker 1 (46:22):
How do you want to be remembered?
Speaker 2 (46:23):
I just want people to enjoy my songs forever, you know,
long after I'm gone. And there was a lot of
new people. A lot of people today don't know me.
You know, the younger people when they when they start
hearing the stuff, they love it. So the alcohol this
year and moving forward is going to be to reintroduce
(46:45):
me to a younger audience. And you know, hopefully it
will inspire more more great songs.
Speaker 1 (46:57):
Well I hope it does. I know it. And I'm
so grateful for your time today and to finally get
to meet the man behind all the hysterical laughter that
got me through the last thirty years of my life.
Speaker 2 (47:10):
It's very nice to meet you.
Speaker 1 (47:12):
And yeah, and likewise and let's talk you know, Christmas.
Speaker 2 (47:17):
Oh yeah, thank you very much.
Host
Lynn Hoffman
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