Dennis Blair "Comedy Music/Interview" Show #261

Dennis Blair is a seasoned entertainer known for his unique fusion of comedy and music, creating a distinctive performance style that has delighted audiences for decades. Beginning his musical journey at the tender age of 12, Blair's passion for music eventually led him to incorporate comedic elements, resulting in a delightful blend that spans different eras of music history. His clever and witty interpretations of songs by iconic artists such as David Bowie, Queen, and Elton John showcase his ability to connect with audiences through humor and nostalgia. Influenced by legendary comedians like George Carlin and Rodney Dangerfield, Blair has honed his craft in diverse settings, from comedy clubs to cruise ships, carving out a niche for himself as a talented comic musician. Dennis is currently working as the Opening Act for Barry Manilow doing large arena concerts.

(00:06:41) Musical Time-travel Comedy with Dennis Blair

(00:10:16) Stand-Up Comedy Evolution: Guitar to Crowd Work

(00:12:06) Influences of Comedy Legends on Career

(00:19:59) Tailoring Comedy Set for Diverse Crowds

(00:25:22) Navigating Audience Responses in Arenas vs. Clubs

(00:28:14) Comedic Music Artist Tributes with Dennis Blair

Transcript

R. Scott Edwards: 0:05

This is another episode of Stand Up Comedy. Your host and emcee celebrating 40 plus years on the fringe of show business stories, interviews and comedy sets from the famous and not so famous. Here's your host and emcee, Scott Edwards. Ladies and gentlemen, welcome back to the podcast. We have another amazing interview for you. And not only is it terrific comedy and a guy that's been doing comedy, God, for decades, he is so, so funny. But he's also a terrific musician. That's right. You've heard him before on this podcast doing his comedy music. We did a previous interview that was really fascinating. If you get a chance, go back and check it out. But he's here again. Let's welcome back to the show Dennis Blair. Dennis, nice to have you back on the show. So good to hear your voice.

Dennis Blair: 1:03

That's more applause than I've ever gotten, by the way, what you just played there. So I really appreciate that. Thanks.

R. Scott Edwards: 1:08

Well, we should catch people up. I know that's not true because you did a special fundraiser for me last year that was a huge success and the audience had such a great time. But just to kind of. We want to talk about current and future stuff right now, but I want to give the audience a foundation. You go back quite a ways. You worked a lot with Rodney Dangerfield and helped him with the movie Easy Money, your big claim to fame. You were the official opening act for George Carlin for over a dozen years. You've had so much amazing experience and success. Dennis Blair, one of the best in comedy, but also as a comic musician. Is that something you did the music all along, right?

Dennis Blair: 1:56

Oh, yeah. That's what I started with. I wrote my first song when I was 12. It was called she Said it and She'll Regret It. It was about a broken love affair. It was about a busted love. Busted love affair. And I was 12, so I really knew what I was talking about.

R. Scott Edwards: 2:11

Oh, that's so funny. So, as I said, I didn't want to cover too much of the past, but you do bring up an interesting subject. As a musician, at what point did you decide that you could be funny, too? I mean, that is an interesting thing and we may have touched on it before, but share a quick story and how comedy added to your music.

Dennis Blair: 2:35

Well, I remember, I think it was junior year of high school where we had a study period. The teacher never showed up. We had to sit there like one of those weird rules. No, you have to be in the class. You have to be present. And I just started doing impressions of people I think at the time it was like Jimmy Carter or something like that and Hubert Humphrey and politicians and people started laughing. So that's the first time that. I know. There was one time before that I was in grammar school, it was in eighth grade. And I had to pretend that I had to do, like, a sketch. Like, I had to come up with a sketch for some reason, I forget the reason why, but I couldn't find the nun that was teaching me in the sketch. And I kept looking around the room and I opened up a drawer, a desk drawer, and look for her in there. And everyone, like, burst out laughing. I'm going, oh, I like that feeling. So that's. Those are the two earliest examples I think of. Oh, I guess I'm kind of funny. And then I just started doing parodies in this club that, you know, I worked at just as a guitar player singer, and started doing. That's when I came up with the Bee Gees parody. And that started the whole ball of wax, as they say.

R. Scott Edwards: 3:43

Wow. You know, what's interesting is I've had a chance to interview literally dozens and dozens of entertainers in comics. And there is something about getting that first big laugh. It's like a drug. Once you get it, you want to get it again and again. For musicians, it's applause. For singers, it's adoration and applause. But for comics and the people that have that entertainment niche in them, when you hear that laughter that you created from total strangers, it really gets the endorphins going. It gives you a good feeling.

Dennis Blair: 4:20

Yeah, yeah. And I was a bit. A bit of a nerd. No, let's go farther than that. I was a nerd.

R. Scott Edwards: 4:30

Let's cut to the chase. Yeah, right.

Dennis Blair: 4:32

Yeah, let's drop a bit. I was complete nerd. So there's so added to the fact that fact, the fact of getting my first laugh was like, oh, people. Maybe people could like me at some point, you know, so that was that deal. So that was a huge step forward in my life, you know, and then, you know, doing the impressions later on in high school stuff, I started becoming accepted, you know, and it was a high school full of nerds anyway, so I didn't have far to go.

R. Scott Edwards: 4:59

Well, it is interesting because comics sometimes use humor to build friendships and to stand out from or to, you know, counteract being nervous. I think musicians play music because they think it'll get them attention in girls. Magicians, a lot of magicians start doing tricks because they are kind of shy and quiet, and doing the magic gives them A way to interact with people without having to really speak too much. So it's not surprising that you're saying that not only doing music, but adding the comedy really gave you an additional edge as the king Nerd of your school.

Dennis Blair: 5:42

King Nerd should be my publishing company. I'm telling you, it should be. I got another. But I didn't come up with that. I wish I'd met you before I came up with my publishing company. But it's okay. We'll live through it.

R. Scott Edwards: 5:53

Well, Dennis, one of the things I wanted to share with the audience is that not only have I heard a lot of your comedy, but we did have a chance to work together on the show. And what's great about it is it touches on every decade of music. And that is not only terrific for the audience because they can follow the show in its building, in tempo as you go, and there's. You're connecting with the memories of the audience through each generation of music. But was that something that you. I mean, I know you do it purposely now, but how did that transition come around that you, you know, started with the 60s and work your way through, you know, into modern music? How did that come about?

Dennis Blair: 6:41

Well, that's relatively recent, and I don't remember the exact method and steps I took, but, I mean, I've been doing that basically for the last six or seven years, doing that whole. It started as, you know, just starting with Elvis. And then, you know, I would. Eventually I started. Let me throw the 60s in there, you know, And I probably was doing some older audiences, so they understood what I was talking about. Oh, the 60s. It's not like today. Like, what does this thing call the 60s? No, they understood it. And then it just became a thing. Like, you know, let's just Continue. Let's keep going. 70s, 80s, 90s, modern day, you know, that kind of deal. And it just became. Yeah, I think I worked it now into a place where if I really stretch it, I can do like 30 minutes on that alone almost, or 25 minutes or something. So it's weird. It's just like one of those things which just fell into place. And I never planned it, you know, but, yeah, this seems to be a good. A good chunk of stuff to go, you know, and at the end, I just get the entire music of history in 25 minutes, ladies and gentlemen. That's what you've just, you know, and with jokes. With jokes in bed and completely wrong lyrics. So that's how it happened. Well, it happened.

R. Scott Edwards: 7:53

It's very funny, but I kind of find it surprising you didn't plan it. Now, you did open for one of the biggest names in standup comedy, George Carlin, who always had young, enthusiastic audiences, but you didn't do that type of show. So was it more like a regular comic and you just had bits that you put together and. Yeah, and that's how you did it for Carlin.

Dennis Blair: 8:19

Yeah. And. And, you know, during the car, I remember I was. I was more scattershot. I was like all over the place, you know, I mean, I think I'd start. I'd start with Bruce Springsteen or something like that. I listened to an old tape of mine a couple of. Couple of years ago and I started with that. Oh, my God, you know, I used to start with the Bee Gees, but, yeah, it just became kind of a scatter shot, like, you know, whatever. Whatever thought hits me. And I also. There was a period when I wanted to do. I wanted to put the guitar down and see if I could do any, any time without the guitar. So I would put the guitar down, force myself into writing stuff that was more stand up oriented, just like, you know, straight stand up kind of observational kind of stuff. So I kind of put that in the middle and then I would pick up the guitar at the end and kind of finish it off with requests, you know, which I guess now is called crowd work. I guess everybody's doing it, but in. In the day when I was doing crowd work, quote unquote, I called it, you know, oh, I don't have to do my act right now. I can do requests.

R. Scott Edwards: 9:17

Yeah, that's a real truism that a lot of people have their set comedy bits, but they might have 20 minutes and they have to do 30 on stage crowd work. Or you know what's interesting, because like you said, it wasn't called crowd work back in the day. I was the emcee at my clubs starting back in 1980. And my job, each and every night, each and every show, eight shows a week, was to go out and interact and do basically crowd work to get the audience focused, make fun of them, do the birthdays, the bachelor parties, to get the audience craziness out of the way and then introduce the guys that had actual set material. So I never had set material, but I did a lot of crowd work. But it's interesting because you're so good as a comic musician, you were trying to force yourself to write and fill that middle spot and you must have had success with it.

Dennis Blair: 10:16

Yeah, it went. I mean, especially during the Carlin era, which I kind of developed it all. I mean, I remember the first time I just put the guitar down and just had me in the microphone and I remember literally like holding onto the mic stand because I was so frightened. 2,000 people watching. Okay, let's see how this goes. And then finally I got to a point where I was able to take the mic of the stand and actually talk into it without having to stand. Of course, I kept leaning on the stand, but, you know, that was progress for me. So, yes, I just wanted to try it, wanted to do it. And then, you know, mother of invention kind of thing. Oh, come up with some more stuff. So, you know, so that's how that all worked out.

R. Scott Edwards: 10:56

Well, I've actually heard from comic musicians and actually just musicians that somehow having the guitar or an instrument between you and the audience is. Gives you that sense of. I mean, it's a fake sense, but in your own mind, it gives you a wall between the audience and you. And I've heard that that gives people some sort of comfort or peace of mind when they're in front of 500 strangers.

Dennis Blair: 11:24

Sure, sure. And since my entire career is a big accident anyway, it was, you know, I didn't expect to be doing this for a living, for God's sake. Yeah. But I just remember, you know, having the guitar was just a natural thing for me because I was a singer and songwriter and that with that kind of a deal from the beginning. So that was, you know, that was something easy to lean on. Not even with lean on to people say, oh, it's a crutch. No, it's kind of like natural, you know, natural to have a guitar in front of me.

R. Scott Edwards: 11:52

Well, it's comfortable.

Dennis Blair: 11:54

Yeah, yeah, it's very. So it's a comfort zone and, you know, you felt at ease. But I just at some point just wanted to try, you know, can I actually do comedy? Can I actually do stand up? And it seemed to work out, especially during the Carlin years, you know.

R. Scott Edwards: 12:06

Well, I was going to ask about that because you were working, as Ben said, with one of the icons of the standup comedy world, George Carlin. Now, did he ever offer advice? Did he guide you or were you. For example, Tom Driessen worked with Frank Sinatra for a long time and Frank brought along his attitude towards show business and Tom picked that up. Was there stuff that interactions with George Carlin that affected you?

Dennis Blair: 12:39

We had interactions, but he never. It's funny, all the people I've opened for, especially long term, you know, like Rodney or Joan Rivers, they never offered advice. So I mean, I just assumed that they liked what he did enough to like not have to. You should, you know, you should take that out or, you know, I mean, Rodney took things out of my act once or twice when he just, I don't know, I don't know why. It was like he wanted, he didn't want to follow all the music stuff like right away. But that was not advice. That was just like, you know, could you just take that bit out for this show or something like that. But no, they never did. And I don't. I assume that meant that they were just satisfied what I was doing, you know. And, you know, I mean, big stars like Carlin and Rodney and Joan, I mean, they're into what they're doing, so they don't have time to sit me down. You know, I want to give Dennis some advice. You know, I just think they were more into like, okay, he's funny, he's got getting the audience to laugh, he's doing his job. And then I come on. So that's been it. So, yeah, I've had to rely on myself for advice, which is really frightening.

R. Scott Edwards: 13:41

Well, obviously you gave yourself good advice because you've had a great career and great success. Now you must have learned something by watching people like Rodney Dangerfield and George Carlin.

Dennis Blair: 13:54

Well, yeah, well, one of the reasons I wrote, tried to come up with more standup was I remember the first night that I did Carlin where I hadn't even met him before that through an agent and you know, he came down and was very, very friendly and all that, we'll be watching you, you know. And I remember thinking that night, I remember that night. Luckily, very, very luckily, the audience was fantastic. So I did really well and I was feeling really good about myself. And of course I went up into the balcony to watch George's show because I hadn't seen him ever do it a full show. And I went for, you know, and he's like doing this whole like 7 minute bit about people I can do without. You know, a dentist with blood, a dentist with blood in his hair. You know, everyone funnier than the next thing are guys with big gums and small teeth. You know, these are all people he could do without. And I'm sitting there going from I feel really good about what I just did to like, I got to start writing more because this guy has like an hour and 15 minutes of like sterling stuff. And I wish I want to be more like him as far as close to him as I can get, you know, so. So I guess in terms of advice, it was more like doing vice by watching, by example.

R. Scott Edwards: 15:00

Yeah. Working with comic genius could put a little intimidation or fear into you.

Dennis Blair: 15:06

Yes. I've had my fill of working for those people, so. Thank God. It's amazing. Yeah. He was the biggest effect on my writing.

R. Scott Edwards: 15:15

Well, and he had a unique way of. And kind of a sarcastic way of looking at the world and sharing his very funny thoughts with the audience. And he didn't. I mean, I'm sure he had a set. Set, but he also was really good at just talking about current events and what was happening in the world and how he perceived it, because he perceived everything in this kind of sarcastic, funny way. He was very successful with the audiences. But for him to choose you to be his official opening act for all those years was not only an honor, but had to have been something where, you know, you had to have, just from being there, picked up some. A lot of tips and ideas.

Dennis Blair: 16:03

Oh, yeah, yeah. Amazing. You know, I could be, like, one. If I could be one billionth of the talent that he was, I would have been happy.

R. Scott Edwards: 16:12

Well, you're being a little hard on yourself, Dennis. You're very good with crowds.

Dennis Blair: 16:16

All right, one millionth. Let's go. Let's make it back. Okay.

R. Scott Edwards: 16:20

Well, I did want to reiterate. We mentioned it before in the earlier interview, and everybody should go back and find it in my list of shows and listen to it, because you had some great insight on your early days and helping writing the movie Easy Money with Rodney and what you learned there. But it's also interesting how you've brought it all together and, as you said, made a career out of it accidentally. But you've had such a successful career. We should tell everybody that currently you're touring with Barry Manilow, doing some large venues and entertaining the crowds. You've had a chance to work with some of the biggest names in show business. Was there anybody that was particularly friendly or somebody that really wowed you? I mean, you probably don't get starstruck.

Dennis Blair: 17:13

Yeah, well, it depends, you know. Well, I'll tell you one thing. One of the more recent things that happened is I got to open for one of my idols in carlin territory, Norm MacDonald. I did a weekend in Vegas with him. This is maybe like six months before he died, actually.

R. Scott Edwards: 17:32

Oh, wow.

Dennis Blair: 17:34

And I just said, hey, you want the guy? The entertainment director at South Point Hotel said, hey, you want to open for Norm for three nights? I said, oh, my God, that'd be Great. You know, so. And. And talk about really friendly. He's really happy to see me because, you know, you don't know if these guys remember you. Last time I saw him was in the 1980s when I. When I was on a. On an improv softball team. He was the first baseman, and they mistakenly put me in the infield.

R. Scott Edwards: 18:03

But how funny to meet Norm MacDonald on a baseball field when, you know, you're both really talented comics.

Dennis Blair: 18:11

And I don't know how. I don't know what he did, but I just begged him, don't put me in the infield. And they put me at, like, shortstop or second base. The guy hit, the guy hits the ball goes right towards me. I let it go right past me. And everyone. All the conferences said, oh, it's just a fun game. We don't care. They're all like, oh, my God, what did you do? Hey, Ron, quick, get the ball. And through that mayhem, Norm is walking up to me calmly and goes, hey, that. That bullet, it went right through there.

R. Scott Edwards: 18:39

And Norm remembered this. When you got to work together.

Dennis Blair: 18:41

Well, that was the story. I mean, when I got together, I said, do you remember when I let the ball go right past me? And he said, he did, but, you know, he might have just been being nice, but he probably did, you know, because it was quite a big effect in my life. They put me in the outfield after.

R. Scott Edwards: 18:55

That, but they learned their lesson.

Dennis Blair: 18:59

Yeah, but again, I couldn't. I couldn't not watch every night of his show. And it was slightly different every night. It's just amazing just to watch him at work, you know, another one of those things where, like, Carlin, it's like, oh, geez, you know, when I. He did it like an hour and. And it was amazing. So, yeah, I mean, I. I've had no. I can't remember ever having a bad experience with any of the comedians that I ever opened for, you know, because they were all. We're all like, you know, flawed, you know, and we're just all insecure. So it's like, that comes out as I think.

R. Scott Edwards: 19:30

But you bring up an interesting point, Dennis, is that you have open for a lot of comics, which. A comic musician is so versatile, and because of the music, it's a great crowd pleaser. It's a great energy builder. But you're working with comics, but, like, now you're working with a singer like Barry Manilow. Do you find it any different working with a comic, opening for a comic, like a star comic versus a star musician?

Dennis Blair: 19:59

Well, you Definitely adjust what your set's gonna be depending on who you're opening for. And by the way, you mentioned, I open for larger crowds. These are arenas he's doing, so.

R. Scott Edwards: 20:12

Oh, my gosh.

Dennis Blair: 20:14

We're talking about, like, anywhere between 12,000 to 15,000 people.

R. Scott Edwards: 20:18

Oh, I didn't know it was that big. That's incredible.

Dennis Blair: 20:21

Yes, yes. And it's the arena tours. It's a long story of how that got started, but he saw me do the Westgate Hotel at a little comedy show they were trying to put up, and he. He has a residency at the Westgate Hotel. And my friend Larry Amros, who's, like, kind of an assistant, he said, look, let's go over and see my friend Dennis. He's doing the show. And he came. Barry came up with his manager and my friend Larry, and he said, oh, I really enjoyed your show, and a very, very nice talk for 10 minutes. And that was it. And then, like, Tim, a month later, I got a call saying, hey, you want to do the summer arena tour? And I stupidly said, yes, not thinking, oh, my God, what am I crazy? But y. So. So there's. So there's that, you know, the adjustment of, like, you know, oh, my God, you got to work. How do you do that? You know, I think that's the biggest crowd that I've ever worked for. But, you know, also, it's Manilow's crowd. And, yeah, you know, I wouldn't want to be dirty at all. You know, want to keep it clean. So there's that factor. But, you know, then I get my little section on music through the ages. Seems to work well with the audience. And, you know, just went out there and the first time. The first night was very intimidating. Like, what's this going to be? Like? This is going to work. And, you know, I thought the first night, I thought I was bombing because it's an arena and you can't hear anything. You know, it's like, you know, they're laughing, but I wasn't aware of it, really. So I'm going up, standing there, going, they're going to send me home. This is not going well. And I come on stage, and I come on stage, and the singers are behind the curtain. They're crapping, they're clapping, they're crapping, they're clapping. I'm grappling. They're clapping and going, that was great. I go, are you serious? They said, no, no, they loved you. I said, really? I couldn't hear. And he said, oh, we have in ear Monitors so we can hear all the laughter. So after that it got easier and I got used to the amount of the feedback that you get from an audience in a 15,000 seat basketball arena. And then from then on it went really well. But yeah, all that stuff factors in, you know, the size of the room and what stuff you're going to do and all that stuff. And it seems so far this is my third year of doing it with him, so. But so far it seems to be working out pretty well.

R. Scott Edwards: 22:29

Well, congratulations. It brings up two quick questions and then I'll let you go here soon. First off, I want to impress on listeners that are interested in the comedy industry again and again. I try to say it all the time. Being clean opens up so many more doors for you as an entertainer. So being a clean comic is really important. And as a comic musician, that might be a little easier, but it would be just as easy to go dirty and do dirty limericks. Bob Saget used to be a comic musician. A lot of people don't know that, but his lyrics were always very sexual, very funny, but not the kind of stuff you could do for a family audience. The other thing is that you bring up is that I do interview a lot of regular. I don't mean to be. You're not regular and you did say you were crapping. But no, the callback.

Dennis Blair: 23:23

You can edit that right out. Go right ahead.

R. Scott Edwards: 23:26

The crowd size, that's interesting to me because it is true that most of the audiences I've worked with are 200 people. And then I've done a couple shows where it was 500 people. And then I did a couple concerts where it was 12, 15,000 people. But you can still hear them in an arena when you're going 15 to 20,000, you know, who knows how many people and they're so far away. For example, when I did do an outdoor concert, it was outdoors, over 12,000 people. We only heard the first few rows and that was the audience we played to. The rest had a good time, but we couldn't hear them. How would you describe the difference between, let's say, a comedy club or lounge with a few hundred people in an arena is the biggest challenge that you can't hear?

Dennis Blair: 24:21

Yeah, well, that first night, like I said, I got really knocked off kilter because I'm going, am I bombing? You know, I was really wondering. I mean, I was here. I would hear something that sounded vaguely like laughter. It sounded like a dull roar, you know, or like, you know, but it wasn't like the Immediacy you get from a club or, you know, even the small theater where at least the ceilings are within range of. But, you know, I mean, like I said, the ceiling's like. I don't know how many feet it is, but it's like, to accommodate all the people that usually sit there. It's like hundreds of feet up. So, you know, I mean, that has an effect. But then after I realized, after they said, no, you're doing great, and Barry was very happy, I said, okay. I calmed down a little bit. And then the next night was better. And then I started getting used to what I should expect from an audience in an arena. And they were. They were good. I mean, you know, I realized, okay, this is. It's going well. And then, you know, my wife would go on the fan site and they say, hey, the comic was open for Jack, Barry. It's really funny. So then I started. I completely calmed down and said, okay, that's what I can. That's when I can expect, you know.

R. Scott Edwards: 25:22

But I would have thought, yeah, you know, in a comedy club, you have that immediate reaction, and you can. You. You're engaging with the audience. In an arena situation, wouldn't it affect your timing?

Dennis Blair: 25:35

Yeah, well, I. I definitely don't ask for requests in an arena because you. You'll either have nobody. You'll have nobody, or like, you know, 7,000 requests. And Barry can't do a show because I took up too much time. So I just. I just. I just forge ahead. It's just basically forging ahead and doing a little show, you know, and luckily I only do, like, 20 minutes, so it's relatively okay. But I have to do like an hour, 40 minutes or 35 or whatever it is. So, yeah, it's just all adjusting. And the comedy world is just so much adjusting.

R. Scott Edwards: 26:06

Yeah, it's been brought up before that. Whether you're doing a cruise ship, a corporate, a comedy club, or in this case, an arena, the pros, the professional comics like you, it's really key to be able to adjust. And because you are a professional and you have decades of experience, obviously you've done it, and Barry Manilow is very happy with your set. I think that's great. If people want to find out where your next gigs or shows might be, is there a way to contact or see what's happening with you, Dennis?

Dennis Blair: 26:39

Yes, well, I do have a website, and unfortunately, I've been very lax in keeping up recently, but I'm going to put that. I'm going to update it with all the Older mental updates. There's also, you know, I'm on Facebook and I have all my dates on my Facebook page.

R. Scott Edwards: 26:53

Is that Dennis Blair.com? what's the website?

Dennis Blair: 26:56

Dennis Blair.com is the website and I'm going to tell everybody. I'm going to update it, I promise. I've just been lazy as all get out.

R. Scott Edwards: 27:08

Yeah, but you're working hard, Dennis, and we appreciate that you took time out to talk with us and my audience.

Dennis Blair: 27:13

Sure.

R. Scott Edwards: 27:13

Thank you so, so much. Ladies and gentlemen, if you see Barry Manilow out on tour, go see the show. Not only is Mr. Manilow very talented, but the opening act is amazing. It's Dennis Blair. And if you get a chance, check out the DennisBlair.com website because by the time you hear this, he will have updated it and he's a hardest working comic musician out there. So we know there's more gigs coming through the balance of this year and next. Dennis, thanks so much for being on the podcast again.

Dennis Blair: 27:46

Sure thing. Thanks. Always a pleasure talking to you, my friend.

R. Scott Edwards: 27:49

Ladies and gentlemen, stay tuned. I'm going to share a little bit of Dennis comedy music right now. Dennis, you have a great rest of your gig with Barry and we'll be talking again soon, I hope.

Dennis Blair: 28:01

Yeah, me too. I'm around. Give me a call. Give me a buzz. As they say.

R. Scott Edwards: 28:06

Ladies and gentlemen, here's some comedy by the very talented comic musician Dennis Blair.

Dennis Blair: 28:14

Yeah. Yell out your favorite singers. I'll destroy them for you. David Bowie. Queen. David Bowie was first. Ground control's a major, Tom. Ground controls are major. I'm in space, I'm weightless and I can't keep my panties on.

R. Scott Edwards: 28:47

David Bowie.

Dennis Blair: 28:48

Right off the top of my head. Come on, Queen. Here we go. Queen. We are the champions, my friend.

R. Scott Edwards: 29:12

We.

Dennis Blair: 29:14

Can have sex from either end. Right off the top of my head Right off the top. I'm not responsible for what I say if it's right off the top of my head. Who else? Yeah, keep going, cretins. Elton.

R. Scott Edwards: 29:40

Elton John.

Dennis Blair: 29:41

Oh, God. Well, the biggest kick I ever got.

R. Scott Edwards: 29:48

Was doing a thing called the Crocodile Rock.

Dennis Blair: 29:51

While the other kids were rocking around.

R. Scott Edwards: 29:53

The the clock, I was thinking about.

Dennis Blair: 29:55

Grabbing somebody's lyrics and writing melodies to them. They didn't tell you it was going to be a clean show, did they? Credence Clear. Yeah. Creedence. Yes. Sorry. Credence Clear.

R. Scott Edwards: 30:21

Yeah.

Dennis Blair: 30:21

Credence Clear. Water Revival left a good job in the city.

R. Scott Edwards: 30:32

What am I, an idiot?

Dennis Blair: 30:36

Okay. All right. Pink Floyd. Oh, my God. Prince and Prince. Holy crap. Wow. Pink Floyd. We don't need no masturbation. If I don't stop, I'm gonna knock another hole in the wall. I'm not sure you want to hear Prince. Remember, this is all on you. My tribute to Prince. I was about to have sex with this beautiful woman, so I dropped my pants. She pointed to it. She said, no way. And I said, how come all of a sudden you don't want to have sex with me? She said, cause running down your penis is this great big purple vein. Purple vein. Purple vein. Thank you. Good.

R. Scott Edwards: 32:29

We hope you enjoyed this episode of stand up comedy. Your host and mc. For information on the show, merchandise and our sponsors or to send comments to Scott, visit our website at www.standupyourhostandmc.com. look for more episodes soon. And enjoy the world of stand up comedy. Visit a comedy showroom near.