Full Moon Fever by Tom Petty: From Label Rejections to Multi-Platinum Triumph

This week, we explore Tom Petty’s 1989 solo debut, Full Moon Fever. Despite being a "solo" project, it carries the DNA of the Heartbreakers and the polished, Beatlesque production of Jeff Lynne. It’s a record of breezy hooks, jangly power-pop, and California-sunlight charm that feels like it’s always existed.

Inside This Episode:

• Side A Reaction: Once the first side wraps, Jeremy and Jon react to the effortless melodicism of Petty’s songwriting. We dive into the big-hearted optimism of the opening hits and that signature "chiming" guitar sound.
• 5 Fast Facts: We reveal five fascinating facts about the album’s creation, including the surprising label rejections and the star-studded guest list.
• Side B & Final Thoughts: We spin the rest of the record and discuss Petty’s playful humor and contemplative melancholy in the later tracks.
• The Verdict & Standout Tracks: We pick our 3 essential tracks. Is Full Moon Fever a record we’d return to again and again?

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Transcript

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SPEAKER_00 0:03

This is Polyphonic Press. The podcast where two music fans pick a classic album completely at random.

SPEAKER_03 0:21

Alright, hey, welcome to Polyphonic Press. I'm Jeremy Boyd. And I'm John Van Dyke. And uh let's not waste any time. We've got the patented random album generator right in front of us here. Uh so let's hit the button and see what album we're gonna be listening to this week. And the album we're gonna be listening to is Tom Petty Full Moon Fever.

SPEAKER_01 0:41

Okay.

SPEAKER_03 0:42

Yeah, I don't know this album.

SPEAKER_01 0:44

Uh it's a good album.

SPEAKER_02 0:48

It's a good album. It's one of uh one of my favorites anyway.

SPEAKER_03 0:53

Uh but anyway, let's uh could go on. But here this is a uh description of the album. It says Full Moon Fever is Tom Petty's first solo album, uh though it still carries uh the unmistakable spirit of the Heartbreakers and the sonic fingerprints of producer collaborator Jeff Lynn. The record is bright, warm, and breezy, full of chiming guitars, stacked harmonies, and the kind of effortless hooks that feel like they've always existed. It's one of Petty's most accessible and immediately lovable works, striking a balance between rock and roll swagger and California's sunlight charm. Musically, the album blends jangly power pop jangly power pop, roots rock, and a hint of Lynn's polished Beatles-esque production style. Lyrically, Petty is relaxed, humorous, and reflective. You get big-hearted optimism, like I won't back down, mythic wanderlust, uh running down a dream, and contemplative melancholy free with free fallen. There's also a playful looseness throughout the record. Petty didn't seem weighed down by expectations, and that freedom comes through in the songwriting. The result is an album that feels both intimate and huge, personal yet universal. It became one of Petty's defining works, not only because of its hit singles, but because it captures him in at his most open, melon melodic, and confident. It's the sound of a great songwriter leaning fully into his strengths and delivering an album that still feels timeless. Uh okay, so this album was released on uh April 24th, 1989, and uh the genres are Heartland Rock and Roots Rock, uh released on MCA Records and produced by Jeff Flynn, Tom Petty, and Mike Campbell. And uh the there are twelve songs on the album, and uh it's uh split e uh uh not so evenly. The side one starts with Free Fallen and ends with Running Down a Dream. And uh so if you're listening along, which we do encourage you to do, uh if you want to stop at the uh at after the song Running Down a Dream, we'll listen to the uh uh halfway discussion. Um, but without further ado, uh okay, here is the first song on the album, Free Faller.

SPEAKER_04 3:25

She's a good loves a mum, loves Jesus in America.

SPEAKER_03 4:43

Yeah, I mean that I'm I'm so familiar with this album, I'm not even really paying attention because I know everything. I'm just enjoying it. Yeah. Um, you know, it's uh for those who do don't know, I mean Tom Petty and the Heartbreakers, probably my favorite band. Yeah, they're they're up there for me too. When by the time that this album came out, he was really just looking to do something different. Because they'd he'd been with the Heartbreakers for almost 15 years at this point, so but you know, this this is a I've always loved this album.

SPEAKER_01 5:20

Yeah, it's definitely a good album. Um I'm noticing it's funny, this time listening through it, I'm noticing the 12-string Rickenbacher almost everywhere in places that I hadn't noticed it before. Yeah. Like uh I'd never noticed it on Love is a Long Road, but it's in there. Facing the crowd, the uh it's I guess it's sort of a solo. It's in there. Um it's it's it's it's sort of a delicate kind of a solo thing that kind of interludes, it's more like a break.

SPEAKER_03 6:10

Yeah. Yeah, I know what you the part you mean, yeah. Yeah, it's um it's it and and yeah, even in Love is a Long Road, which is a more not hard rock, but a more rock sort of song, it's not really like it's not like a featured instrument, but it's there just to sort of fill out the sound. And you know, Love is a Long Road, I always thought when I heard it listening to that now, even the way the drums are, like the drums sound like Stan Lynch. Nothing else here sounds like Stan Lynch. But the drums on Love is a Long Road has that that swing that he would play. He stan has a very distinct style of drumming that I've noticed. I've he's probably the drummer that I've listened to the most. And he plays on the very very back of the beat, very like almost at the almost on the next beat is when he puts that back beat. So and the way he plays, it's almost like the kick is a bit ahead of the beat, but the snare is is behind, and so it's very unique. And I always felt that Love is a Long Road, even though Stanlich didn't play on it, they were almost trying to mimic his drumming, that sort of dragging sort of feel that he had. So they wanted to sort of have have a percussionist with them when they played those songs live, and so that's how they knew him. So he they got him to to record the drums on this, and the way that Jeff Lynn records the drums is he'll have the drummer play he records all the drums separately. He records the kick, all the whole kick part first, and then he'll record the the snare and then the hi-hat and the cymbals, records everything separately. And if you notice, if you pay attention to the drums, all of the fills are not rolls, they're build-ups. And it's uh it ca it's it's really hard to do a fill that that's not a a drummer playing live. It's they're all you know build-ups. So uh a drummer p recording the drums that way it's it's like they knew where it it's almost like they were trying to replicate the way that Stan Lynch played on that on that song.

SPEAKER_01 9:56

Yeah, that's really interesting. That's that would be uh especially with the technology of the time, uh very, very uh time consuming.

SPEAKER_03 10:06

Uh yeah, it it it is. I think um you know it but it's it's funny this this album was actually recorded pretty quickly. You know, I'm sure they like they spent a lot of time and not just the drums, but the guitars. Like there's like five or six guitars layered on top of each other. Like we were talking about like uh a couple weeks ago with the the Peter Gabriel album. It's it's almost like that where it's the production is very polished, but not um but it's not overproduced. Like it's it's uh there's a lot going on but it still feels very it is everything there's no mistakes on it. I mean it's very meticulously recorded, you can tell. But it doesn't feel overproduced. It it feels like every choice was deliberate.

SPEAKER_01 11:00

I wonder if uh his uh approach to uh Jeff Lynn's approach, I mean, um, to uh recording the drums uh applied like everywhere on the thing. Because that would be that would take a lot of time and a lot of extra studio time.

SPEAKER_03 11:18

Um I don't know. I th I assume so. I think so. Um, but I don't know. I know that they recorded it in Mike Campbell's garage, um, but so they weren't really in a big professional studio, they weren't paying for studio time, so they could really take as much time as they wanted. Um actually the the the initial um title for the album was gonna be Songs from the Garage. Uh yeah, I did know that. The original 1988 title. Yeah, the that's that's inter actually interesting. Uh so this album although it it came out a almost a year, well six about six, seven, eight months after the traveling Wilburys, but uh it was actually recorded uh before the Wilburries were even a thought. Um so what happened is they recorded the album and so it was very different. So how how the the the thing came about was in 1986, uh Bob Dylan commissioned uh Tom Petty and the Heartbreakers to be their backing band for this big tour. This m the last tour lasted like two years, 1986 and 87. And um in the middle of the tour they recorded uh an album called Let Me Up, I've Had Enough, which um Pretty well flopped. Yeah, so I do like that. It's my least favorite album, but every once in a while I do get in the mood to listen to it. But Yeah, I have it too. You know, it just it I don't think anybody was really happy with it, uh either commercially or uh artistically. It was just sort of I think after Southern Accents they were just sort of uh wanting to get back because Southern Accents was a big production, they had a lot of extra musicians on it, and I think they wanted to just just record the band with the follow-up, but it just didn't quite work out. So the the Bob Dylan tour uh wrapped up in England, and um, or at least there was a stop in England. I don't know if that was the the the final stop, but um Jeff Lynn, who had been working with George Harrison and George Harrison came by and were visiting and hanging out, and uh so they just you know that's how Tom Petty met Jeff Lynn, and it just so happened that it was like Thanksgiving in 1987, and I think Tom Petty and his family were having dinner, but they were they're in LA, so the weather's nice, so they uh they're having a a softball game in the backyard, but they needed some baseball gloves, and nothing was open, so Tom Petty was driving around uh trying to find a drugstore or something that was open to so he could maybe buy a baseball glove. And uh he's driving and he looks over and he sees Jeff Flynn, and so he flags him down and he says, uh Hey, uh you know, I just I I like uh the the stuff you did with George Harrison. Would you wanna write a couple songs or something? And he thought he was just gonna be like a songwriting collaboration, didn't know really what it was gonna be. He they started recording and decided, well, this this doesn't really sound like the heartbreakers. Um maybe this is time to do a solo album, because he'd been sort of not quite uh not quite happy with the last album, so it's like, okay, maybe this is something a chance to do something a little different.

SPEAKER_01 15:02

That's right. And uh and that meeting eventually after all the I think yeah, he he recorded the album and then it was uh initially rejected by the the uh the uh company. Yeah, that's right.

SPEAKER_03 15:17

Um Yeah, so uh he they they finished the album and they uh uh r uh handed it in to MCA, which if you know anything, they Tom Petty did not have the greatest relationship with MCA. Um but we'll talk more about that when we do Damn the Torpedoes. But um so they they he handed the the album in to MCA and they said we're not gonna we're not gonna put this out. Like this what is this? This doesn't sound anything like you. This is uh crazy. Uh we're you know, we can't there's no singles on here, there's no we can't we can't put this out, it'll flop and it'll flop. And in in between and what happened it it obviously initi uh eventually did come out. I think you know some of the people at MCA sort of they'd had a a bit of a turnover, so you know, some the people that were working there left and so they got new people and eventually came out and it became his biggest selling album of his career. And I think Free Fallen if you anybody who's not a big Tom Petty fan, if you say Tom Petty, they'll at least know Free Fallen. But the in between that time, you know, he was doing the Wilburies and that all happened. And and Tom was hanging out at uh George Harrison's house and Ahmed Erdogan, who was the head of Warner Brothers Records, he was telling him, was like, yeah, I got this album and you know, but the record company doesn't want to put it out. And George said, you know, play play play play him that uh free fallen song. I really like that one. So he plays it, and Ahmed Erdogan said, Well, I'll I'll put it out. And so actually that night they drew up papers and he signed a deal with Warner Brothers. It took like five or six years before because he had a contractual obligations with MCA, but eventually, once that contract was up, all the rest of the heartbreak all of the rest of his stuff came out on on Warner Brothers. But it was because MCA rejected this album is why he was on Warner Brothers for the rest of his career. Um and he was much happier with them than MCA. But yeah, but the other thing that happened was the band uh yeah, the Heartbreakers were happy with this album. Especially Stan Lynch and Ben Monttench. But the i it did work out with Ben Mont um because uh he had been drinking and and using drugs and because he didn't have any work, he actually went to rehab and got sober and and uh he credits that with uh you know you know turning his his life around. And um but Stan Lynch I think uh he and Tom really didn't uh they were close, pretty close, and but I think he Stan was a little younger and uh he just wanted to be in a rock and roll band and sort of m wanted to be more of an equal partner, not quite not quite equal, but uh it is Tom Petty and the Heartbreakers, even though they are a band. You know, it's it's sort of an awkward situation because it's the guy's name and the band, but it is a band effort. It's not like a rotating uh revolving door of musicians. They are a solid unit. But I I think there was so there was some friction between Stan wanting some maybe some more credit, or maybe you know, wanting his picture in the magazine a little more or something like that. And uh and he was like a couple years younger than them. So when he heard that Tom was doing a solo album, it's sort of it really that's really the start of the the downfall of their relationship and then the the having a not so good time on the uh the follow-up into the Great Wide Open. Uh but i they uh it was sort of uh up in the air of whether the band w what the tour was gonna be. Was he was Tom gonna tour with a different band? And so they but the Heartbreakers ended up doing the tour for Full Moon Fever, but they didn't play on the album. And sort of it was s they sort of saw it as an insult, sort of like, well, you know, we're we're not good enough for the album, but you know, you'll put us on the tour. So it wasn't uh it wasn't a a a happy time for the rest of the band.

SPEAKER_01 20:12

Yeah, I can sort of understand the the uh feeling a little bit snub, but uh honestly it I don't think it was meant that way at all. Um it was just, you know, Tom sort of breaching out and um branching out just to to do something different and collaborating with some other people and he just felt the need to do that because the last Heartbreakers album was it's not his greatest album. But it's okay. But I mean for a Tom Petty album it's kind of a stinker. It's uh it's got a lot of I don't know, it it's it it feels a little bit rushed and it feels like a little bit more of the uh you know, the uh pressures of the time were sort of put upon them a little bit more whereas uh you know they they weren't sort of allowed to kind of be their own, you know, use their own sound and stuff like that. They just kinda like there's more synths on it and stuff like that and things like that, and I don't know. It it doesn't overly sound like it's almost like the the complaint that uh the record company had with this album was because they listened to the last album or something like that. Because this sounds a whole lot more like Tom than the last album did. There's parts of the last album that sound like him, like uh Um Jammin' Me is a really good song, actually. Um probably the best on the album.

SPEAKER_03 21:41

But uh Yeah, I think the last alb the like Let Me Up, I think it's uh it's kinda all over the place. You know, there are some songs it there it doesn't really have a clear direction. And I think and you I think you're right, I think because the record company listened to that album and put it out and it kind of tanked. Even though Jamin' Me was uh hit, it actually did go to number one on the rock charts, I think. But the album itself didn't really sell that well. Uh so yeah I think you're right. I think they're I think they listen to the last album and then listen to this album and thinking, well you know what is he doing? He's kinda all over the place here. It's like you know there's no consistency. Which isn't really true. But uh yeah record record companies are are uh are very very fickle uh so yeah so I did manage to find a few um interesting facts about the album but uh it's solo in name and group in spirit although uh to build as Tom Petty's first solo record Full Win Fever Fever features contributions from Heartbreaker's members notably Mike Campbell and from Jeff Lynn who produced uh played and co-wrote many songs so it sounds more like a Tom Petty plus friends project than a clean break from the band and that is true it's not it's not a Tom Petty solo album in that it's just Tom with a guitar. I think Ben Monttench does play piano on the apartment song and I think that's the only other heartbreaker that's that's on it other than Mike Campbell of course playing most of the guitars and producing. But uh yeah it's it's it's it is it it feels like a different band backing Tom Petty.

SPEAKER_01 23:36

Yeah and and well it kinda was um but again it's not really that big of a departure from what he sounded like before in a lot of ways.

SPEAKER_03 23:48

Yeah the differences are subtle yeah but uh yeah it doesn't um I think m I think more so that it that it sort of freed him a little bit. I think you know one of the things that I've just I just remembered about this and I won't back down was written in response to it was when somebody tried to burn his house down. Yeah. I don't even know they never caught the person that did it um and uh but they they they they the the arson investigators showed him where somebody had poured gasoline on his back deck and lit it on fire and they they found like a hole cut out of his fence. So somebody had been watching him uh and who knows for how long and somebody and they uh were went and doused his back deck in in gasoline and lit it on fire and I think they had to go on tour the next day with Bob Dylan and and it's it was just a crazy thing. So I think at that time you know I think his life had gone through a lot of changes. And and so I think maybe it sort of that event although it was scary and you know it's luckily didn't s he survived that I think going through something like that sort of I don't I don't think you could be the the same person knowing that someone is out there wanting to kill you. Um so I think maybe going through that sort of broke him out of the album tour cycle that he had been been going through with the Heartbreakers and sort of made him more open to collaborating with other people.

SPEAKER_01 25:40

Yeah it's possible. He seems to be the kind of artist that worked best when he's collaborating with other people too like even with his his other solo albums like he I mean on the uh one he went and worked with um oh for crying out loud his name's gone Rick Rubin? Yeah Rick Rubin I guess that one was a little bit more solo album but again he's got other artists on there contributing and stuff like that. And then there was uh the most recent one which I guess is now twenty years old.

SPEAKER_03 26:15

Yeah the Highway Companion which is also produced by Jeff Lynn. But that that one I consider more of a solo album than anything else because Yeah it sounds more like a solo album. Yeah so but this is not that this is um yeah this is a a like a different band. Um and another thing is uh George Harrison obviously you know you got collaborations from most of the Wilbury's I don't think Bob Dylan is on here but uh you have Rory Orberson sang on one track and and George Harrison sang backup on um on I Won't back down and George Harrison sang and played guitar on the sessions for I Won't back down. Uh Petty later told the story about Harrison using boiled ginger steam to open Petty sinuses so he could sing the take. And yeah and I think Tom Petty was he he had either a cold or allergies and he wasn't really singing at his best and and George Harrison I do remember this story he if you take some ginger and boil it in some water and just sort of put your head over the pot with some steam it'll open up your sinuses so you can breathe and uh you know you can sing or anybody out there if you're suffering from a cold or something that's a it's a good good tip.

SPEAKER_04 27:42

Well up walk back down back down you can stand me up at the gates of hell off back down dragging me down and I won't back down.

SPEAKER_03 28:40

Yeah George Harrison played guitar and sang on that one and um and again like we were saying I won't go into too much detail because we already pretty much covered it is the label tried to kill it and then it became his biggest records one of his biggest records. MCAXX initially refused to release the album because they didn't hear any hits management changes uh at the label led to its eventual release in April 1989. And that line in Into the Great Wide Open where it says uh the AR man said I don't hear a single that was a direct quote from this the him giving them this album which is still m mind-boggling it's mind-boggling because the the amount of hits that are on this album you've got Free Falling I won't back down uh Face in the crowd running down a dream uh and you're so bad which were all big singles it just took different ears and that's the next uh next fact is it was a huge commercial payoff the record peaked at number three on the US Billboard 200 spawned multiple hit singles Free Falling Won't Back Down and Running Down a Dream and was certified five times platinum in the US a massive commercial success for what started as a side project.

SPEAKER_01 29:58

Yeah really yeah and the Wilburys again did the same thing again as a side as another side project.

SPEAKER_03 30:05

It's funny how these things happen when there's no pressure you kind of do your best work. And and you know uh the the last part is the uh its influence kept rippling critical honors and and a surprising copyright footnote. Um Full Moon Fever has received enduring recognition the Grammy Hall of Fame induction and placement on Rolling Stones 500 greatest albums list and one of the one song from the album I won't back down later led to Tom Petty and Jefflyn receiving songwriting credit for a high profile similarity with Sam Smith's Stay With Me a reminder that those simple classic hooks keep echoing in pop music. And I wanna I want to clear clear that up everybody thinks when that happened everybody thinks it was a lawsuit there was no lawsuit they just they didn't even settle it with lawyers they just talked to each other and said hey yeah this this melody is pretty similar and it's like okay we'll give you a songwriting credit. It was very amicable and there was no fighting it everybody says it's a lawsuit. It's not a lawsuit. Yeah I remember when that happened but anyway we we could go on and on but uh I guess we'll get back into the uh second side of the album and uh it starts with uh feel uh feel a whole lot better and here we go all right and then ending the album with Zombie Zoo uh yeah I mean I mean I've loved this album since I was uh probably about eleven years old is when the first time I heard the whole thing. Um yeah and you know I I we didn't really talk about it much but m I mean Mike Campbell is is uh is a great guitar player. He's playing he's not a flashy guitar player but he's playing all the right parts that just make just fill out the sound of the song and some of the slide stuff that he was doing on a mind with a heart of its own I was noticing it's like oh wow he's actually I never really noticed his guitar playing in that song but he's he's not really flashy but you notice it but it doesn't it's not distracting.

SPEAKER_01 32:52

No he's a very tasteful guitar player who's I've always known that um he's very talented. One of my favorites for sure um you know all the way through this thing is like oh the guitar parts are always just perfect whether it's Tom playing or him playing it's just fits the song right.

SPEAKER_03 33:12

I think he's always I I think he was able to let loose when they did that mojo album. And he is really sort of he because he can he can play those amazing like Jimmy Page parts but he always chooses parts that are like well let's let's figure out what will be best for the song what will fit the song and not make me look good but make the song sound well he sort of let loose on running down a dream even.

SPEAKER_01 33:39

So I mean the solo on that is it's a really good solo. But again it suits the song it it suits the song.

SPEAKER_03 33:47

And actually the I there is a story behind that is um so they were recording the song and the the ending just in initially just faded out. But I think it was um it was Jeff Lynn that said uh well we should have a a guitar solo for the end of this song that should end the song. So uh Mike Campbell just picked up a guitar and and they got his setup all going and amp and whatever and pedals whatever he needed and and uh he said okay I'm ready and so he played the solo and uh I don't think Jeff Lynn really quite knew that he could play like that and his like jaw was on the floor. It's like okay I didn't know you were gonna do that. I thought it was like the um he's the quiet kid that is observing the conversation and then just comes out with a line just that just kills everybody. It's like oh yeah you're like you're not just shooting your mouth off but it when you do when you do say something it really cuts through everything. And he's like the the guitar equivalent of that. And you know I mean the the songwriting on this album I mean I feel that like the song other than I won't back down I don't think I don't feel that the songs are quite that personal. I think he was obviously having fun uh with uh the songwriting I mean um well I mean there's the story of of uh of how freefallin was written I mean they Tom Benny and Jeff Lynn had the guitars out and they got started with that chord pattern and Tom was just making up words trying to get Jeff Lynn to laugh like oh she's a good girl she loves her mama and and as soon once he got through it he thought Jeff was gonna laugh at those lyrics but Jeff said no that's good that's good okay all right so it wasn't serious it was they were just having fun and you that comes out in in in the songwriting and I you know I just Wildflowers yeah that's the more serious album if you're comparing the solo albums but this is just it's they're they're just having a good time and that comes out for sure. I also like to mention the uh the apartment song is a really good song as as well but if uh it's an older song as well I think it was like in the early 80s they recorded that demo with um what the heck is her name sorry with Steve Stevie Next thank you yeah it it's it's early it was actually recorded for um for Southern Accents like Southern Accents was initially gonna be a a double album and it was going to have this um it was going to be like a not a a loose concept album and a lot of the songs were gonna be about like just life in in the Southern United States and you know they met Dave Stewart and they kind of went in a different direction but some of the songs were still kept on there. There's one song that ended up being a B side to uh Don't come around here no more called Trailer and uh the apartment song was part of that. So it was sort of in that it was recorded for Southern accents but um but yeah it was uh left off because the whole story of that album it I'll just it was a mess of the but uh but yeah that is an older song but it's also one uh like a fun song too like it's it's good it's like a tongue-in-cheek sort of sense of humor about it too but I've always liked that song and I love that demo it's it's again it's got the chiming Rickenbachers in it and which the uh the album version doesn't have oddly enough on the album that's full of the Rickenbacher it doesn't have that in the the one song that doesn't instead they went with like a rockabilly feel with it. Yeah. Which is cool too. Uh I like both I like both versions. But you know like that's actually a good example of of the difference between the drums on this and the way Stan Lynch plays. Like he's it's the same tempo but it the other one feels a bit slower. A little more laid back I always love this album but uh it might be difficult but what would be your three highlights on the album?

SPEAKER_01 39:37

I've always loved running down a dream. I also oh man the sl the the cover feel a whole lot better. I've always loved that version bird's cover. There's a couple other songs that sort of are tying for third place or for the third position anyway. Um but I think I'm gonna go with You're So Bad. That's just a really good song. Those yeah that's a good those are really good songs.

SPEAKER_03 40:04

Um I think mine would probably be I would probably go with Love is a long road yeah that's the other one I was thinking of I always really like Depending on you. That's a good song too and probably a mind with a heart of its own.

SPEAKER_01 40:22

That's a good song too yeah yeah with the bow did kind of feel I know it's another one of those albums that's just got some really good it's not really a dull spot on it.

SPEAKER_03 40:32

It's really weird It really isn't yeah yeah you can tell that they're having a good time making it you know it doesn't feel like a drag or anything. Um so yeah so I I I I know the answer to this but I'll ask anyways would you listen to this album again? Oh yeah Yeah me too it's uh it's an album I grew up with and I could probably put it on at any time and and enjoy it. Yeah one of one of my uh one of our favorites uh yeah it's it's just a a classic. So yeah so I guess we'll uh end the episode there. Uh thank you so much for listening if you made it this far uh we would love to hear from you. Um if you want to drop us a line go to the contact page on the website at polyphonicpress.com slash contact and while you're on the website you can get all the past episodes and um and uh lots of updates and and all sorts of cool stuff like that and if you feel inclined you can help us out on our Patreon. You can go to patreon.com slash polyphonic press or you can uh pick an album for us to review and get these uh episodes the day before they go live and even get a shout out during these episodes and uh if this is your first time listening uh be sure to follow the show and leave a rating and review on whatever podcast uh platform you're listening and uh I think that just about does it uh I'm Jeremy Boyd and I've darned take it easy