WEBVTT - Episode 39 - Charlie Worsham (2-27-17)

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<v Speaker 1>All right, welcome to episode thirty nine, where at the

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<v Speaker 1>house with Charlie Washing. I'm good friend of mine. I'm

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<v Speaker 1>gonna see but I'm good to see you. I like

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<v Speaker 1>your music. Yeah, yeah, we I think Mike and I

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<v Speaker 1>had this music accidentally the very first show, right, like

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<v Speaker 1>what we got, and we were just looking for some

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<v Speaker 1>kind of game show music. And now it's stuck. So

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<v Speaker 1>we played every single Bobby Guys, maybe after fifty or

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<v Speaker 1>something will change it. What's gonna say a ficture? Mike,

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<v Speaker 1>get comfortable, man, I am comfortable. Maybe I'm not that.

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<v Speaker 1>Let me get comfortable to let me hit my shirt off.

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<v Speaker 1>All right, now, I'm ready. So it's gonna see again too.

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<v Speaker 1>You have a record coming out in April. I just

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<v Speaker 1>kind of want to give the overview and then we

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<v Speaker 1>kind of go around with the whole story first. So

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<v Speaker 1>you have a record coming out in April, right, that's right? Alright,

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<v Speaker 1>So new record comes out in April. I know Charlie

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<v Speaker 1>for I've known you for a few years now, Um,

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<v Speaker 1>you are a multi instrumentalist. Well, Mike, how would we

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<v Speaker 1>describe Charlie people? We've never heard it before. Before we

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<v Speaker 1>get to the story, I mean super Surrey April, like genius,

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<v Speaker 1>prodigy kid who's now music. Yeah, like even the greats

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<v Speaker 1>go way. Charlie Warson was awesome. So now that we've

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<v Speaker 1>said that, I want we kind of dig into the

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<v Speaker 1>story so that because people listening like, who's Charlie Warhson.

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<v Speaker 1>That's who it is. One of the smartest guys I know. Well,

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<v Speaker 1>thank you. My mom is a school teacher. Oh a

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<v Speaker 1>lot to that. What what you teach? Well, a little

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<v Speaker 1>bit everything. Over the years, uh forever, she taught sixth

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<v Speaker 1>grade and um she now has transitioned into running the

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<v Speaker 1>gifted programs back in my hometown. So you're a gifted

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<v Speaker 1>kid though, right, I did some of the gifted. We

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<v Speaker 1>had gifted opportunities from i'd say eighth grade on. So

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<v Speaker 1>there wasn't like a g T in second grade for

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<v Speaker 1>you guys in Mississippi. Oh not not necessarily. But that's

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<v Speaker 1>where my mom comes in. She always had the best

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<v Speaker 1>like educational books and just she encouraged my curier city,

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<v Speaker 1>you know. And she she believes in travel as an education,

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<v Speaker 1>and so I was very well traveled at a young age.

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<v Speaker 1>Um that and that made a huge difference, you know,

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<v Speaker 1>were you all as kid. Ah, yeah, because you loved

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<v Speaker 1>learning or because you the pressure was there. I'd say

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<v Speaker 1>the pressure was maybe the third on the list that

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<v Speaker 1>I did truly love and still do love learning. Um

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<v Speaker 1>but it also and you can probably relate to this,

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<v Speaker 1>it was sort of a game, and I love I

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<v Speaker 1>feel like I have a healthy competitive spirit and it

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<v Speaker 1>was fun. Two treat it kind of like a game,

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<v Speaker 1>like a competition, like a competition. Yeah. Yeah, so you

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<v Speaker 1>you go to school and you grew up in Coronada, Missippi. Right,

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<v Speaker 1>So what so I could far install a population like

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<v Speaker 1>seven hundred where I grew up. How big is Granada? Well,

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<v Speaker 1>the county is uh about twenty five thousand. I think

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<v Speaker 1>we're not a county or town. It's both. It's both,

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<v Speaker 1>and so within the city it's probably fifteen. I could

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<v Speaker 1>be off on those numbers. I mean, I graduated in

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<v Speaker 1>a class of uh eighty five, it's closer to to

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<v Speaker 1>thirty or forty now, I think, Um, so it's it's

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<v Speaker 1>not a small small town. It's not a big town either,

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<v Speaker 1>but it's big fish in a little pond kind of town.

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<v Speaker 1>When you go back to Granada, are you the big

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<v Speaker 1>deal there? Well, I mean I I have a lot

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<v Speaker 1>of good friends there. I have a lot of people

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<v Speaker 1>that have seen me since I was you know, as

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<v Speaker 1>they say, kneehi to a grasshopper, and you know, playing

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<v Speaker 1>banjo at the nursing home and all that sort of thing.

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<v Speaker 1>And so, uh, I'm I'm very very I feel very

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<v Speaker 1>loved back home. So that means yeah, so okay, let's

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<v Speaker 1>start with you as a kid, and so you start

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<v Speaker 1>to pick up what insuran at what age? Uh. As

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<v Speaker 1>soon as I struck out at t ball and karate,

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<v Speaker 1>didn't you know, sparring didn't work out that great, I

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<v Speaker 1>realized I should maybe try something else. And it was

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<v Speaker 1>piano lessons. And that was in kindergarten and I stuck

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<v Speaker 1>with piano lessons through my high school years. Um and

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<v Speaker 1>I we would come up here to Nashville a ton soup, yes,

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<v Speaker 1>part of that travel thing, and we would go to

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<v Speaker 1>operu Land when the theme park was still around. And

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<v Speaker 1>this guy, Mike Snyder, he's remember of the Grand ol

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<v Speaker 1>Opry and and a very beloved part of the country

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<v Speaker 1>music story. And uh, he had this show and uh

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<v Speaker 1>in the American bandstand and he played this song he

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<v Speaker 1>had written about running over the German shepherd in the

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<v Speaker 1>driveway and making a coat for his wife out of it,

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<v Speaker 1>the fur Coat Song. And I went up to Nashville

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<v Speaker 1>wanting a guitar because I always want to rock out

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<v Speaker 1>on electric guitar. But my mom's psychology, uh and seeing

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<v Speaker 1>Mike Snyder combined made me go back to Grenado wanting

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<v Speaker 1>a band a banjo. Uh. So you came to phil

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<v Speaker 1>knowing the piano one thing, to play the guitar, but

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<v Speaker 1>then you were influenced into the banjo. And what what

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<v Speaker 1>age was that? Right around second grade? So didn't you

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<v Speaker 1>at some point in your life and I don't want

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<v Speaker 1>to go back, but didn't you win like a championship

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<v Speaker 1>at banjo plan? Yeah? So part of the story with that.

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<v Speaker 1>I would go to a lot of these small community

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<v Speaker 1>uh bluegrass days, you know, where they'd have a concert

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<v Speaker 1>and a contest and you could you could enter all

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<v Speaker 1>the contests. They have a fiddle and a mandolin and

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<v Speaker 1>a banjo contest. And after the banjo, I started picking

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<v Speaker 1>up other instruments every year or two and uh, here's

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<v Speaker 1>the deal there there would only be maybe two competitors

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<v Speaker 1>in the mandolin competition, and there'd be three prizes, and

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<v Speaker 1>first prize was either fifty or a hundred dollars. So

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<v Speaker 1>I mean just by entering, your your accruing money. And

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<v Speaker 1>uh So I would go clean up these little festivals

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<v Speaker 1>and enter every contest, and I knew my two songs

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<v Speaker 1>old Man and and and uh and then I eventually

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<v Speaker 1>graduated up to the the Mississippi State Fair contest that

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<v Speaker 1>was a big deal in the state. And um I

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<v Speaker 1>never won. I never won that contest, and we all

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<v Speaker 1>felt like it was rigged and all this stuff, you know,

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<v Speaker 1>but whatever, I never won. And we heard about uh

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<v Speaker 1>through another person. We met there this thing in Smithfield, Smithfield, Tennessee,

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<v Speaker 1>where Mike Snyder grew up, and you're playing the banjo

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<v Speaker 1>at this time. Yeah, banjo was the main thing. And

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<v Speaker 1>if if it was a small situation and we'd throw

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<v Speaker 1>the other instruments in the car and go. But um

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<v Speaker 1>so we go up to Smithfield and it's the Junior

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<v Speaker 1>National Banjo Contest and there's not much national about it

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<v Speaker 1>really in reality, but they have the title and and

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<v Speaker 1>uh so I ended up winning. And I wrote a

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<v Speaker 1>note to Mike Snyder and sort of at the end

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<v Speaker 1>of the note wrote, you know, It's always been my

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<v Speaker 1>dream to play the opry. You know, we nudge and

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<v Speaker 1>nudge and low and behold he with the phone rings

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<v Speaker 1>one day in the kitchen and my mom's there. She

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<v Speaker 1>picks it up and he's he's called, and he's asking

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<v Speaker 1>if I want to come be his guest on the operation.

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<v Speaker 1>How old are you? Uh? That was I was about twelve,

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<v Speaker 1>twelve years old. You go and win the National Banjo competition,

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<v Speaker 1>because that is what it was called, and you write

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<v Speaker 1>a note and say, hey, you influence me. That's right

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<v Speaker 1>from when you mailed it off till you got the

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<v Speaker 1>call back. How long was that? Gosh, I don't remember.

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<v Speaker 1>I don't remember, but and it was. I do remember.

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<v Speaker 1>It was junior National, so it wasn't quite what the

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<v Speaker 1>full blown National wasn't. And twelve was the cap, the

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<v Speaker 1>age cap, so I barely got in. But I remember

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<v Speaker 1>it was just before my thirteenth birthday, which my birthdays

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<v Speaker 1>in September, so it would have been I think it

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<v Speaker 1>was in August. I think it was in August. I

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<v Speaker 1>played in the contest. Probably would have been that summer

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<v Speaker 1>because I don't think we could have done a trip

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<v Speaker 1>like that during the school year. You know, um do

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<v Speaker 1>we were you waiting for a call from I didn't

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<v Speaker 1>know what to expect, you know, I still don't stuff

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<v Speaker 1>like that. Um, but I'm it was kind of like

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<v Speaker 1>when you hope for you know, you you're hoping for

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<v Speaker 1>something for your birthday or for Christmas, or you hope

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<v Speaker 1>for something on a TV show and you can't really

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<v Speaker 1>ever count on it happening, but when it does happen,

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<v Speaker 1>you're just yeah, I knew what was gonna happen, you know.

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<v Speaker 1>So he says, invite it up to the opera? Do

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<v Speaker 1>you call him and say, hey, when do you want

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<v Speaker 1>me to come up? And I'll come up immediately? How

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<v Speaker 1>does that work? How do you get back in touch

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<v Speaker 1>with him? I don't remember, you know what. That was

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<v Speaker 1>a thing. That was a mom thing and she was

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<v Speaker 1>so sweet to be as as the phrase goes to

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<v Speaker 1>the manager in those earlier years, and also very sweet

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<v Speaker 1>not to be the momager later on, you know, like

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<v Speaker 1>we we established some some boundaries there which were nice

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<v Speaker 1>later on. But when I when you're a kid, you know,

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<v Speaker 1>and it was different, and so I just remembered we

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<v Speaker 1>got to go in that, you know, and you've been

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<v Speaker 1>on the play this, so you know, you get that

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<v Speaker 1>backstage entrance operate the artist and it's way different, you know.

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<v Speaker 1>And we've seen the opera a bunch, you know, and um, golly,

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<v Speaker 1>it was it was pretty magic. So you go out

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<v Speaker 1>of twelve years old, you play the opera the first

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<v Speaker 1>time you play the banjo. I'm assuming since that's what

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<v Speaker 1>you did, did you sing it all or just get

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<v Speaker 1>that would come the next year, right right as puberty

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<v Speaker 1>was hitting, And so there are a couple of songs, uh,

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<v Speaker 1>from an album I got to make that next year

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<v Speaker 1>with Mike Snyder's band, Um and I sang on a

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<v Speaker 1>couple of those tracks, and it's it's not my proudest moment.

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<v Speaker 1>So how do you get back on the operation again?

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<v Speaker 1>Did you play so well? Invited you back? Uh? Well,

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<v Speaker 1>I didn't play it again until I was here living

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<v Speaker 1>in Nashville between Yeah, well there was one. There was

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<v Speaker 1>one thing. It wasn't an opery show. It was some

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<v Speaker 1>big blue gray as jam day. And we did go

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<v Speaker 1>back a few months later and I got to jam

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<v Speaker 1>and play again on the Opery. But it wasn't the

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<v Speaker 1>opery Opery, you know, it was just the stage, which

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<v Speaker 1>is still amazing. And then I moved to Nashville at

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<v Speaker 1>one and the next time I really was on the

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<v Speaker 1>stage for the Opery Show would have been backing up

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<v Speaker 1>Rebecca len Howard, who is a super talented singer and

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<v Speaker 1>writer and artist and um. She put a few records

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<v Speaker 1>out how to Hit Her Two and has continued to write,

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<v Speaker 1>and she's in Steven Tyler's band now UM but also

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<v Speaker 1>does her own production. And so the next time you

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<v Speaker 1>went there, you were playing for her. Decide musician. Okay,

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<v Speaker 1>I want to go back to the kid thing because

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<v Speaker 1>you were Did you practice a lot or did it

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<v Speaker 1>come easy as you practiced a lot? It would depend

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<v Speaker 1>on what it was. The guitar. Uh, well, it never

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<v Speaker 1>felt like practicing. You know, I'm not the best practice er.

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<v Speaker 1>Actually A practiced more now than I probably ever have. Piano.

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<v Speaker 1>I practiced, Uh tried fiddle for a couple of years.

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<v Speaker 1>That was not the most successful venture into you know,

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<v Speaker 1>you you don't want me to be your fiddle player.

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<v Speaker 1>I just put it like that. But it took a

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<v Speaker 1>lot more practice because it was a little more foreign

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<v Speaker 1>to me, not having frets and not having a pick

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<v Speaker 1>and having to do the bow instead. But uh, guitar

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<v Speaker 1>was just always fun to play. And if if picking

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<v Speaker 1>out chords and solo parts and licks off of records

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<v Speaker 1>counts as practicing, yes, I practiced a lot, but I

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<v Speaker 1>wouldn't say I spent a great deal of time, you know,

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<v Speaker 1>running scales back and forth to a metronome. You know,

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<v Speaker 1>it was just making trying to make music. When did

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<v Speaker 1>you feel like you were gonn enough to make a

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<v Speaker 1>life out of this. It's it's a hard question for

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<v Speaker 1>me to answer because I don't ever remember not just

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<v Speaker 1>thinking that's where it was going, but I don't remember

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<v Speaker 1>ever going. It just always was the next thing in

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<v Speaker 1>front of me, you know, it was whatever came next,

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<v Speaker 1>And and it got more and more. I got more

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<v Speaker 1>and more involved, and it got more and more serious,

0:12:21.720 --> 0:12:26.319
<v Speaker 1>and it was the time to start looking at college options.

0:12:27.520 --> 0:12:29.880
<v Speaker 1>And I had done really well academically, so I had

0:12:30.320 --> 0:12:36.400
<v Speaker 1>some really good offers, especially in state. And then there

0:12:36.480 --> 0:12:42.760
<v Speaker 1>was Berkeley in Boston, which was ah expensive and and

0:12:42.760 --> 0:12:48.040
<v Speaker 1>and even with scholarships expensive still, but in my heart

0:12:48.080 --> 0:12:49.800
<v Speaker 1>it was just this has to be it, you know.

0:12:49.840 --> 0:12:53.040
<v Speaker 1>I've been there for a summer program, and I fell

0:12:53.080 --> 0:12:54.560
<v Speaker 1>in love with it, and fell in love with the

0:12:54.559 --> 0:12:58.240
<v Speaker 1>people there and and uh, that might have been the

0:12:58.320 --> 0:13:01.760
<v Speaker 1>point which I officially signed up for this. When you

0:13:01.840 --> 0:13:04.320
<v Speaker 1>get to Berkeley and it's and have other friends who

0:13:04.360 --> 0:13:08.000
<v Speaker 1>went to Berkeley, you know, just crazy music brains. When

0:13:08.040 --> 0:13:10.480
<v Speaker 1>you get there and you're on other like minded people

0:13:10.920 --> 0:13:15.000
<v Speaker 1>there there, you know their brains are like yours. Is

0:13:15.040 --> 0:13:17.520
<v Speaker 1>that strange for you since you've never really been completely

0:13:17.520 --> 0:13:21.760
<v Speaker 1>surrounded by people like you? It was. It was the

0:13:21.760 --> 0:13:24.760
<v Speaker 1>best culture shock anyone could have. I mean, you're a

0:13:24.800 --> 0:13:29.439
<v Speaker 1>kid from Mississippi going to Boston and you're a kid

0:13:29.640 --> 0:13:31.760
<v Speaker 1>in a small town where there's probably not a lot

0:13:31.800 --> 0:13:33.600
<v Speaker 1>of what you do happening around you at the level

0:13:33.679 --> 0:13:35.800
<v Speaker 1>that you want to do it. So talk about when

0:13:35.840 --> 0:13:37.560
<v Speaker 1>you get when you get to Boston, you get to Brooklyn,

0:13:37.600 --> 0:13:39.360
<v Speaker 1>you meet all these other kids who are kind of

0:13:39.360 --> 0:13:42.240
<v Speaker 1>in the same same place, right, Well, yeah, because it will.

0:13:42.280 --> 0:13:46.440
<v Speaker 1>In Mississippi, I've had a lot of people who mentored me.

0:13:46.800 --> 0:13:49.280
<v Speaker 1>So there were there were the guys I played in

0:13:49.280 --> 0:13:51.000
<v Speaker 1>bars on the weekends with, and they were all in

0:13:51.040 --> 0:13:54.640
<v Speaker 1>their thirties and forties and better than me. And that

0:13:54.720 --> 0:13:56.680
<v Speaker 1>was a gift. You know what I believe in trying

0:13:56.679 --> 0:14:00.000
<v Speaker 1>to not be don't ever be the most talented musician,

0:14:00.000 --> 0:14:01.800
<v Speaker 1>and in your band, you know that you're not going

0:14:01.840 --> 0:14:07.440
<v Speaker 1>to grow that way. And so the biggest shift being

0:14:07.480 --> 0:14:11.320
<v Speaker 1>in Boston was that everyone it was all the means

0:14:11.440 --> 0:14:13.960
<v Speaker 1>from all the other towns, which is what is what

0:14:13.960 --> 0:14:17.560
<v Speaker 1>you're saying, what you're asking. But but the the shift

0:14:17.679 --> 0:14:20.080
<v Speaker 1>wasn't that all of a sudden was surrounded by people

0:14:20.960 --> 0:14:23.640
<v Speaker 1>that were lifting me up. It was that they were

0:14:23.680 --> 0:14:25.320
<v Speaker 1>doing that, but they were my age, and they had

0:14:25.480 --> 0:14:30.840
<v Speaker 1>the same story and the same you know future and

0:14:30.880 --> 0:14:35.680
<v Speaker 1>all its uncertain glory um and it was it's a

0:14:35.800 --> 0:14:41.640
<v Speaker 1>very international school. And Boston is I mean kind of

0:14:41.680 --> 0:14:43.280
<v Speaker 1>like when you first went to a Little Rock and

0:14:43.280 --> 0:14:46.120
<v Speaker 1>then Austin. It would have been like both of those

0:14:47.120 --> 0:14:51.120
<v Speaker 1>in one maybe possibly just because I mean the Red

0:14:51.160 --> 0:14:54.560
<v Speaker 1>Sox one that first my first semester, the Red Sox

0:14:54.680 --> 0:14:59.360
<v Speaker 1>broke the Yeah they won, and I mean here in

0:14:59.400 --> 0:15:03.240
<v Speaker 1>mississipp you probably remember this too, or you can of

0:15:03.320 --> 0:15:05.280
<v Speaker 1>relate to this. It's you know, you get in the

0:15:05.280 --> 0:15:07.800
<v Speaker 1>car to drive through the parking lot next door in Boston,

0:15:07.880 --> 0:15:10.920
<v Speaker 1>it's like, man, you're gonna walk. We're gonna I don't

0:15:10.920 --> 0:15:13.200
<v Speaker 1>care if it's four feet of snow. We're just walking everywhere,

0:15:13.360 --> 0:15:15.400
<v Speaker 1>or we're gonna get on the subway. There's a subway,

0:15:15.440 --> 0:15:18.720
<v Speaker 1>you know, all of that. And you know there's a

0:15:18.760 --> 0:15:25.240
<v Speaker 1>little literally called North End, and real Italian immigrants here

0:15:25.280 --> 0:15:27.560
<v Speaker 1>like cutting the salami in the cheese and you can

0:15:27.600 --> 0:15:29.760
<v Speaker 1>actually it's right off the boat from Italy and you

0:15:29.760 --> 0:15:31.520
<v Speaker 1>can buy it right here on you know. So it

0:15:31.640 --> 0:15:34.120
<v Speaker 1>was just this crazy thing and it felt like a

0:15:34.160 --> 0:15:37.720
<v Speaker 1>summer camp that never ended because it just wasn't. I mean,

0:15:37.720 --> 0:15:40.600
<v Speaker 1>it was challenging, but it wasn't challenging in a way

0:15:40.640 --> 0:15:44.720
<v Speaker 1>that felt difficult because it was so much fun and

0:15:44.760 --> 0:15:46.760
<v Speaker 1>everybody else was there having so much fun. It was

0:15:46.800 --> 0:15:50.680
<v Speaker 1>the Disneyland of of being a young musician. It wasn't

0:15:50.720 --> 0:15:56.720
<v Speaker 1>a crazy competition to you odd, not really, because you know,

0:15:56.840 --> 0:16:03.520
<v Speaker 1>and the beauty of Berkeley is you find your people

0:16:04.920 --> 0:16:08.400
<v Speaker 1>and it turns out and the same here in Nashville.

0:16:08.880 --> 0:16:12.520
<v Speaker 1>All your people, your your your crew. They all have

0:16:12.600 --> 0:16:15.840
<v Speaker 1>different talents and do different things. And and if I

0:16:15.840 --> 0:16:17.920
<v Speaker 1>if I showed up at Berkeley with any chip on

0:16:18.000 --> 0:16:19.880
<v Speaker 1>my shoulder, it was what I call the three chord

0:16:20.000 --> 0:16:23.840
<v Speaker 1>music chip, because you know, they're like all these kids

0:16:23.880 --> 0:16:25.760
<v Speaker 1>who could do this stuff. I'll never be able to do.

0:16:26.160 --> 0:16:31.280
<v Speaker 1>And I consciously was sort of, WHOA, I don't. I'm

0:16:31.320 --> 0:16:33.960
<v Speaker 1>curious about that, and I want to know more about it,

0:16:34.000 --> 0:16:38.080
<v Speaker 1>but I don't want to ever not be excited about G,

0:16:38.160 --> 0:16:40.640
<v Speaker 1>C and D. If. If I ever get to a

0:16:40.640 --> 0:16:44.800
<v Speaker 1>point where I'm not thrilled by the chords and the A, C,

0:16:44.920 --> 0:16:47.960
<v Speaker 1>D C songs, then I'm doing something wrong, you know.

0:16:48.080 --> 0:16:52.240
<v Speaker 1>So I sort of had this defensive nature when it

0:16:52.320 --> 0:16:56.360
<v Speaker 1>came to something that might have felt like competition. It

0:16:56.440 --> 0:16:59.240
<v Speaker 1>was like, WHOA, that's cool you do that. This is

0:16:59.280 --> 0:17:01.840
<v Speaker 1>what I do. I love songs that are this simple.

0:17:02.480 --> 0:17:04.959
<v Speaker 1>And I got to be in a bluegrass band for

0:17:05.000 --> 0:17:08.359
<v Speaker 1>credit for college credit, and I was a banjo player

0:17:08.440 --> 0:17:12.119
<v Speaker 1>and there weren't really other banjo players, so I was

0:17:12.160 --> 0:17:14.920
<v Speaker 1>just collaborating all the time. It wasn't competitive in that way.

0:17:15.080 --> 0:17:19.159
<v Speaker 1>And and my major was production and engineering, which I

0:17:19.280 --> 0:17:21.760
<v Speaker 1>picked because it meant I could go be in these

0:17:21.760 --> 0:17:24.600
<v Speaker 1>studios with SSL consoles and be around the gear and

0:17:25.280 --> 0:17:28.440
<v Speaker 1>um all the friends I made there, you know, we

0:17:28.440 --> 0:17:31.680
<v Speaker 1>we were forced to collaborate. If you had a class

0:17:31.720 --> 0:17:35.280
<v Speaker 1>and uh production and engineering, your it was a session

0:17:35.280 --> 0:17:37.879
<v Speaker 1>based class, so you had to go find musicians and

0:17:37.960 --> 0:17:41.160
<v Speaker 1>a singer and a songwriter which might be the same

0:17:41.160 --> 0:17:43.840
<v Speaker 1>person but might not. And you had to budget it out,

0:17:44.280 --> 0:17:46.959
<v Speaker 1>which meant working with the music business folks. And so

0:17:47.040 --> 0:17:49.919
<v Speaker 1>you were working with all the other people and and

0:17:50.000 --> 0:17:53.480
<v Speaker 1>your job is different. Even even down to most of

0:17:53.480 --> 0:17:56.360
<v Speaker 1>the classes. You would do two projects each semester, one

0:17:56.400 --> 0:17:58.959
<v Speaker 1>as producer, one as engineering. You'd partner with somebody so

0:17:59.000 --> 0:18:01.760
<v Speaker 1>for their production prob Jake, you were their engineer, so

0:18:01.840 --> 0:18:05.760
<v Speaker 1>that there was not a lot of opportunity to feel

0:18:05.880 --> 0:18:09.080
<v Speaker 1>cut throat. And now we visited some other schools that

0:18:09.160 --> 0:18:13.360
<v Speaker 1>were more traditional conservatories, and you could tell because everybody

0:18:13.400 --> 0:18:15.880
<v Speaker 1>was trying to play this Beethoven piece or something, and

0:18:16.880 --> 0:18:20.240
<v Speaker 1>there's there there is a definite way to do Beethoven

0:18:20.240 --> 0:18:25.080
<v Speaker 1>and Mozart right in a way to do it wrong. Um,

0:18:25.119 --> 0:18:30.800
<v Speaker 1>And you can easily h grade people and order them.

0:18:30.920 --> 0:18:33.600
<v Speaker 1>And it wasn't But Michael was that movie with the

0:18:33.680 --> 0:18:36.480
<v Speaker 1>kid in the drums, It was like whiplash on banjo,

0:18:36.720 --> 0:18:39.040
<v Speaker 1>was like, oh yeah, well, I mean there was there was,

0:18:40.320 --> 0:18:45.120
<v Speaker 1>you know, challenges. There was a challenging situation with most

0:18:45.160 --> 0:18:47.879
<v Speaker 1>of my professors. I mean they pushed us what got you,

0:18:47.920 --> 0:18:52.320
<v Speaker 1>what instrument got you into Berkley, was it banjo? Uh?

0:18:52.480 --> 0:18:54.720
<v Speaker 1>I think I signed up on paper for guitar, but

0:18:54.760 --> 0:18:57.240
<v Speaker 1>I always had the banjo with me and used that

0:18:57.280 --> 0:19:00.800
<v Speaker 1>as a a way to go. This is something different.

0:19:01.320 --> 0:19:03.399
<v Speaker 1>I have a friend who went as a vocal that

0:19:03.520 --> 0:19:06.720
<v Speaker 1>she came out playing the fiddle. Yeah, And so I

0:19:06.760 --> 0:19:08.600
<v Speaker 1>don't you know ant Yes, I do. I was about

0:19:08.640 --> 0:19:10.399
<v Speaker 1>to say, I think you're talking about that. Yeah, And

0:19:10.520 --> 0:19:12.840
<v Speaker 1>she plays the fiddle. She's so great at the fiddle.

0:19:13.280 --> 0:19:15.160
<v Speaker 1>And I was talking to her about Birke like She's like, yeah,

0:19:15.200 --> 0:19:18.159
<v Speaker 1>I went in as a vocal as a singer, and

0:19:18.200 --> 0:19:20.679
<v Speaker 1>she sings great. She's one of the best singers. She

0:19:20.760 --> 0:19:24.040
<v Speaker 1>sings fantastic. But she has that fit. I thought she

0:19:24.040 --> 0:19:26.119
<v Speaker 1>went ever fiddle because she's, you know, so good to

0:19:26.119 --> 0:19:28.359
<v Speaker 1>fay the fiddle. Uh, let me talk for a second.

0:19:28.720 --> 0:19:31.640
<v Speaker 1>How about this so blue Apron. You know, not all

0:19:31.800 --> 0:19:34.879
<v Speaker 1>ingredients are created equal. For me, I would like to

0:19:34.920 --> 0:19:37.639
<v Speaker 1>know what to my food, and even better, it's affordable.

0:19:37.680 --> 0:19:39.040
<v Speaker 1>So when you kind of my house to see a

0:19:39.080 --> 0:19:41.600
<v Speaker 1>box and just that's on my counter right now and

0:19:41.640 --> 0:19:44.080
<v Speaker 1>it says Blue Apron, it's like a brown box and

0:19:44.080 --> 0:19:47.000
<v Speaker 1>they send you all the ingredients and basically for less

0:19:47.000 --> 0:19:50.840
<v Speaker 1>than ten dollars per person per mell. Blue Apron delivers

0:19:50.880 --> 0:19:52.960
<v Speaker 1>all these recipes that you order that you get online.

0:19:52.960 --> 0:19:56.159
<v Speaker 1>You get a Blue Apron dot Com slash Bobby Cast

0:19:56.640 --> 0:19:58.880
<v Speaker 1>and they send you the preportioned ingredients and to buy

0:19:58.880 --> 0:20:01.440
<v Speaker 1>too much and send you these meals you can home

0:20:01.480 --> 0:20:04.159
<v Speaker 1>cook and they're delicious, and there are new recipes of

0:20:04.280 --> 0:20:08.240
<v Speaker 1>every week. Customize your recipes based on your preferences. They

0:20:08.240 --> 0:20:11.280
<v Speaker 1>have several delivery options. You can cutomize that too, and

0:20:11.320 --> 0:20:13.080
<v Speaker 1>each meal comes to they step by step easy to

0:20:13.080 --> 0:20:15.719
<v Speaker 1>follow recipe card as well. What you can make us

0:20:15.720 --> 0:20:18.159
<v Speaker 1>a forty minutes to the less. So I love Blue Apron.

0:20:18.200 --> 0:20:19.879
<v Speaker 1>You're thinking about changing it up? If you're bored with

0:20:19.920 --> 0:20:22.439
<v Speaker 1>home meals right now check out this week's menu. Get

0:20:22.440 --> 0:20:25.240
<v Speaker 1>your first three meals for free with free shipping. Blue

0:20:25.280 --> 0:20:29.320
<v Speaker 1>Apron dot Com slash Bobby Cast, Blue Apron dot Com

0:20:29.359 --> 0:20:31.440
<v Speaker 1>slash Bobby Cast. You love how I gotta feel, I

0:20:31.480 --> 0:20:34.119
<v Speaker 1>gotta taste Blue Apron A better way to cook, Blue

0:20:34.119 --> 0:20:37.080
<v Speaker 1>Apron dot Com slash Bobby Cast. All right, so Charlie

0:20:37.119 --> 0:20:39.520
<v Speaker 1>wash thems here and we're talking about and I'm gonna

0:20:39.520 --> 0:20:42.040
<v Speaker 1>play something here. Let's we talked about some mystery stuff.

0:20:42.119 --> 0:20:43.720
<v Speaker 1>Let me play some Cut Your Groove here. This is

0:20:43.800 --> 0:20:45.879
<v Speaker 1>from You can buy it now, but the records come

0:20:45.880 --> 0:20:59.440
<v Speaker 1>out in April. When the needle drives, what you're gonna do,

0:21:01.800 --> 0:21:06.360
<v Speaker 1>I'm gonna go backwards. Okay, I love it. Uh. This

0:21:06.920 --> 0:21:11.200
<v Speaker 1>album started in year old stomping grounds of Buston, Texas,

0:21:11.359 --> 0:21:14.639
<v Speaker 1>at Waterloo Records. I was in between tours and I

0:21:14.680 --> 0:21:18.880
<v Speaker 1>was really burned out. And I bought these three notebooks

0:21:18.920 --> 0:21:23.119
<v Speaker 1>at at Waterloo, and that song and all the songs

0:21:23.160 --> 0:21:26.960
<v Speaker 1>I wrote or co wrote on the album We're Born

0:21:27.000 --> 0:21:31.280
<v Speaker 1>in those notebooks and uh, cut Your Groove was I

0:21:31.320 --> 0:21:35.600
<v Speaker 1>call it my theme song because the whole notebook thing

0:21:35.720 --> 0:21:40.639
<v Speaker 1>and this album was me sort of working out being

0:21:42.160 --> 0:21:45.359
<v Speaker 1>human being on one level, but also sort of coming

0:21:45.400 --> 0:21:48.240
<v Speaker 1>to grips with you know, this is the thing I've

0:21:48.240 --> 0:21:50.200
<v Speaker 1>always loved, and I somehow got to a point where

0:21:50.200 --> 0:21:52.800
<v Speaker 1>I was so burned out, I was on the edge

0:21:52.800 --> 0:21:56.000
<v Speaker 1>of not loving it anymore. And this is me falling

0:21:56.040 --> 0:22:00.320
<v Speaker 1>back in love with music. And uh, and that song.

0:22:02.080 --> 0:22:05.360
<v Speaker 1>I forget the when when exactly it came in the process,

0:22:05.400 --> 0:22:08.080
<v Speaker 1>but I just remember I was doing these morning pages.

0:22:08.119 --> 0:22:10.280
<v Speaker 1>I promised myself I'd feel a page every day, and

0:22:10.320 --> 0:22:13.840
<v Speaker 1>the only rule was telling the truth. And uh, it

0:22:13.920 --> 0:22:17.600
<v Speaker 1>could be you know, uh, should have gone for a

0:22:17.680 --> 0:22:20.080
<v Speaker 1>run yesterday, but I didn't, and then I ate pizza

0:22:20.600 --> 0:22:23.240
<v Speaker 1>and I feel terrible, and that might have been it.

0:22:23.320 --> 0:22:25.000
<v Speaker 1>And there are a lot of days it was something

0:22:25.040 --> 0:22:29.200
<v Speaker 1>that just dumb, you know. But I would do these

0:22:29.200 --> 0:22:31.600
<v Speaker 1>word games too, where I'd write a word down and

0:22:31.600 --> 0:22:36.000
<v Speaker 1>and use this the five senses plus the sense of body, um,

0:22:36.560 --> 0:22:39.800
<v Speaker 1>like if you're trembling because there's it's scary, or the

0:22:39.880 --> 0:22:43.320
<v Speaker 1>sense of motion, which is sort of car sickness or something,

0:22:43.760 --> 0:22:47.480
<v Speaker 1>and uh, and based on the senses, you would use

0:22:47.520 --> 0:22:50.080
<v Speaker 1>that word and just see where it took you. And

0:22:50.119 --> 0:22:52.679
<v Speaker 1>I'll put the word groove on paper. And I've gotten

0:22:53.200 --> 0:22:56.280
<v Speaker 1>in this habit so much that I could actually sometimes

0:22:56.840 --> 0:23:00.520
<v Speaker 1>write it out, uh, streaming conc just and it would

0:23:00.560 --> 0:23:03.960
<v Speaker 1>end up rhyming. And it kind of worked like that.

0:23:04.000 --> 0:23:05.880
<v Speaker 1>And I had a couple of different days I spent

0:23:05.920 --> 0:23:07.760
<v Speaker 1>with that word, and then I brought to my buddy Oscar,

0:23:08.520 --> 0:23:13.280
<v Speaker 1>and we started writing this song. And Oscar, you gotta understand,

0:23:13.960 --> 0:23:15.439
<v Speaker 1>is younger than me. And at the time I was

0:23:15.480 --> 0:23:17.680
<v Speaker 1>living in this house that was sort of a musician's

0:23:18.280 --> 0:23:21.040
<v Speaker 1>hostile you know, which is you see all over town

0:23:21.080 --> 0:23:22.800
<v Speaker 1>and that's how that's the first house I lived in

0:23:23.160 --> 0:23:26.160
<v Speaker 1>Nashville was that environment. So you go in and there's

0:23:26.200 --> 0:23:30.159
<v Speaker 1>pizza boxes, and there's guitar cases, and nobody has anything

0:23:30.240 --> 0:23:33.040
<v Speaker 1>nice except for all this recording gear and instruments, and

0:23:33.080 --> 0:23:35.760
<v Speaker 1>you can you can see the priorities. And it reminded

0:23:35.800 --> 0:23:38.320
<v Speaker 1>me of my journey when I first moved to town.

0:23:38.680 --> 0:23:41.359
<v Speaker 1>And so I was drawing on that and the idea

0:23:41.400 --> 0:23:44.080
<v Speaker 1>of the word groove and where we landed and stuff,

0:23:44.080 --> 0:23:46.760
<v Speaker 1>and just seeing myself in Oscar and and he was

0:23:46.800 --> 0:23:50.600
<v Speaker 1>throwing out things and and that's where that song really

0:23:50.640 --> 0:23:54.919
<v Speaker 1>came from. So you talk about being burnt out? What

0:23:55.080 --> 0:23:58.480
<v Speaker 1>burned you out? Well you mentioned it twice yea, like

0:23:58.560 --> 0:24:01.960
<v Speaker 1>spent sixty seconds or so, so it sounds like you've

0:24:02.000 --> 0:24:04.120
<v Speaker 1>kind of had some sort of like Okay, I'm tired

0:24:04.240 --> 0:24:09.040
<v Speaker 1>and now you're back. Yeah, it was. And I used

0:24:09.040 --> 0:24:13.040
<v Speaker 1>the word burned out because it's it's not the right word,

0:24:13.040 --> 0:24:16.720
<v Speaker 1>but it's the the closest I can get to what

0:24:17.119 --> 0:24:22.879
<v Speaker 1>it was, which is, you know, the what was frustrating you?

0:24:25.880 --> 0:24:28.880
<v Speaker 1>All right? I learned this great definition over the last

0:24:28.880 --> 0:24:31.520
<v Speaker 1>couple of years. That integrity is when you're insides and

0:24:31.520 --> 0:24:35.120
<v Speaker 1>your outside match. And I was in a place where

0:24:35.160 --> 0:24:37.800
<v Speaker 1>I didn't feel like my insides and my outsides matched.

0:24:38.800 --> 0:24:42.119
<v Speaker 1>I had spent my life playing music and loving it,

0:24:42.280 --> 0:24:49.280
<v Speaker 1>and if I worked harder, I was rewarded somehow more

0:24:49.560 --> 0:24:54.320
<v Speaker 1>for it. And and I could always just go work

0:24:54.680 --> 0:24:58.720
<v Speaker 1>and get better and and and then it would just

0:24:58.760 --> 0:25:01.560
<v Speaker 1>all make sense based on that, and and I signed

0:25:01.560 --> 0:25:04.399
<v Speaker 1>this record deal, and it was amazing, and all of

0:25:04.440 --> 0:25:07.080
<v Speaker 1>a sudden, this thing that was always my life, just

0:25:07.560 --> 0:25:09.879
<v Speaker 1>the music and trying to wake up every day and

0:25:09.920 --> 0:25:13.959
<v Speaker 1>get better and trusting that more or less that if

0:25:14.080 --> 0:25:17.560
<v Speaker 1>I do that, that everything else works out. All of

0:25:17.640 --> 0:25:21.600
<v Speaker 1>a sudden, part of my job and part of the picture,

0:25:21.840 --> 0:25:25.639
<v Speaker 1>was well, you've got to think about these things, and

0:25:25.680 --> 0:25:29.600
<v Speaker 1>they might be the photo shoot or the video shoot,

0:25:29.680 --> 0:25:31.399
<v Speaker 1>or what do you think about this haircut? Or what

0:25:31.440 --> 0:25:35.040
<v Speaker 1>do you think about these clothes? And then touring, strategy

0:25:35.119 --> 0:25:38.160
<v Speaker 1>and data DA all this and social media, and then

0:25:38.160 --> 0:25:41.200
<v Speaker 1>I'm on social media and you know which, I actually

0:25:41.960 --> 0:25:44.199
<v Speaker 1>took this weekend off of social media and it was

0:25:44.240 --> 0:25:46.240
<v Speaker 1>the greatest thing for me ever. I might have to

0:25:46.240 --> 0:25:49.720
<v Speaker 1>start doing it more because it's comparison is such a

0:25:51.440 --> 0:25:54.000
<v Speaker 1>a dangerous thing in this business. It doesn't do anybody

0:25:54.040 --> 0:25:58.879
<v Speaker 1>any good, you know. Uh. And and yet we also

0:25:58.960 --> 0:26:01.840
<v Speaker 1>have to sort of keep eyes open and see what's

0:26:01.840 --> 0:26:04.080
<v Speaker 1>on the landscape, you know. And so I was just

0:26:04.240 --> 0:26:05.879
<v Speaker 1>I ended up in this place where I've been on

0:26:05.920 --> 0:26:09.919
<v Speaker 1>the road NonStop for eighteen months. I didn't feel like

0:26:09.960 --> 0:26:15.040
<v Speaker 1>my music was connecting, and I didn't know what was

0:26:15.080 --> 0:26:17.720
<v Speaker 1>wrong with me. I thought something was wrong with me.

0:26:18.040 --> 0:26:20.359
<v Speaker 1>So every time I felt that I would just work harder,

0:26:20.840 --> 0:26:24.080
<v Speaker 1>get on the hamster wheel faster, you know. And the

0:26:24.080 --> 0:26:28.000
<v Speaker 1>truth is that it just it just doesn't always it

0:26:28.040 --> 0:26:31.560
<v Speaker 1>doesn't always go as we plan. And and and I

0:26:31.640 --> 0:26:33.880
<v Speaker 1>was always right to just think, if I just work

0:26:33.960 --> 0:26:37.280
<v Speaker 1>on myself, try to get better, it's all gonna work out.

0:26:37.280 --> 0:26:39.159
<v Speaker 1>And of course I got to manage these other things.

0:26:40.000 --> 0:26:42.840
<v Speaker 1>But my job is to tell the truth. That's why

0:26:42.840 --> 0:26:44.679
<v Speaker 1>I ended up writing it on that notebook, even if

0:26:44.680 --> 0:26:46.840
<v Speaker 1>I didn't know that at the time. And and so

0:26:46.920 --> 0:26:49.960
<v Speaker 1>I just got to this place where I was physically exhausted.

0:26:51.240 --> 0:26:57.080
<v Speaker 1>I was frustrated, and and I was frustrated that it

0:26:57.119 --> 0:27:02.600
<v Speaker 1>didn't work. I felt pressured to you know, uh, prove

0:27:02.720 --> 0:27:05.359
<v Speaker 1>my label, right, you know, they had invested all this

0:27:05.440 --> 0:27:09.520
<v Speaker 1>in me and and in my you know, in my priorities.

0:27:09.520 --> 0:27:12.600
<v Speaker 1>Here's the other thing. My my happiness was attached to

0:27:12.640 --> 0:27:15.119
<v Speaker 1>these expectations I had put on myself and that and

0:27:15.200 --> 0:27:19.560
<v Speaker 1>that caused pressure. And so when I fell short of

0:27:19.600 --> 0:27:25.280
<v Speaker 1>those expectations, I didn't think I had earned happiness and

0:27:25.320 --> 0:27:31.359
<v Speaker 1>I didn't feel like I had done my job. And

0:27:31.440 --> 0:27:34.080
<v Speaker 1>that just is not a healthy way to try to

0:27:34.119 --> 0:27:37.600
<v Speaker 1>do a thirty or fourty year career, you know. And

0:27:37.600 --> 0:27:40.639
<v Speaker 1>and so I took this time and I did a

0:27:40.640 --> 0:27:43.040
<v Speaker 1>lot of work on myself. And I mean, you've talked

0:27:43.040 --> 0:27:45.080
<v Speaker 1>about this in your book, and I'll tell you, man.

0:27:45.119 --> 0:27:48.480
<v Speaker 1>I mean I've I've been seeing a counselor seeing a

0:27:48.520 --> 0:27:50.479
<v Speaker 1>therapist for a while now, and I got to go

0:27:51.000 --> 0:27:53.639
<v Speaker 1>to this place called on site, which is sort of

0:27:53.680 --> 0:27:58.960
<v Speaker 1>like a six day intensive uh, you know, you check

0:27:59.000 --> 0:28:02.000
<v Speaker 1>your phone in and everything, and you just work on yourself.

0:28:02.000 --> 0:28:05.960
<v Speaker 1>And so I've learned so much about myself now. Um,

0:28:06.000 --> 0:28:08.840
<v Speaker 1>and I don't think I can if we're going backwards

0:28:08.920 --> 0:28:12.240
<v Speaker 1>to look at this, I can't tease apart this record

0:28:12.680 --> 0:28:15.560
<v Speaker 1>and that part of my journey. You know, I've always

0:28:15.560 --> 0:28:18.680
<v Speaker 1>just been music, music, music, and I needed to take

0:28:18.720 --> 0:28:21.480
<v Speaker 1>a minute and kind of go, okay, human being, let's

0:28:21.520 --> 0:28:25.600
<v Speaker 1>look at this. So when do you decide you're gonna

0:28:25.880 --> 0:28:28.640
<v Speaker 1>like what what is it? Because I've had breaking points

0:28:28.680 --> 0:28:30.879
<v Speaker 1>for me? What was the breaking point for you? We're like, Okay,

0:28:30.920 --> 0:28:32.919
<v Speaker 1>something's got to change because I can't go at this

0:28:33.000 --> 0:28:36.600
<v Speaker 1>pace at least emotionally and mentally and make it like

0:28:36.680 --> 0:28:38.680
<v Speaker 1>where was it for you? When I was like, Okay,

0:28:39.080 --> 0:28:40.800
<v Speaker 1>I gotta take a step back because that's a hard

0:28:40.840 --> 0:28:44.240
<v Speaker 1>decision to make. Yeah. Well, and some of it, to

0:28:44.280 --> 0:28:46.160
<v Speaker 1>be fair, was sort of made for me. I mean

0:28:46.200 --> 0:28:49.920
<v Speaker 1>I have to give my label credit. Chris Lacey my

0:28:50.000 --> 0:28:53.160
<v Speaker 1>a n R and s BO, who who runs the label.

0:28:53.640 --> 0:28:57.560
<v Speaker 1>They both sort of said, hey, we're worried about you.

0:28:57.560 --> 0:29:00.680
<v Speaker 1>You don't seem to be happy. Why don't you go

0:29:02.360 --> 0:29:06.560
<v Speaker 1>make Charlie music? You know? And man, that was the

0:29:06.600 --> 0:29:09.080
<v Speaker 1>greatest gift because I mean, I can't tell you had

0:29:09.120 --> 0:29:10.800
<v Speaker 1>I been somewhere else, I don't know that i'd still

0:29:10.840 --> 0:29:13.440
<v Speaker 1>have a deal. I don't know that they that would

0:29:13.480 --> 0:29:15.400
<v Speaker 1>have been said. It might have been you need to

0:29:15.400 --> 0:29:17.440
<v Speaker 1>cut these hits or whatever. I don't know, you know,

0:29:17.520 --> 0:29:20.640
<v Speaker 1>but I know that what they the way they helped

0:29:20.680 --> 0:29:23.640
<v Speaker 1>me was it was a gift. And I think it

0:29:23.720 --> 0:29:27.280
<v Speaker 1>all came to a head towards the end of the

0:29:27.360 --> 0:29:31.240
<v Speaker 1>fall of Oh my Gosh. I think two fourteen, I

0:29:31.280 --> 0:29:34.320
<v Speaker 1>was on the CMT tour and it was a great

0:29:34.360 --> 0:29:39.520
<v Speaker 1>tour to be on. And when tours like this get booked,

0:29:39.920 --> 0:29:44.760
<v Speaker 1>as you know, they often are booked nine months twelve

0:29:44.800 --> 0:29:49.160
<v Speaker 1>months in advance. And so the tour was me and

0:29:49.520 --> 0:29:53.920
<v Speaker 1>Sam Hunt and kept more and between the booking of

0:29:53.960 --> 0:29:58.680
<v Speaker 1>the tour and the tour, Sam Hunt became I call Elvis,

0:29:58.800 --> 0:30:03.240
<v Speaker 1>you know, I mean, he was on fire and uh,

0:30:03.680 --> 0:30:06.520
<v Speaker 1>and my record just kind of ran out of gas.

0:30:08.000 --> 0:30:12.120
<v Speaker 1>None of this is anybody's fault or plan or anything.

0:30:12.200 --> 0:30:16.280
<v Speaker 1>It just that's what happened. But I was locked in

0:30:16.760 --> 0:30:19.600
<v Speaker 1>to go on after Sam Hunt, and people were coming

0:30:19.600 --> 0:30:23.640
<v Speaker 1>to the shows rightly, so they were wanting to hear

0:30:24.640 --> 0:30:29.000
<v Speaker 1>Sam Hunt, and they only got about twenty minutes of him,

0:30:29.160 --> 0:30:32.560
<v Speaker 1>and then they got me for forty five minutes. And

0:30:32.640 --> 0:30:35.800
<v Speaker 1>I took it personally, I really did, and that was

0:30:36.920 --> 0:30:40.280
<v Speaker 1>not something I should have done. But I walked off

0:30:40.280 --> 0:30:47.560
<v Speaker 1>stage really angry with myself and and frustrated, ah and

0:30:47.960 --> 0:30:51.200
<v Speaker 1>not not at Sam, and I wish I could say

0:30:51.520 --> 0:30:53.560
<v Speaker 1>in every instance, not at the audience, but I just

0:30:53.600 --> 0:30:57.840
<v Speaker 1>couldn't understand, you know. But now I can see it

0:30:57.880 --> 0:31:02.960
<v Speaker 1>clearly and the people at the shows. I had no

0:31:03.040 --> 0:31:05.000
<v Speaker 1>idea that that's how tours get booked, and that's how

0:31:05.000 --> 0:31:06.360
<v Speaker 1>it was, and that's just how it was, and it's

0:31:06.400 --> 0:31:07.920
<v Speaker 1>how it how to be, you know. And I love

0:31:08.000 --> 0:31:11.960
<v Speaker 1>Sam and I'm a fan, and and yet I had

0:31:12.000 --> 0:31:15.440
<v Speaker 1>this really difficult job of following him, and and I'd

0:31:15.480 --> 0:31:18.440
<v Speaker 1>already I was coming off of another tour that was

0:31:18.480 --> 0:31:23.280
<v Speaker 1>coming off of another tour, and and and somewhere in

0:31:23.280 --> 0:31:25.360
<v Speaker 1>there too, I also was sort of given the news

0:31:25.560 --> 0:31:27.760
<v Speaker 1>You're gonna have to go start over with a new record,

0:31:28.760 --> 0:31:32.680
<v Speaker 1>and my expectations again they were still driving my happiness.

0:31:32.720 --> 0:31:35.720
<v Speaker 1>So I'm thinking, what what are you talking about? Man,

0:31:35.800 --> 0:31:38.600
<v Speaker 1>there's we gotta do two more singles, like this is crazy,

0:31:39.200 --> 0:31:42.760
<v Speaker 1>And but that's just that's just life, you know. That

0:31:42.840 --> 0:31:47.120
<v Speaker 1>was just what happened. And uh, And I was really

0:31:47.200 --> 0:31:48.920
<v Speaker 1>lucky to be on that tour. I was really lucky

0:31:49.000 --> 0:31:52.120
<v Speaker 1>to have the album and have it connect as much

0:31:52.120 --> 0:31:55.760
<v Speaker 1>as it did connect. And I just couldn't see it

0:31:55.800 --> 0:31:58.040
<v Speaker 1>clearly at the time. And so when that tour was over,

0:31:58.120 --> 0:32:01.920
<v Speaker 1>we went to Canada that next winter, that next February

0:32:02.000 --> 0:32:07.120
<v Speaker 1>and did a tour and and then the brakes came

0:32:07.120 --> 0:32:10.440
<v Speaker 1>on pretty hard. And and it just took me a

0:32:10.440 --> 0:32:16.600
<v Speaker 1>couple of years. Two Uh. I call it emotional blood letting,

0:32:16.840 --> 0:32:21.360
<v Speaker 1>you know. I just had to get past the frustrations

0:32:21.400 --> 0:32:23.240
<v Speaker 1>so that and to a place where I could see

0:32:23.240 --> 0:32:27.720
<v Speaker 1>things clearly. And and now I'm just I'm happy because

0:32:27.720 --> 0:32:29.520
<v Speaker 1>I'm happy and I get to do what I love

0:32:29.560 --> 0:32:31.440
<v Speaker 1>and I'm very grateful for that, and I practiced a

0:32:31.440 --> 0:32:34.480
<v Speaker 1>lot of gratitude. Um. But but I don't think my

0:32:34.560 --> 0:32:41.640
<v Speaker 1>story is necessarily unique because I think, you know, that's

0:32:41.640 --> 0:32:43.840
<v Speaker 1>the challenge of of when you get a record deal.

0:32:43.840 --> 0:32:46.880
<v Speaker 1>I mean that's all of a sudden, you're on radio

0:32:46.880 --> 0:32:48.800
<v Speaker 1>tour and then're on a regular tour and then you're

0:32:49.240 --> 0:32:51.080
<v Speaker 1>you know, it's just boom boom boom with all these things,

0:32:51.160 --> 0:32:53.520
<v Speaker 1>and people are looking at you like you're the Coca

0:32:53.520 --> 0:32:55.880
<v Speaker 1>Cola bottle and they changed the design of the bottle.

0:32:56.320 --> 0:32:59.760
<v Speaker 1>Only it's not the label on the bottle. This is you.

0:33:00.040 --> 0:33:04.160
<v Speaker 1>This is your vulnerability on you know, on speakers and

0:33:04.160 --> 0:33:06.160
<v Speaker 1>and when you get on stage, I mean, if I

0:33:06.160 --> 0:33:08.200
<v Speaker 1>if I gained ten pounds and I don't fit in

0:33:08.240 --> 0:33:10.840
<v Speaker 1>my photo shoot clothes, you know, it's not that's me.

0:33:11.000 --> 0:33:15.200
<v Speaker 1>It's not some product. And it's just kind of a

0:33:15.400 --> 0:33:18.440
<v Speaker 1>roller coaster ride. And I think it's I think it's

0:33:18.440 --> 0:33:25.440
<v Speaker 1>a challenging journey for for most anyone who has that opportunity,

0:33:26.520 --> 0:33:29.720
<v Speaker 1>just because it's so abnormal. I mean, if you look

0:33:29.760 --> 0:33:33.560
<v Speaker 1>back at as far back as Elvis, I mean the

0:33:33.640 --> 0:33:37.040
<v Speaker 1>guy had to go run out movie theaters at night

0:33:37.040 --> 0:33:38.760
<v Speaker 1>because he couldn't go to a regular you know what

0:33:38.800 --> 0:33:41.200
<v Speaker 1>I mean. And that's a whole other set of problems

0:33:41.200 --> 0:33:43.920
<v Speaker 1>and stuff. All that to say, it's just public professions

0:33:44.000 --> 0:33:47.600
<v Speaker 1>create abnormal life circumstances and which you know to you

0:33:47.640 --> 0:33:51.280
<v Speaker 1>have your own experiences that I that some of which

0:33:51.440 --> 0:33:53.960
<v Speaker 1>I've read in your book, and more of which I

0:33:54.000 --> 0:33:56.000
<v Speaker 1>know you have, and it's just one of those things.

0:33:56.720 --> 0:33:58.880
<v Speaker 1>And and so my goal now is sort of like

0:33:59.080 --> 0:34:02.480
<v Speaker 1>with cut your group especially, is this is what I've learned,

0:34:02.520 --> 0:34:05.600
<v Speaker 1>This is how I came to peace with it. And

0:34:05.640 --> 0:34:09.480
<v Speaker 1>I hope that in telling you all out there that

0:34:09.600 --> 0:34:12.080
<v Speaker 1>it helps you somehow on your journey. You know, did

0:34:12.120 --> 0:34:15.960
<v Speaker 1>you come from the line of thought that you come

0:34:16.000 --> 0:34:19.440
<v Speaker 1>away from this better and stronger because of all the

0:34:19.480 --> 0:34:23.680
<v Speaker 1>pain as an artist. Yeah, and and I don't mean

0:34:23.680 --> 0:34:28.920
<v Speaker 1>it to sound but no, I think that, yes. Absolutely.

0:34:28.960 --> 0:34:32.160
<v Speaker 1>You know there's that great Leonard Cohen song that has

0:34:32.200 --> 0:34:34.080
<v Speaker 1>the line the cracks are where the light gets in.

0:34:35.239 --> 0:34:38.719
<v Speaker 1>I mean yeah, if yeah, I don't think I would

0:34:38.719 --> 0:34:42.279
<v Speaker 1>be able to appreciate anything that ever might come my way.

0:34:42.880 --> 0:34:47.680
<v Speaker 1>Uh good, if I didn't have the times when it

0:34:47.840 --> 0:34:51.279
<v Speaker 1>was withheld from me for whatever reason. You know, do

0:34:51.360 --> 0:34:55.320
<v Speaker 1>you think because something I've struggled with? Do you think

0:34:55.360 --> 0:35:01.480
<v Speaker 1>that you didn't know how to be happy until you

0:35:01.600 --> 0:35:03.840
<v Speaker 1>really felt what it was like to be sad and

0:35:03.880 --> 0:35:05.000
<v Speaker 1>you really didn't know what it was like to be

0:35:05.080 --> 0:35:11.200
<v Speaker 1>sad until you really got sad. Oh? I do think

0:35:11.239 --> 0:35:18.879
<v Speaker 1>that the two create attention that is necessary. Ah. And

0:35:18.920 --> 0:35:20.840
<v Speaker 1>you know, for me, the way I the way I

0:35:21.200 --> 0:35:27.359
<v Speaker 1>see that, the way I interpret that is that, ah,

0:35:27.640 --> 0:35:32.600
<v Speaker 1>it's okay to be sad, and it's okay to be angry,

0:35:33.040 --> 0:35:38.680
<v Speaker 1>and it's okay to be lonely. Um. I don't think

0:35:38.680 --> 0:35:42.480
<v Speaker 1>that the way we all get hit from all sides

0:35:42.480 --> 0:35:48.239
<v Speaker 1>with advertisements and you know, everything from social media to

0:35:48.960 --> 0:35:53.520
<v Speaker 1>TV and whatnot. You know, we're not necessarily encouraged on

0:35:53.560 --> 0:35:57.239
<v Speaker 1>a daily basis to be anything short of happy, and

0:35:57.280 --> 0:35:59.000
<v Speaker 1>we sort of you know. I mean, if you look

0:35:59.040 --> 0:36:01.239
<v Speaker 1>at my Instagram fee, you would think that I have

0:36:01.320 --> 0:36:06.399
<v Speaker 1>the most charmed life there ever was. And so we're

0:36:06.400 --> 0:36:10.080
<v Speaker 1>all on these phones like swiping down and seeing everybody

0:36:10.120 --> 0:36:13.319
<v Speaker 1>else's rock star version of their life and thinking, well,

0:36:13.360 --> 0:36:18.600
<v Speaker 1>why isn't that me? And the truth is, man, that

0:36:18.800 --> 0:36:21.279
<v Speaker 1>is you, and that's them too. But if you if

0:36:21.320 --> 0:36:25.239
<v Speaker 1>you got past the social media feed, there's also all

0:36:25.239 --> 0:36:27.439
<v Speaker 1>these other things, and it's okay to feel those things.

0:36:27.440 --> 0:36:34.000
<v Speaker 1>And if you don't let those things process themselves. I'd

0:36:34.000 --> 0:36:38.920
<v Speaker 1>take a boxing class every week if I can, religiously,

0:36:39.040 --> 0:36:43.120
<v Speaker 1>because I don't care what it is, if it's unfounded

0:36:43.200 --> 0:36:46.160
<v Speaker 1>or not. I find that if I spend an hour

0:36:46.800 --> 0:36:50.920
<v Speaker 1>punching the air and punching the the midst of the instructor,

0:36:51.400 --> 0:36:55.279
<v Speaker 1>a week, I work out whatever frustrations I have in

0:36:55.360 --> 0:36:58.600
<v Speaker 1>my week goes better, you know. And if I don't

0:36:58.640 --> 0:37:00.879
<v Speaker 1>do it, I haven't I end up having a weird week.

0:37:02.040 --> 0:37:04.719
<v Speaker 1>We are made to process all these things, and I

0:37:04.800 --> 0:37:06.880
<v Speaker 1>know how like I know, I go deep on this stuff,

0:37:06.880 --> 0:37:10.600
<v Speaker 1>but check this out. Up until about fifty years ago,

0:37:12.320 --> 0:37:16.279
<v Speaker 1>if you were a human being on this planet, to

0:37:16.360 --> 0:37:21.319
<v Speaker 1>keep your housewarming winter, you have to chop firewood pretty much,

0:37:21.400 --> 0:37:22.600
<v Speaker 1>you know what I'm saying, Or at least two a

0:37:22.680 --> 0:37:25.800
<v Speaker 1>hundred years ago, you had to get out and swinging

0:37:25.880 --> 0:37:29.480
<v Speaker 1>acts for a couple of hours every day, and and

0:37:29.600 --> 0:37:32.799
<v Speaker 1>anger releases itself physically, and that's a healthy way to

0:37:32.800 --> 0:37:36.840
<v Speaker 1>get rid of that anger. If somebody died, you didn't

0:37:36.880 --> 0:37:39.680
<v Speaker 1>send them, you didn't call the corner. You you put

0:37:39.719 --> 0:37:41.479
<v Speaker 1>them up in the house and hope that the body

0:37:41.520 --> 0:37:44.040
<v Speaker 1>didn't smell bad. And then you and your friends down

0:37:44.120 --> 0:37:46.279
<v Speaker 1>the street got out the shovels and dug the hole

0:37:46.320 --> 0:37:49.279
<v Speaker 1>and buried your friend or your family member. And the

0:37:49.360 --> 0:37:54.239
<v Speaker 1>sadness was forced you had. You were forced to process

0:37:54.320 --> 0:37:57.200
<v Speaker 1>those emotions. And it was okay to process those emotions

0:37:57.239 --> 0:38:00.000
<v Speaker 1>because it was a part of daily life. But today

0:38:00.160 --> 0:38:03.480
<v Speaker 1>we're insulated from all of that and we're encouraged to

0:38:03.480 --> 0:38:05.400
<v Speaker 1>be happy all the time. And I'm sorry, but that

0:38:05.520 --> 0:38:08.000
<v Speaker 1>just isn't It's what you said you In order to

0:38:08.000 --> 0:38:10.440
<v Speaker 1>really know happiness and feel it, you you have to

0:38:10.440 --> 0:38:14.719
<v Speaker 1>know the other emotions too. So you think because they

0:38:14.760 --> 0:38:18.440
<v Speaker 1>did more exertion back in the day they were able

0:38:18.480 --> 0:38:21.000
<v Speaker 1>to get more feelings out. Well, I just think it

0:38:21.080 --> 0:38:26.520
<v Speaker 1>was a more natural use of our our bodies and

0:38:26.600 --> 0:38:29.360
<v Speaker 1>our our daily routines. You know, I've never heard the

0:38:29.360 --> 0:38:31.680
<v Speaker 1>theory before. I think it's interesting theory. I mean, who knows.

0:38:31.719 --> 0:38:34.600
<v Speaker 1>I mean, a scientist can call in at any moment.

0:38:36.320 --> 0:38:38.319
<v Speaker 1>I know, I just say, and once it's once, it's out.

0:38:38.520 --> 0:38:40.719
<v Speaker 1>But I'm really you know, that's that's kind of how

0:38:40.760 --> 0:38:43.880
<v Speaker 1>I see it, you know, And I try to I

0:38:44.000 --> 0:38:46.680
<v Speaker 1>try to do what I can to mimic what I

0:38:46.680 --> 0:38:50.480
<v Speaker 1>imagine would be those natural things. And music is a

0:38:50.520 --> 0:38:55.719
<v Speaker 1>great thing for I mean, you talked about working through

0:38:55.760 --> 0:38:59.360
<v Speaker 1>sad stuff, but I would say you you probably agree

0:38:59.360 --> 0:39:03.560
<v Speaker 1>that you're fair happy right now. I think I'm an

0:39:04.360 --> 0:39:06.840
<v Speaker 1>I just don't know if there's ever for me happiness.

0:39:08.440 --> 0:39:10.279
<v Speaker 1>I don't know if it's real. Well, let's say this,

0:39:10.719 --> 0:39:13.120
<v Speaker 1>on a given night, you're feeling good, you're feeling happy.

0:39:13.160 --> 0:39:15.960
<v Speaker 1>Have you ever listened to sad music when you're happy? Oh? Yeah,

0:39:17.360 --> 0:39:19.480
<v Speaker 1>that's my favorite music. Listen to what I'm happy And

0:39:19.560 --> 0:39:21.520
<v Speaker 1>some of the happiest people I know love sad long

0:39:21.640 --> 0:39:23.920
<v Speaker 1>some music. And I think music is one of those

0:39:23.960 --> 0:39:26.520
<v Speaker 1>natural things. I don't feel as alone when I listened

0:39:26.520 --> 0:39:29.880
<v Speaker 1>to sad music. And I think that's why most of

0:39:29.880 --> 0:39:34.560
<v Speaker 1>my library, right is that like a BPMO, like to hey,

0:39:34.960 --> 0:39:36.560
<v Speaker 1>one of two of the most powerful words in the

0:39:36.600 --> 0:39:40.440
<v Speaker 1>English language, me too. That's what music is, sad music,

0:39:40.520 --> 0:39:43.239
<v Speaker 1>especially it's Merl Haggard is Merl Haggard because he wrote

0:39:43.239 --> 0:39:47.520
<v Speaker 1>all these great songs saying, yeah, you had a crappy day,

0:39:47.719 --> 0:39:52.719
<v Speaker 1>me too, you're in prison, me too, you're your mom

0:39:52.760 --> 0:39:58.000
<v Speaker 1>and dad, me too. You know it's like, yes, yes,

0:39:58.960 --> 0:40:01.399
<v Speaker 1>some I'm with you. That's what That's what music is.

0:40:01.480 --> 0:40:04.120
<v Speaker 1>Somebody's saying I'm with you, man. No. That's why real

0:40:04.280 --> 0:40:08.480
<v Speaker 1>authentic music cuts through too, because then the everyday landscape

0:40:08.560 --> 0:40:12.279
<v Speaker 1>everyone seems so pristine because we have social media, we

0:40:12.320 --> 0:40:14.560
<v Speaker 1>have what everyone's trying to put out there, so we

0:40:14.600 --> 0:40:16.840
<v Speaker 1>don't see what's really happening. We know what's happened with us,

0:40:16.840 --> 0:40:20.400
<v Speaker 1>and we think that this is some sort of anomaly,

0:40:20.520 --> 0:40:22.319
<v Speaker 1>like we have the only crappy stuff happening to us

0:40:22.320 --> 0:40:24.040
<v Speaker 1>because we don't hear about anybody else's, we don't see

0:40:24.080 --> 0:40:26.879
<v Speaker 1>about anybody else, and so there isn't that me too.

0:40:27.000 --> 0:40:32.440
<v Speaker 1>Until you get music and you actually here and feel

0:40:32.480 --> 0:40:35.400
<v Speaker 1>the vulnerability of someone and there's happiness me too, And

0:40:35.440 --> 0:40:36.920
<v Speaker 1>I think you have to go happy. I don't know that.

0:40:37.000 --> 0:40:39.200
<v Speaker 1>I don't think that's such thing as the one through ten.

0:40:39.360 --> 0:40:41.480
<v Speaker 1>And I never say ten and anything. I don't think

0:40:41.520 --> 0:40:44.799
<v Speaker 1>there's a ten. I think I'm probably the best I've

0:40:44.800 --> 0:40:48.720
<v Speaker 1>been in a long time. If normal it's a five,

0:40:48.760 --> 0:40:51.040
<v Speaker 1>I'm at a five point one. That's at that point.

0:40:51.040 --> 0:40:54.480
<v Speaker 1>One is a big jump for me, just because again,

0:40:54.560 --> 0:40:58.200
<v Speaker 1>like I think it's a grind forward to prove people's

0:40:58.239 --> 0:41:06.920
<v Speaker 1>expectations right. Yes, yes, not wrong. The people that men

0:41:07.040 --> 0:41:10.520
<v Speaker 1>have many detractors, many that want to see me fail

0:41:10.560 --> 0:41:12.600
<v Speaker 1>because I'm just not the system that's in personal against me.

0:41:12.600 --> 0:41:14.640
<v Speaker 1>But I'm not the system that's been here forever. I

0:41:14.680 --> 0:41:16.920
<v Speaker 1>don't care about them. But it's people that said, hey,

0:41:16.920 --> 0:41:18.239
<v Speaker 1>we have faith in you. Those are the ones that

0:41:18.280 --> 0:41:20.560
<v Speaker 1>you want to prove right. It's other people to prove wrong. Yeah,

0:41:21.200 --> 0:41:23.960
<v Speaker 1>But you know what, even just getting to that point

0:41:25.560 --> 0:41:29.360
<v Speaker 1>is takes most of some people's journeys. We're all on

0:41:29.400 --> 0:41:31.719
<v Speaker 1>the journey. And I mean I would ask this of you,

0:41:32.360 --> 0:41:35.759
<v Speaker 1>Uh is it when you when you don't want to

0:41:35.800 --> 0:41:42.359
<v Speaker 1>say definitively happy, our happiness. Is there some element there

0:41:43.239 --> 0:41:45.680
<v Speaker 1>that for you? I mean, and it's in your mantra

0:41:45.840 --> 0:41:47.680
<v Speaker 1>I means fight, ground, repeat. I mean, is it that

0:41:47.719 --> 0:41:50.200
<v Speaker 1>you're waking up every day going I want to try again,

0:41:50.360 --> 0:41:53.279
<v Speaker 1>I gotta prove it again. Yeah. I have what has

0:41:53.320 --> 0:41:57.160
<v Speaker 1>been called imposter syndrome, where you don't really feel like

0:41:57.200 --> 0:41:59.680
<v Speaker 1>you should be where you are, like you think you're

0:41:59.760 --> 0:42:01.279
<v Speaker 1>you know, eventually you're gonna get caught like I do.

0:42:01.360 --> 0:42:03.040
<v Speaker 1>I feel like I've been robbing, robbing banks for ten

0:42:03.120 --> 0:42:06.319
<v Speaker 1>years and someone's gonna be Okay, you're not really that good,

0:42:06.360 --> 0:42:07.799
<v Speaker 1>so let's go ahead. You've been a fake the whole time.

0:42:07.800 --> 0:42:09.719
<v Speaker 1>I was going to pull you back a bit. I've

0:42:09.760 --> 0:42:12.840
<v Speaker 1>I've felt that too. I've struggled with that too. I

0:42:12.880 --> 0:42:15.960
<v Speaker 1>still do, and I still have my days where I

0:42:16.000 --> 0:42:18.880
<v Speaker 1>really have to you know, I have some routines in

0:42:18.960 --> 0:42:24.160
<v Speaker 1>place to help me with that. But I don't know

0:42:24.200 --> 0:42:27.000
<v Speaker 1>anybody in this town and in the music business who

0:42:27.080 --> 0:42:30.279
<v Speaker 1>doesn't at some point feel imposter syndrome. Because I mean,

0:42:30.440 --> 0:42:32.239
<v Speaker 1>you and I could go to any of the restaurants

0:42:32.320 --> 0:42:35.640
<v Speaker 1>right now and the person who'd come up and pour

0:42:35.719 --> 0:42:40.319
<v Speaker 1>our water is probably a world class singer songwriter chances are,

0:42:42.200 --> 0:42:46.440
<v Speaker 1>you know, and and that can be both a good

0:42:46.480 --> 0:42:52.239
<v Speaker 1>and a bad influence on someone in this town. You know,

0:42:52.320 --> 0:43:00.160
<v Speaker 1>do you believe in luck? I believe in Yeah. I

0:43:00.200 --> 0:43:02.520
<v Speaker 1>think there's I mean, I think there's lucky breaks. I

0:43:02.560 --> 0:43:05.120
<v Speaker 1>think there's I mean, I like to call it coinci

0:43:05.200 --> 0:43:12.040
<v Speaker 1>God because it's I think, you know, ah, I mean,

0:43:12.960 --> 0:43:14.960
<v Speaker 1>they say they don't talk politics and religion. I'm just

0:43:14.960 --> 0:43:17.359
<v Speaker 1>gonna say this. I am a Christian, but I'm not

0:43:18.280 --> 0:43:22.000
<v Speaker 1>I don't often identify with the angry yelling I hate

0:43:22.040 --> 0:43:24.880
<v Speaker 1>everybody who isn't like me version of my faith that

0:43:24.920 --> 0:43:28.440
<v Speaker 1>I sometimes see on TV, and that makes me sad. Um.

0:43:28.480 --> 0:43:31.720
<v Speaker 1>But I think that in the way that a twelve

0:43:31.760 --> 0:43:36.360
<v Speaker 1>Step program comes out of the gate saying we believe

0:43:36.360 --> 0:43:41.799
<v Speaker 1>in a higher power, it's not any particular religion that

0:43:41.840 --> 0:43:44.360
<v Speaker 1>they're trying to get at, and they welcome they just

0:43:45.600 --> 0:43:55.360
<v Speaker 1>they the twelve Step program places great importance on believing

0:43:55.400 --> 0:43:58.319
<v Speaker 1>in in a divine hand, believing in something that's sort

0:43:58.360 --> 0:44:03.560
<v Speaker 1>of greater than ourselves. And um, and I think that

0:44:04.480 --> 0:44:09.520
<v Speaker 1>luck is a thing, but I believe it's cousins with

0:44:12.760 --> 0:44:15.719
<v Speaker 1>it's you know, you could say that brothers Osborne are

0:44:15.840 --> 0:44:19.920
<v Speaker 1>lucky but I know knowing John, He's one of the

0:44:19.920 --> 0:44:21.960
<v Speaker 1>first people I met when I moved to town. And

0:44:22.920 --> 0:44:26.280
<v Speaker 1>I know how hard the and TJ have worked, and

0:44:26.520 --> 0:44:28.560
<v Speaker 1>I can make a case for him not being lucky,

0:44:29.400 --> 0:44:32.320
<v Speaker 1>but the but the truth is they've worked really hard

0:44:32.520 --> 0:44:36.759
<v Speaker 1>and some really cool coincidences have also happened, and it

0:44:36.840 --> 0:44:39.239
<v Speaker 1>all adds up to something that one person might call

0:44:39.320 --> 0:44:43.120
<v Speaker 1>luck and one person might just call man. They they

0:44:43.560 --> 0:44:47.200
<v Speaker 1>freaking did it? You know, and and you know both

0:44:47.200 --> 0:44:50.960
<v Speaker 1>are true. Both are true, I think. I mean in

0:44:51.000 --> 0:44:53.239
<v Speaker 1>their case, they know how hard they worked and how

0:44:53.280 --> 0:44:59.360
<v Speaker 1>talented they are. And John's here for at this point,

0:45:00.080 --> 0:45:01.920
<v Speaker 1>and so I didn't know. I was having dinner with

0:45:02.000 --> 0:45:08.279
<v Speaker 1>John somewhat recently, and you guys played together, and I'm

0:45:08.320 --> 0:45:09.640
<v Speaker 1>a fan of both of you guys, and we were

0:45:09.680 --> 0:45:11.719
<v Speaker 1>and I was talking about you, and he was like, yeah, Charlie,

0:45:11.680 --> 0:45:14.359
<v Speaker 1>I used to play together. But and somebody else played

0:45:14.400 --> 0:45:18.800
<v Speaker 1>in that band too. Uh Matt Utterback who plays bass

0:45:18.800 --> 0:45:25.080
<v Speaker 1>for Hunter Hayes, Uh, Donnie fall Gator, Josh Mtheeny. Josh

0:45:25.160 --> 0:45:27.520
<v Speaker 1>is in a band called Steel Union, and so was Donnie.

0:45:28.000 --> 0:45:34.000
<v Speaker 1>And Josh also writes for Curb Uh, Kevin Weaver and

0:45:34.360 --> 0:45:37.480
<v Speaker 1>Kevin is one of my favorite human beings and he's

0:45:37.480 --> 0:45:42.319
<v Speaker 1>played drums for just about everybody. Uh, but yeah, that

0:45:42.440 --> 0:45:44.160
<v Speaker 1>we were all on this band together, and the band

0:45:45.920 --> 0:45:49.080
<v Speaker 1>you and John Osborne in the same band, which is

0:45:50.360 --> 0:45:53.279
<v Speaker 1>just as guitar players like you guys are a different level.

0:45:54.480 --> 0:45:57.759
<v Speaker 1>Oh well I was. I was kind of utility acoustic,

0:45:58.000 --> 0:46:01.880
<v Speaker 1>so I played you were the utility to think about it,

0:46:03.080 --> 0:46:06.520
<v Speaker 1>but I always borrowed John stratocaster his first electric and

0:46:06.600 --> 0:46:10.000
<v Speaker 1>I eventually bought it from him. But let's be honest,

0:46:10.120 --> 0:46:13.799
<v Speaker 1>that's his guitar forever. I'm just holding onto it for

0:46:13.840 --> 0:46:16.600
<v Speaker 1>a while, you know. But yeah, what are you thinking

0:46:16.560 --> 0:46:19.279
<v Speaker 1>about John as a player? Like what comes to mind?

0:46:19.320 --> 0:46:26.239
<v Speaker 1>Style wise? Well, he he built his foundation on the

0:46:26.280 --> 0:46:30.400
<v Speaker 1>true great players, all that go all the way back,

0:46:30.800 --> 0:46:35.400
<v Speaker 1>and he is a master, uh scholar of the true

0:46:35.600 --> 0:46:40.640
<v Speaker 1>original greats. He's not founded on his playing isn't founded

0:46:40.640 --> 0:46:44.400
<v Speaker 1>on something new. It's the new and his playing is

0:46:44.480 --> 0:46:47.839
<v Speaker 1>his own voice. And I think that's what makes him

0:46:47.880 --> 0:46:50.520
<v Speaker 1>really great. And I say what I'm what I'm getting

0:46:50.560 --> 0:46:57.160
<v Speaker 1>at is John is on a path that lands a

0:46:57.280 --> 0:47:04.240
<v Speaker 1>guy and Keith Richard's territory or Brian may territory or

0:47:05.080 --> 0:47:08.480
<v Speaker 1>Angus Young or Malcolm Young territory, which goes to say,

0:47:08.880 --> 0:47:11.560
<v Speaker 1>those are all guitar players that you don't have to

0:47:11.560 --> 0:47:14.480
<v Speaker 1>know much about guitar, but you know it's Keith Richards.

0:47:14.520 --> 0:47:16.480
<v Speaker 1>And if you don't know his name, you know it's

0:47:16.480 --> 0:47:18.800
<v Speaker 1>the Rolling Stones because you hear Keith Richards and nobody

0:47:18.800 --> 0:47:21.080
<v Speaker 1>plays guitar like Keith Richards. Are you hearing a C

0:47:21.200 --> 0:47:23.120
<v Speaker 1>D C song and you know that's Anguish Young even

0:47:23.160 --> 0:47:25.080
<v Speaker 1>if you don't know his name, just because the guitar,

0:47:25.280 --> 0:47:29.320
<v Speaker 1>the actual player has such an original voice. And John

0:47:31.080 --> 0:47:35.439
<v Speaker 1>is becoming an iconic player. He's not becoming a really

0:47:35.480 --> 0:47:38.359
<v Speaker 1>good player. He was that a long time ago. He's

0:47:38.400 --> 0:47:41.440
<v Speaker 1>becoming John Osborne. You know already their records, You know

0:47:41.480 --> 0:47:45.680
<v Speaker 1>their records not just by TJ's voice, but by his fingers,

0:47:45.840 --> 0:47:49.239
<v Speaker 1>John's fingers, his playing and uh and I mean he's

0:47:49.239 --> 0:47:51.359
<v Speaker 1>been an influence on me. I've always thought of him

0:47:51.360 --> 0:47:54.360
<v Speaker 1>as a big brother because when I showed up in

0:47:54.360 --> 0:47:56.279
<v Speaker 1>the town, he had been in town two or three years,

0:47:56.280 --> 0:48:00.720
<v Speaker 1>and and if we had off time or he played

0:48:00.719 --> 0:48:02.040
<v Speaker 1>something that sounds you could be like, oh can you

0:48:02.080 --> 0:48:03.880
<v Speaker 1>show me that? You know. So he's been one of

0:48:03.920 --> 0:48:07.480
<v Speaker 1>my teachers over the years. Um, I couldn't love him

0:48:07.520 --> 0:48:10.880
<v Speaker 1>more as a player or as a human being. You

0:48:10.920 --> 0:48:17.160
<v Speaker 1>and Vince hell have a relationship? Yeah, how did that start? Oh? Man? Uh? Well,

0:48:17.400 --> 0:48:19.759
<v Speaker 1>my parents are big Vince fans and they went to

0:48:19.760 --> 0:48:22.439
<v Speaker 1>see him probably ten times when I was a kid,

0:48:22.520 --> 0:48:27.760
<v Speaker 1>and ah, and he became quickly became a main influence.

0:48:27.800 --> 0:48:32.400
<v Speaker 1>I call him my north star. And uh, my first

0:48:32.400 --> 0:48:38.400
<v Speaker 1>time to really interact with him, he was playing and

0:48:38.400 --> 0:48:40.360
<v Speaker 1>singing as a guest on my first record, on a

0:48:40.400 --> 0:48:44.239
<v Speaker 1>song called Tools of the Trade. And it wasn't too

0:48:44.280 --> 0:49:10.400
<v Speaker 1>long after that that we cross paths again. And oh yeah,

0:49:10.520 --> 0:49:13.560
<v Speaker 1>how did you get vincec you on that song? You know?

0:49:13.680 --> 0:49:17.439
<v Speaker 1>The funny thing about that story is that I want

0:49:17.440 --> 0:49:23.200
<v Speaker 1>to say a guy named John Grady h is the one.

0:49:23.840 --> 0:49:26.759
<v Speaker 1>This may be memory failing me, but he's he's old

0:49:26.800 --> 0:49:30.360
<v Speaker 1>friends with Vince and and my my team and I

0:49:30.440 --> 0:49:34.040
<v Speaker 1>were asking around to try to see if he would

0:49:34.080 --> 0:49:36.879
<v Speaker 1>do it. And I think it was as simple as

0:49:37.040 --> 0:49:39.880
<v Speaker 1>as me getting Vince's number and John going if it

0:49:39.920 --> 0:49:42.279
<v Speaker 1>wasn't John. What I remember is John said here when

0:49:42.440 --> 0:49:45.040
<v Speaker 1>because they basically somebody gave me Vince's number and said

0:49:45.040 --> 0:49:47.160
<v Speaker 1>call him. So of course I'm thinking, well, this is

0:49:47.239 --> 0:49:49.799
<v Speaker 1>my hero. I'm gonna call my just call him, just

0:49:49.840 --> 0:49:53.879
<v Speaker 1>cold call this guy. Okay, sure? And uh and if

0:49:53.920 --> 0:49:55.759
<v Speaker 1>it wasn't John who gave the number, I remember him

0:49:55.800 --> 0:49:59.359
<v Speaker 1>saying he probably won't answer, but I guarantee her call back.

0:49:59.640 --> 0:50:02.959
<v Speaker 1>Like he might not be able to pick up the phone,

0:50:02.960 --> 0:50:05.160
<v Speaker 1>but he'll call you back. He calls, and I've since

0:50:05.200 --> 0:50:08.000
<v Speaker 1>found out that he is a he's a telephone call guy.

0:50:08.360 --> 0:50:12.080
<v Speaker 1>He's not really a Texter, you know. And uh so

0:50:12.160 --> 0:50:15.160
<v Speaker 1>I called Vince and I left the most awkward voicemail

0:50:15.200 --> 0:50:19.800
<v Speaker 1>and the history of voicemails. And next day he calls

0:50:19.840 --> 0:50:23.040
<v Speaker 1>me back and we set up a time and now

0:50:23.040 --> 0:50:26.120
<v Speaker 1>I'm headed to his house to his studio and and

0:50:26.120 --> 0:50:30.239
<v Speaker 1>it and it happens, and you know, time goes by,

0:50:30.280 --> 0:50:33.399
<v Speaker 1>and the next thing I remember was getting to uh

0:50:33.600 --> 0:50:37.239
<v Speaker 1>see him at the opry. Uh and then he did

0:50:37.280 --> 0:50:40.359
<v Speaker 1>this really cool thing. You know, anybody that doesn't know,

0:50:41.040 --> 0:50:43.120
<v Speaker 1>if you know Vince, you already know this. But if

0:50:43.160 --> 0:50:47.120
<v Speaker 1>if you don't know Vince, he is the most gracious

0:50:47.320 --> 0:50:53.400
<v Speaker 1>and pay it forward human being in country music period.

0:50:53.840 --> 0:50:56.719
<v Speaker 1>He has always lifting someone up and mentoring someone. It's

0:50:56.840 --> 0:51:01.439
<v Speaker 1>guesting on someone's record, and uh, and he decided, rather

0:51:01.480 --> 0:51:05.279
<v Speaker 1>than just go do his normal tour, he would do

0:51:05.719 --> 0:51:09.640
<v Speaker 1>a couple of runs where he brought out Ashton Monroe,

0:51:11.120 --> 0:51:14.200
<v Speaker 1>Jenny Gill and myself and Vince would sing a few

0:51:14.200 --> 0:51:16.640
<v Speaker 1>songs and then we'd each sing a few songs all

0:51:16.680 --> 0:51:20.560
<v Speaker 1>in one show and being a band together. And so then,

0:51:20.640 --> 0:51:22.200
<v Speaker 1>you know, a couple of years go by. Now I'm

0:51:22.239 --> 0:51:25.360
<v Speaker 1>on a bus with my hero and sharing the stage

0:51:25.360 --> 0:51:27.200
<v Speaker 1>with him. And I remember Greg Almand came to one

0:51:27.200 --> 0:51:29.200
<v Speaker 1>of the shows and I'm sitting here playing. I'm looking

0:51:29.200 --> 0:51:31.719
<v Speaker 1>over and there's Greg Almand. I'm going, holy crap, you know,

0:51:32.280 --> 0:51:34.440
<v Speaker 1>and uh. And then we just got to know each

0:51:34.480 --> 0:51:36.880
<v Speaker 1>other better and better. And it never quite feels normal

0:51:36.920 --> 0:51:41.359
<v Speaker 1>because he's my hero, but it's comfortable and and he's

0:51:41.400 --> 0:51:44.360
<v Speaker 1>a true mentor and a true friend, and I can

0:51:45.680 --> 0:51:48.319
<v Speaker 1>reach out to him for advice and and he he'll

0:51:48.360 --> 0:51:50.799
<v Speaker 1>call me to do gigs. A couple of weekends ago,

0:51:50.840 --> 0:51:52.760
<v Speaker 1>I was out on the road as his guitar player.

0:51:52.800 --> 0:51:56.120
<v Speaker 1>And I guarantee you he does not need he doesn't

0:51:56.120 --> 0:51:58.319
<v Speaker 1>need me to help him on guitar. He doesn't need

0:51:58.360 --> 0:52:01.360
<v Speaker 1>another guitar player. He's good and if he does, you know,

0:52:01.480 --> 0:52:03.760
<v Speaker 1>the guys that he normally has in his band or

0:52:04.120 --> 0:52:07.120
<v Speaker 1>world class. But but I think he just has this

0:52:07.480 --> 0:52:14.880
<v Speaker 1>intuition and this desire to find people who are up

0:52:14.920 --> 0:52:18.520
<v Speaker 1>and coming and give them a little boost and give

0:52:18.560 --> 0:52:22.359
<v Speaker 1>him some confidence and a leg up. And and does

0:52:22.360 --> 0:52:27.680
<v Speaker 1>that motivate you want to be that person? Absolutely? Absolutely? Uh?

0:52:28.800 --> 0:52:31.840
<v Speaker 1>And And for me, it's it's it's it. It looks different,

0:52:32.000 --> 0:52:36.200
<v Speaker 1>you know, but you know when when I if I'm

0:52:36.200 --> 0:52:38.600
<v Speaker 1>in a room events, he's been a lot further down

0:52:38.600 --> 0:52:39.800
<v Speaker 1>the road than I have. But if I'm in a

0:52:39.920 --> 0:52:42.920
<v Speaker 1>room with kids in a high school who are curious

0:52:42.920 --> 0:52:44.640
<v Speaker 1>about this, then I've been a lot further down the

0:52:44.719 --> 0:52:47.000
<v Speaker 1>road than them, you know. So that's maybe my version

0:52:47.040 --> 0:52:49.800
<v Speaker 1>of it. Or if it's somebody who literally just signed

0:52:49.840 --> 0:52:52.759
<v Speaker 1>up their first record deal or their first pub deal,

0:52:53.719 --> 0:52:56.960
<v Speaker 1>you know. Um And not in a way of hey listening,

0:52:57.200 --> 0:52:58.799
<v Speaker 1>listen here, kid, let me tell you how it is.

0:52:58.800 --> 0:53:01.960
<v Speaker 1>It's just more like, how are you feeling? How are

0:53:01.960 --> 0:53:04.480
<v Speaker 1>you you know, really seeing that person and looking him

0:53:04.480 --> 0:53:05.960
<v Speaker 1>in the eye, and like are you are you? You

0:53:06.080 --> 0:53:09.319
<v Speaker 1>hanging in there? You got any questions? You're good? You're good,

0:53:09.719 --> 0:53:14.359
<v Speaker 1>you know, um? And and and I get. Here's the deal, though,

0:53:14.760 --> 0:53:17.400
<v Speaker 1>I get more out of that than anybody. You you

0:53:17.440 --> 0:53:19.080
<v Speaker 1>talk about this in your book because you did the

0:53:19.080 --> 0:53:22.719
<v Speaker 1>scholarship in your hometown, and you were saying, you know

0:53:22.800 --> 0:53:25.879
<v Speaker 1>that you almost felt guilty about picking this other than

0:53:26.200 --> 0:53:29.840
<v Speaker 1>instead of some other thing. Oh man, you might have

0:53:29.880 --> 0:53:31.640
<v Speaker 1>heard me, because I was going, what are you talking about?

0:53:31.840 --> 0:53:35.080
<v Speaker 1>Talking out loud to you reading your book. Uh, you

0:53:35.120 --> 0:53:38.520
<v Speaker 1>weren't anywhere near at the moment. You can hear. But

0:53:38.520 --> 0:53:41.080
<v Speaker 1>but it was this thing where no, man, that's exactly

0:53:41.120 --> 0:53:44.439
<v Speaker 1>what you should do, because nobody knows that journey better

0:53:44.480 --> 0:53:46.040
<v Speaker 1>than you. If you go to your old high school

0:53:46.600 --> 0:53:49.040
<v Speaker 1>and you see a kid that you helped pick, I mean,

0:53:49.160 --> 0:53:52.400
<v Speaker 1>come on, man, that's and this goes into my theory

0:53:52.400 --> 0:53:54.880
<v Speaker 1>about chopping wood and burying the people down the street.

0:53:55.480 --> 0:54:01.120
<v Speaker 1>Is it's natural to want to form low community and

0:54:01.280 --> 0:54:04.520
<v Speaker 1>local even though you're not in Arkansas right now, that's

0:54:04.520 --> 0:54:06.560
<v Speaker 1>still your local community. You grew up in it, you

0:54:06.600 --> 0:54:10.239
<v Speaker 1>know it better than anybody, and so you are uniquely

0:54:11.960 --> 0:54:18.120
<v Speaker 1>able to help. For my whole issue was if, like

0:54:18.320 --> 0:54:20.520
<v Speaker 1>Charlie talking about, was so with me. When I would

0:54:20.560 --> 0:54:22.560
<v Speaker 1>find things to help, I would start to feel guilty

0:54:22.560 --> 0:54:25.359
<v Speaker 1>because I was only helping things that kind of helped me,

0:54:26.440 --> 0:54:29.840
<v Speaker 1>And so there was a lot of I'm only doing

0:54:29.880 --> 0:54:34.120
<v Speaker 1>this because this certain X helped me whenever I was

0:54:34.200 --> 0:54:36.800
<v Speaker 1>a kid. You know, I I helped kids get glasses

0:54:36.800 --> 0:54:38.799
<v Speaker 1>and see because I needed help to see when I

0:54:38.840 --> 0:54:40.680
<v Speaker 1>was a kid. So there was this guilt that came

0:54:40.719 --> 0:54:43.600
<v Speaker 1>along with that, like I'm only helping me, and I

0:54:43.640 --> 0:54:45.799
<v Speaker 1>still struggle with that. It's like, why am I only

0:54:45.840 --> 0:54:48.560
<v Speaker 1>helping I go to hospitals, I do musicians on called.

0:54:48.640 --> 0:54:49.920
<v Speaker 1>I was in the hospital for a long time as

0:54:49.920 --> 0:54:53.520
<v Speaker 1>a kid. Yeah, and so it's like I think I wrote,

0:54:53.520 --> 0:54:56.520
<v Speaker 1>why don't I just help birds? You know, I've never

0:54:57.080 --> 0:54:58.759
<v Speaker 1>not affected by any birds. Why don't I just help

0:54:58.800 --> 0:55:02.480
<v Speaker 1>birds that are strong link to live? It's it's a

0:55:02.600 --> 0:55:07.160
<v Speaker 1>it's a weird thing to feel selfish from giving, and

0:55:07.160 --> 0:55:10.879
<v Speaker 1>there's that there's a guilt behind it. But yeah, that's

0:55:10.880 --> 0:55:13.560
<v Speaker 1>for me. That's a struggle for me. I wish it weren't.

0:55:13.880 --> 0:55:17.359
<v Speaker 1>I know what you mean, But the way I see

0:55:17.400 --> 0:55:19.600
<v Speaker 1>it is that you're doing exactly what you should do.

0:55:19.680 --> 0:55:23.120
<v Speaker 1>That's I mean, it'd be it'd be like we're sitting

0:55:23.120 --> 0:55:26.120
<v Speaker 1>here talking about how great events is for giving young

0:55:26.440 --> 0:55:30.919
<v Speaker 1>singers and songwriters a leg up. It wouldn't quite make

0:55:31.000 --> 0:55:33.560
<v Speaker 1>sense if all of a sudden everything he did had

0:55:33.680 --> 0:55:37.400
<v Speaker 1>something to do with vaccinations in this remote corner of

0:55:37.400 --> 0:55:39.799
<v Speaker 1>the world, because you're thinking, well, events and I don't.

0:55:39.880 --> 0:55:43.080
<v Speaker 1>I don't get it. You know, he's he he has

0:55:44.120 --> 0:55:49.160
<v Speaker 1>this god given talent, and while he's used it in

0:55:49.239 --> 0:55:53.120
<v Speaker 1>many ways that are amazing, and writing songs like go

0:55:53.239 --> 0:55:55.480
<v Speaker 1>rest Town on that Mountain and the songs he's written

0:55:55.480 --> 0:55:58.840
<v Speaker 1>in tribute to Merle Haggard and George Jones and his

0:55:58.960 --> 0:56:01.880
<v Speaker 1>father and have help so many people that to me

0:56:01.960 --> 0:56:04.040
<v Speaker 1>is one of the best ways to use your talent.

0:56:04.880 --> 0:56:06.759
<v Speaker 1>It's also not a bad way to use your talent

0:56:06.840 --> 0:56:10.319
<v Speaker 1>to just go make cool records period, even if all

0:56:10.320 --> 0:56:14.640
<v Speaker 1>they're really If if one particular record is I feel

0:56:14.640 --> 0:56:17.280
<v Speaker 1>good and I want to tune out the world, awesome,

0:56:17.600 --> 0:56:19.759
<v Speaker 1>that still is using your talent for a positive thing.

0:56:19.760 --> 0:56:21.760
<v Speaker 1>But I think that the greatest use of the talent

0:56:21.880 --> 0:56:26.279
<v Speaker 1>is to take that expertise and and fold it back

0:56:26.320 --> 0:56:28.879
<v Speaker 1>into itself with someone else, which is what you do

0:56:29.400 --> 0:56:31.839
<v Speaker 1>with this stuff in your hometown because it's what you know.

0:56:32.640 --> 0:56:38.880
<v Speaker 1>You can sit at that hospital bedside and late to

0:56:39.200 --> 0:56:42.080
<v Speaker 1>the person in it better, the kid in it better

0:56:42.280 --> 0:56:44.960
<v Speaker 1>because you've you've been there, the way that Vince can

0:56:45.000 --> 0:56:50.600
<v Speaker 1>sit on a bus with me and encourage me at

0:56:50.640 --> 0:56:52.239
<v Speaker 1>two in the morning going down the highway to the

0:56:52.280 --> 0:56:56.120
<v Speaker 1>next gig because he's been in my shoes and that's

0:56:56.239 --> 0:56:57.920
<v Speaker 1>and so for me too. It's sort of like if

0:56:57.960 --> 0:57:01.480
<v Speaker 1>I do something, if I go to Berkeley and I

0:57:01.480 --> 0:57:04.000
<v Speaker 1>speak to Berkeley students, that's the best use of my

0:57:04.160 --> 0:57:08.719
<v Speaker 1>talent to do something charitable, you know, because I've been there.

0:57:10.120 --> 0:57:13.160
<v Speaker 1>When you see guys like John Mayer, who is my

0:57:13.239 --> 0:57:20.080
<v Speaker 1>favorite artist, Yeah, is he at a level it's so

0:57:20.160 --> 0:57:22.280
<v Speaker 1>much higher than these other players that you see a

0:57:22.320 --> 0:57:26.400
<v Speaker 1>right Like, is he, in your mind the best artist

0:57:26.520 --> 0:57:29.800
<v Speaker 1>player out there now? He is one of my favorites.

0:57:30.920 --> 0:57:34.640
<v Speaker 1>I gravitate to his songwriting as much as anything, but

0:57:34.720 --> 0:57:37.280
<v Speaker 1>that's not to discount as playing. And and I was

0:57:37.320 --> 0:57:39.800
<v Speaker 1>watching an interview I've also geeked out on all the

0:57:39.840 --> 0:57:44.360
<v Speaker 1>interviews he's ever done, and he was saying something about

0:57:44.400 --> 0:57:48.400
<v Speaker 1>his time at Berkeley, and he was looking at the

0:57:48.600 --> 0:57:50.880
<v Speaker 1>players around them, the other students, and they could do

0:57:50.920 --> 0:57:55.800
<v Speaker 1>all this little stuff. And he was sharing in the

0:57:55.840 --> 0:57:58.520
<v Speaker 1>interview that he had this inner dialogue with himself. Wow,

0:57:58.600 --> 0:58:01.720
<v Speaker 1>I could sit I could go learn these things and

0:58:01.760 --> 0:58:08.000
<v Speaker 1>play like this and probably played a ten twenty people max,

0:58:08.160 --> 0:58:11.800
<v Speaker 1>you know. Or I can take this knowledge and channel

0:58:11.840 --> 0:58:14.560
<v Speaker 1>it into a way that I can play for you know,

0:58:14.600 --> 0:58:21.720
<v Speaker 1>millions of people. And he's certainly to me for my

0:58:23.280 --> 0:58:29.520
<v Speaker 1>whatever bet I would place is that he's definitely in

0:58:29.680 --> 0:58:33.440
<v Speaker 1>his class as in high school class of artists. The

0:58:33.520 --> 0:58:40.320
<v Speaker 1>best bet too, as a player really become an iconic player.

0:58:40.360 --> 0:58:43.360
<v Speaker 1>People buy John Mayer records because of his guitar playing.

0:58:44.240 --> 0:58:50.560
<v Speaker 1>People by certain guitar pedals and certain guitars and models

0:58:50.560 --> 0:58:53.120
<v Speaker 1>of guitars because of John Mayer. So yeah, I mean

0:58:53.160 --> 0:58:56.040
<v Speaker 1>I think that proves that to be true. And but

0:58:56.160 --> 0:58:58.880
<v Speaker 1>the same is true of Ed Shearing, and Ed's playing

0:58:58.960 --> 0:59:02.600
<v Speaker 1>is totally different. You can compare Ed and John. Uh,

0:59:03.200 --> 0:59:06.000
<v Speaker 1>they're they're apples and oranges, you know. But John is certainly,

0:59:07.600 --> 0:59:10.680
<v Speaker 1>in my book, yeah, one of the best to me.

0:59:11.080 --> 0:59:14.439
<v Speaker 1>You know, when you have guys like you know, BB King,

0:59:14.600 --> 0:59:16.600
<v Speaker 1>or you could go down the list and they and

0:59:16.600 --> 0:59:18.120
<v Speaker 1>and he's the only guy in by that they can

0:59:18.160 --> 0:59:21.680
<v Speaker 1>play with them, that's right. I mean, Derek Trucks does

0:59:21.680 --> 0:59:25.800
<v Speaker 1>it too, you know. But but I don't know. There's

0:59:25.840 --> 0:59:29.600
<v Speaker 1>actually a little older than Mayor though maybe so you know,

0:59:29.640 --> 0:59:36.200
<v Speaker 1>I don't know, Hey Google, um, but you know he's

0:59:36.200 --> 0:59:39.240
<v Speaker 1>he's turning on a whole different audience. Then I'm not

0:59:39.280 --> 0:59:44.120
<v Speaker 1>a whole different audience. Um. And and here's the thing.

0:59:46.200 --> 0:59:49.920
<v Speaker 1>We're at least thirty years away from seeing if either

0:59:50.000 --> 0:59:53.400
<v Speaker 1>of them reach BB King or Earl Scrug status. And

0:59:53.400 --> 0:59:57.120
<v Speaker 1>by that, I just mean I'm sorry man, that probably

0:59:57.160 --> 1:00:00.840
<v Speaker 1>nobody since BB King has inspired were people to pick

1:00:00.920 --> 1:00:03.120
<v Speaker 1>up a guitar. Have you listened away to a John

1:00:03.120 --> 1:00:06.960
<v Speaker 1>Mayor and stuff? I haven't. I saw it and and

1:00:07.280 --> 1:00:10.120
<v Speaker 1>I grabbed it, and I have not made time to

1:00:10.120 --> 1:00:11.760
<v Speaker 1>listen to it. I don't want to halfway listen to it.

1:00:11.760 --> 1:00:14.160
<v Speaker 1>It's funny to hear the little baby King shout out.

1:00:14.320 --> 1:00:20.480
<v Speaker 1>He throws in, Yeah, Mike College is guy's younger than

1:00:20.560 --> 1:00:23.680
<v Speaker 1>John here? That's crazy. You know what he doesn't have

1:00:23.720 --> 1:00:26.040
<v Speaker 1>that he doesn't have the pop lineage to be on

1:00:26.080 --> 1:00:29.200
<v Speaker 1>the radio. And that's where that's what makes John and

1:00:29.280 --> 1:00:33.080
<v Speaker 1>unique animals his it's his songwriting sensibility and his playing

1:00:33.560 --> 1:00:38.720
<v Speaker 1>and his singing. And he also still lacks fifteen So yeah,

1:00:38.760 --> 1:00:41.960
<v Speaker 1>maybe that's why I was like he's young. It's funny,

1:00:42.000 --> 1:00:44.480
<v Speaker 1>he's he's come to Berkeley before. He came to Berkeley

1:00:44.480 --> 1:00:46.400
<v Speaker 1>when I was there and spoke and it was great.

1:00:46.520 --> 1:00:50.400
<v Speaker 1>And and he's even said things at times that contradict

1:00:51.520 --> 1:00:54.600
<v Speaker 1>investing in social media. Don't don't worry about that, just

1:00:55.160 --> 1:00:58.160
<v Speaker 1>get good. And that's true. I think I think that

1:00:58.240 --> 1:01:00.000
<v Speaker 1>was right for him to say, maybe to the audience

1:01:00.040 --> 1:01:02.920
<v Speaker 1>at the time, but you have to you can't deny

1:01:03.000 --> 1:01:08.480
<v Speaker 1>that he is a very savvy social media and he

1:01:08.520 --> 1:01:10.960
<v Speaker 1>knows he knows what he's doing. So you look around

1:01:10.960 --> 1:01:12.320
<v Speaker 1>now and then I want to get back to the

1:01:12.680 --> 1:01:14.200
<v Speaker 1>your record in a few minutes. But if you look

1:01:14.240 --> 1:01:16.760
<v Speaker 1>around now in Nashville, like, who do you see artist wise?

1:01:16.800 --> 1:01:19.479
<v Speaker 1>Player wise, We're like, okay, that's cool, that's cool. Maybe

1:01:19.480 --> 1:01:22.920
<v Speaker 1>even people will know him. I mean I have questioned

1:01:22.960 --> 1:01:25.480
<v Speaker 1>asking you're not forgetting anybody, but who comes to mind?

1:01:25.520 --> 1:01:27.200
<v Speaker 1>You look around, you go, okay, maybe that hasn't popped

1:01:27.280 --> 1:01:29.680
<v Speaker 1>quite yet, and I can see something there. Well, I

1:01:29.720 --> 1:01:33.800
<v Speaker 1>was gonna say John Osborne and the Brothers, but um,

1:01:34.000 --> 1:01:37.360
<v Speaker 1>people are starting to know about them, and and do

1:01:37.400 --> 1:01:43.400
<v Speaker 1>you know about them? Uh? This is tough because it

1:01:43.480 --> 1:01:50.600
<v Speaker 1>isn't on the spot. I mean, Emily, he's doing it

1:01:50.600 --> 1:01:55.959
<v Speaker 1>because we got nowhere to go. Yeah, well, I love

1:01:56.160 --> 1:01:59.360
<v Speaker 1>I'm just gonna say names, and this doesn't necessarily have

1:01:59.400 --> 1:02:02.360
<v Speaker 1>bearing on how popular and are known or unknown they are.

1:02:02.760 --> 1:02:04.480
<v Speaker 1>These are people I love that I will go out

1:02:04.520 --> 1:02:09.360
<v Speaker 1>of my way to go see Uh the time Jumpers

1:02:08.720 --> 1:02:13.240
<v Speaker 1>with Vents, but also Andy Reese. And Andy is not

1:02:13.360 --> 1:02:15.840
<v Speaker 1>in his thirties and he's not gonna go be a

1:02:15.880 --> 1:02:17.960
<v Speaker 1>pop star anytime soon, but he's just one of the

1:02:18.000 --> 1:02:21.439
<v Speaker 1>best there is and the that same is true Paul

1:02:21.480 --> 1:02:25.640
<v Speaker 1>Franklin on Steele Uh anytime. And also in this category

1:02:25.880 --> 1:02:29.400
<v Speaker 1>of I'm not talking about up and coming, it hasn't

1:02:29.480 --> 1:02:32.720
<v Speaker 1>hit yet. It's just they've chosen a path where if

1:02:32.760 --> 1:02:35.240
<v Speaker 1>you know, you know, and if you don't, whatever, they

1:02:35.320 --> 1:02:38.720
<v Speaker 1>they're already well into their career. But Shawn camp when

1:02:38.720 --> 1:02:42.080
<v Speaker 1>he plays at the station end, Jack Pearson when he

1:02:42.120 --> 1:02:44.520
<v Speaker 1>plays at the station in or third and Lensley, he

1:02:44.760 --> 1:02:47.960
<v Speaker 1>UH is a big influence on Derek Trucks. Actually, anytime

1:02:48.000 --> 1:02:50.800
<v Speaker 1>Derek plays in town, Jack Pearson comes out and he

1:02:50.920 --> 1:02:53.640
<v Speaker 1>plays like a cheap guitar through a cheap aunt with

1:02:53.760 --> 1:02:56.080
<v Speaker 1>one pedal and a busted cable and he sounds better

1:02:56.120 --> 1:03:01.520
<v Speaker 1>than anybody. And uh and eighteen South, which is John

1:03:01.600 --> 1:03:05.240
<v Speaker 1>Randall and Jesse Alexander and Guthrie Trapp is in that band.

1:03:05.800 --> 1:03:08.880
<v Speaker 1>Another friend from Berkeley, and I even knew him from Mississippi.

1:03:08.920 --> 1:03:11.000
<v Speaker 1>He's got family Mississippi and I knew him when he

1:03:11.080 --> 1:03:14.960
<v Speaker 1>was thirteen and I was seventeen or whatever. But Johnny Duke,

1:03:15.400 --> 1:03:19.560
<v Speaker 1>and he's been on stage with Ashton Monroe and LeAnn

1:03:19.600 --> 1:03:22.880
<v Speaker 1>Wilmack and on record with a little Big Town. He'll

1:03:22.920 --> 1:03:26.880
<v Speaker 1>play a show here and there. Brent Cobb, who put

1:03:26.880 --> 1:03:29.680
<v Speaker 1>a great record out last year and has written songs

1:03:29.720 --> 1:03:32.040
<v Speaker 1>for folks. I've written songs songs on my new record

1:03:32.160 --> 1:03:37.959
<v Speaker 1>with him, and uh, man, it's so funny. It's hard

1:03:38.000 --> 1:03:40.120
<v Speaker 1>to say because I spent so much in my time

1:03:40.120 --> 1:03:45.480
<v Speaker 1>and energy seeking out people who and this is probably

1:03:45.480 --> 1:03:49.320
<v Speaker 1>to a fault. I should look more for the new thing,

1:03:49.520 --> 1:03:51.280
<v Speaker 1>but I kind of make a habit out of trying

1:03:51.320 --> 1:03:55.160
<v Speaker 1>to go find the old masters. There is no right

1:03:55.240 --> 1:03:58.120
<v Speaker 1>or wrong answer, Charlie, but no that, but this is true.

1:03:58.200 --> 1:04:00.880
<v Speaker 1>Like I I wouldn't be the best person to ask

1:04:01.360 --> 1:04:07.040
<v Speaker 1>because I'm not looking for that, you know, I'm looking Uh,

1:04:07.280 --> 1:04:10.160
<v Speaker 1>I'm looking for I mean I've had the chance to

1:04:10.200 --> 1:04:15.840
<v Speaker 1>write with um uh oh am, I spacing on his names.

1:04:15.880 --> 1:04:21.280
<v Speaker 1>Two guys now, all right, mac Davis and Bill Anderson.

1:04:21.360 --> 1:04:27.640
<v Speaker 1>Mac Davis wrote in the Ghetto by himself pretty much. Ah.

1:04:27.680 --> 1:04:31.200
<v Speaker 1>I mean, Bill Anderson has had a hit in every

1:04:31.200 --> 1:04:35.160
<v Speaker 1>decade since the fifties. And it's not like I'm gonna

1:04:35.200 --> 1:04:37.120
<v Speaker 1>get with these guys and We're gonna create the new

1:04:39.280 --> 1:04:42.120
<v Speaker 1>hit of the century. Necessarily. It's that I know, if

1:04:42.160 --> 1:04:44.240
<v Speaker 1>I sit across the room from those guys, I'm gonna

1:04:44.280 --> 1:04:49.440
<v Speaker 1>pick up more ah, then I can with anybody else.

1:04:49.800 --> 1:04:50.960
<v Speaker 1>Do you ever feel like you were born in the

1:04:51.000 --> 1:04:57.040
<v Speaker 1>wrong generation? I have at times. I have at times,

1:04:57.080 --> 1:04:59.320
<v Speaker 1>but I don't think so. I think I'm born at

1:04:59.360 --> 1:05:01.960
<v Speaker 1>the right time, you know, I don't. I don't know

1:05:02.000 --> 1:05:05.160
<v Speaker 1>that they're there are as many like me, like minded,

1:05:05.200 --> 1:05:08.680
<v Speaker 1>you know, in in some of some of the regards.

1:05:08.720 --> 1:05:12.200
<v Speaker 1>But um, no, I think I was supposed to be

1:05:12.240 --> 1:05:16.800
<v Speaker 1>here now. You know, I don't know dent why yet,

1:05:17.200 --> 1:05:19.880
<v Speaker 1>But I think I'm supposed to be here. Now. Do

1:05:19.920 --> 1:05:24.400
<v Speaker 1>you think we ever know why? Um? Maybe not. I

1:05:24.480 --> 1:05:26.920
<v Speaker 1>need to answer right now. I need to know myself.

1:05:27.680 --> 1:05:29.280
<v Speaker 1>You know. I think I think we spend a lot

1:05:29.320 --> 1:05:32.640
<v Speaker 1>of our time trying to figure that one out. And

1:05:32.720 --> 1:05:34.720
<v Speaker 1>some of us maybe get there, and some of us don't,

1:05:34.920 --> 1:05:37.560
<v Speaker 1>you know, play this song here Southern by the grace

1:05:37.600 --> 1:05:47.200
<v Speaker 1>of guy, I'm telling y'all, it's still ConTroll. It's stuff

1:05:47.280 --> 1:05:55.320
<v Speaker 1>to me, like the record here countries just country goes

1:05:55.480 --> 1:06:06.400
<v Speaker 1>and can't country me? Hey tell that song, oh man,

1:06:07.480 --> 1:06:11.160
<v Speaker 1>I wrote that in uh at Luke Dick's house with

1:06:11.280 --> 1:06:17.880
<v Speaker 1>Luke and Chaine McNally, and uh, it's uh, there's a

1:06:17.920 --> 1:06:20.600
<v Speaker 1>great old Tom T. Hall song called country Is, and

1:06:20.680 --> 1:06:23.920
<v Speaker 1>it's sort of it was Tom T. Hall's way of

1:06:24.960 --> 1:06:27.200
<v Speaker 1>he was here in Nashville at a time when a

1:06:27.240 --> 1:06:31.240
<v Speaker 1>lot of people were writing a particular kind of song

1:06:31.400 --> 1:06:34.480
<v Speaker 1>and up in arms about what's country and what isn't? Yeah,

1:06:34.560 --> 1:06:39.480
<v Speaker 1>almost like almost like and uh and I think that

1:06:39.600 --> 1:06:45.800
<v Speaker 1>song is my version of going, hey, guys, look, I Uh,

1:06:46.080 --> 1:06:50.880
<v Speaker 1>my uncle cuts his hair with dogs. Shears once crapped

1:06:50.920 --> 1:06:53.880
<v Speaker 1>my pants at a banjo competition when I was not

1:06:53.960 --> 1:06:55.800
<v Speaker 1>the not the one I won. This was the actual

1:06:55.880 --> 1:06:59.959
<v Speaker 1>national banjo competition. Uh, when I was like twelve or whatever.

1:07:00.080 --> 1:07:03.400
<v Speaker 1>Her and you came out country me, you came out

1:07:03.400 --> 1:07:05.760
<v Speaker 1>of country that man I'm sorry, you know, or whatever,

1:07:05.800 --> 1:07:10.160
<v Speaker 1>but it's just like just to say. But equally country

1:07:10.200 --> 1:07:12.480
<v Speaker 1>is the guy who grew up in inner city Chicago

1:07:13.320 --> 1:07:15.320
<v Speaker 1>and it's just doing his thing or whatever, you know,

1:07:15.400 --> 1:07:17.960
<v Speaker 1>and it's like, are we really going to arm wrestle

1:07:18.040 --> 1:07:21.440
<v Speaker 1>about this, you know, like we can we can waste

1:07:21.480 --> 1:07:23.840
<v Speaker 1>our energy, you know, but this, this is I grew

1:07:23.960 --> 1:07:29.040
<v Speaker 1>up and and the music side of that song reminds

1:07:29.080 --> 1:07:34.560
<v Speaker 1>me less of country music, uh and more of everything else.

1:07:34.760 --> 1:07:39.240
<v Speaker 1>For example, it feels very led Zeppelin to me. Um,

1:07:39.360 --> 1:07:42.720
<v Speaker 1>which is the song ramble On by Them was an

1:07:42.720 --> 1:07:45.720
<v Speaker 1>influence on on that. But then it also stuff that

1:07:45.920 --> 1:07:51.120
<v Speaker 1>predates what we consider country. The he he that's straight

1:07:51.200 --> 1:07:53.560
<v Speaker 1>rip off of a guy named Jimmy Martin who is

1:07:53.600 --> 1:07:56.280
<v Speaker 1>known as the King of bluegrass. And I'm a big

1:07:56.360 --> 1:07:59.240
<v Speaker 1>Jimmy Martin fan because when I took banjo lessons to

1:07:59.240 --> 1:08:03.360
<v Speaker 1>my teacher, happened to be his banjo players, a sunny

1:08:03.360 --> 1:08:05.240
<v Speaker 1>mountain boy that was what he called his man guys.

1:08:05.680 --> 1:08:08.160
<v Speaker 1>And so it's sort of like that's my version of

1:08:08.160 --> 1:08:10.160
<v Speaker 1>what Tom t Hall I think was saying, which is

1:08:10.720 --> 1:08:12.680
<v Speaker 1>countries what you make it. It's all in your mind,

1:08:12.720 --> 1:08:14.440
<v Speaker 1>it's all in your heart, it's living in the city,

1:08:14.480 --> 1:08:18.759
<v Speaker 1>it's living in the country, it's it's loving your neighbor.

1:08:18.800 --> 1:08:22.679
<v Speaker 1>And you know, it's just let's can can we please

1:08:22.680 --> 1:08:27.879
<v Speaker 1>get past arm wrestling this and just speak our truths?

1:08:28.920 --> 1:08:31.640
<v Speaker 1>I don't know. Does that make sense? It does? I

1:08:31.680 --> 1:08:33.280
<v Speaker 1>tell it all the time. People tell me all the time.

1:08:33.280 --> 1:08:37.320
<v Speaker 1>What isn't isn't? Yeah, and there there isn't an answer right,

1:08:37.520 --> 1:08:40.680
<v Speaker 1>especially now, so you can yell and get on Facebook

1:08:40.760 --> 1:08:43.160
<v Speaker 1>and tell me what song sucks and what song is

1:08:43.200 --> 1:08:46.080
<v Speaker 1>real country? And oh, you're just wasting both of our time,

1:08:46.360 --> 1:08:48.160
<v Speaker 1>right I get time to read it. I definitely don't

1:08:48.200 --> 1:08:52.000
<v Speaker 1>want to respond to it anymore. So and that's country about.

1:08:52.040 --> 1:08:55.000
<v Speaker 1>That's that's my country. And if you like it cool

1:08:55.040 --> 1:08:58.759
<v Speaker 1>and if you don't cool, you know, I don't know. Shoot,

1:09:01.120 --> 1:09:06.559
<v Speaker 1>let's let's go jam more. Do you see like music

1:09:06.640 --> 1:09:08.719
<v Speaker 1>and color or anything like? Because I mean, you're such

1:09:08.760 --> 1:09:11.519
<v Speaker 1>a good guitar player and you can like play like

1:09:11.680 --> 1:09:14.280
<v Speaker 1>songs where you're like doing a whole one man band.

1:09:14.400 --> 1:09:16.040
<v Speaker 1>You have like a thing in your head where you're like,

1:09:16.080 --> 1:09:18.320
<v Speaker 1>it's so weird you ask that because I kind of do.

1:09:18.479 --> 1:09:22.040
<v Speaker 1>I mean, it's not like a crazy strong thing and

1:09:22.080 --> 1:09:24.320
<v Speaker 1>I think this goes back to I had a when

1:09:24.320 --> 1:09:27.960
<v Speaker 1>I was first learning, had a keyboard and the keys

1:09:27.960 --> 1:09:31.479
<v Speaker 1>were color coded, and I think that's why I associate colors,

1:09:31.960 --> 1:09:34.400
<v Speaker 1>and because I learned on piano. So the key of

1:09:34.560 --> 1:09:37.160
<v Speaker 1>F is purple to me, and the key of G

1:09:37.400 --> 1:09:42.519
<v Speaker 1>is blue, and the key of A is red, and

1:09:42.840 --> 1:09:45.240
<v Speaker 1>B flat is kind of orange, B is kind of yellow,

1:09:45.520 --> 1:09:50.760
<v Speaker 1>C is white, D is black, he's green. I can't

1:09:50.960 --> 1:09:52.759
<v Speaker 1>think it's from the keyboard because Mayor says he sees

1:09:52.760 --> 1:09:55.759
<v Speaker 1>colors on he plays, but he does have a keyboard.

1:09:55.800 --> 1:09:57.200
<v Speaker 1>Do you really think it's colors? Are is? It's something

1:09:57.240 --> 1:09:59.519
<v Speaker 1>you guys brain, because you're you're definitely on the neck.

1:09:59.560 --> 1:10:02.360
<v Speaker 1>You're you're like talking to alien because you see things

1:10:02.400 --> 1:10:04.320
<v Speaker 1>that I've never seen. Like I'm on the earth, I

1:10:04.400 --> 1:10:06.320
<v Speaker 1>walk on the earthly ground. I see things that my

1:10:06.360 --> 1:10:08.000
<v Speaker 1>eyes let me see up and down. But that's it.

1:10:08.280 --> 1:10:11.760
<v Speaker 1>You're on another headspace. I don't know that I see

1:10:11.800 --> 1:10:15.840
<v Speaker 1>it when I play, but if i'm and if i'm

1:10:15.920 --> 1:10:19.440
<v Speaker 1>charting a song or i'm living a song and a key,

1:10:19.640 --> 1:10:23.360
<v Speaker 1>I just I feel it. You know, I'm definitely thinking

1:10:23.400 --> 1:10:25.720
<v Speaker 1>about other things when I'm playing, or trying not to

1:10:25.760 --> 1:10:27.640
<v Speaker 1>think that's what I'm mostly doing, is trying to just

1:10:27.760 --> 1:10:30.559
<v Speaker 1>feeling up. But when I'm really just feeling it, like I,

1:10:30.640 --> 1:10:32.519
<v Speaker 1>you couldn't play me a song and a random key

1:10:32.520 --> 1:10:35.479
<v Speaker 1>and I'd go, oh, yeah, that's purple, and it's purple

1:10:35.520 --> 1:10:38.880
<v Speaker 1>because it's F. I don't have perfect pitch to be

1:10:38.920 --> 1:10:40.800
<v Speaker 1>able to say that's the key of F, you know.

1:10:41.360 --> 1:10:44.200
<v Speaker 1>But I know ramble on Bys that led Zeppelin, and

1:10:44.240 --> 1:10:46.280
<v Speaker 1>I've learned to play it and it's an E and

1:10:46.320 --> 1:10:48.760
<v Speaker 1>it does feel kind of green to me. I don't

1:10:48.800 --> 1:10:54.920
<v Speaker 1>know why. Yeah, that's crazy. So record comes out when

1:10:55.479 --> 1:11:00.120
<v Speaker 1>April one. What do you want from this record? And

1:11:00.120 --> 1:11:04.160
<v Speaker 1>how's it difference what you want to last record? Man,

1:11:06.960 --> 1:11:08.680
<v Speaker 1>there's a lot of things I want, but I know

1:11:08.760 --> 1:11:11.320
<v Speaker 1>now I don't need let me say that. And there

1:11:11.360 --> 1:11:14.599
<v Speaker 1>are things I hope for. There's three categories. Are things

1:11:14.600 --> 1:11:16.679
<v Speaker 1>I hope for, and I hope for the same things

1:11:16.680 --> 1:11:19.000
<v Speaker 1>we all do, you know, wild success and blah blah blah.

1:11:19.720 --> 1:11:27.920
<v Speaker 1>I want two get to keep doing this and somehow

1:11:28.120 --> 1:11:33.639
<v Speaker 1>be a little further down the road, you know. And

1:11:33.720 --> 1:11:40.200
<v Speaker 1>I need I just needed to make it, and I

1:11:40.240 --> 1:11:41.840
<v Speaker 1>got to make it, and people are gonna get to

1:11:41.840 --> 1:11:44.920
<v Speaker 1>hear it, and I don't think there's anything I need

1:11:44.920 --> 1:11:48.879
<v Speaker 1>from it, um, but to get to keep doing it

1:11:48.680 --> 1:11:52.759
<v Speaker 1>is a pretty strong want, you know too, whatever that means.

1:11:52.880 --> 1:11:55.000
<v Speaker 1>If it just means that, you know, m I labeled

1:11:55.000 --> 1:11:57.799
<v Speaker 1>it and drop me and and they offer me another option,

1:11:57.880 --> 1:12:00.280
<v Speaker 1>and I'm somehow able to make a living doing this

1:12:00.400 --> 1:12:04.760
<v Speaker 1>still and it doesn't you know, it's not something that

1:12:04.880 --> 1:12:09.599
<v Speaker 1>just knocks me flat, you know, Uh, for whatever reason,

1:12:10.160 --> 1:12:13.120
<v Speaker 1>then that would be a great thing. And I want

1:12:13.160 --> 1:12:15.800
<v Speaker 1>that with this record. I mean, I want people to

1:12:15.840 --> 1:12:18.240
<v Speaker 1>hear it and and I hope they connect with it,

1:12:18.320 --> 1:12:22.200
<v Speaker 1>and I have the wild dreams with it, but those

1:12:22.240 --> 1:12:26.080
<v Speaker 1>are not what's important. You know, you and Brandy Clark

1:12:26.160 --> 1:12:30.840
<v Speaker 1>going out, Yeah, something like that. Yeah, we may add

1:12:30.880 --> 1:12:34.800
<v Speaker 1>some more. We met about it last week and um,

1:12:34.960 --> 1:12:40.240
<v Speaker 1>we're we got a lot of fun ideas. We're we're

1:12:40.240 --> 1:12:44.160
<v Speaker 1>cooking up some fun stuff. So so you and Brandy

1:12:44.680 --> 1:12:48.799
<v Speaker 1>could like separate well, yeah, we're gonna play separate sets

1:12:49.080 --> 1:12:51.960
<v Speaker 1>and then do some stuff together. I'm not quite sure

1:12:52.040 --> 1:12:56.120
<v Speaker 1>yet how that looks, um. I know we want to

1:12:56.120 --> 1:13:01.040
<v Speaker 1>do some fun songs together, maybe bring the the audience

1:13:01.080 --> 1:13:04.000
<v Speaker 1>in on via social media to help us pick some

1:13:04.080 --> 1:13:06.400
<v Speaker 1>of those songs. If it's different songs every night. We

1:13:06.439 --> 1:13:08.120
<v Speaker 1>don't want it to be the exact same show every

1:13:08.200 --> 1:13:11.760
<v Speaker 1>night for sure, you know. Ah, And I think we're

1:13:11.760 --> 1:13:14.479
<v Speaker 1>gonna do some fun stuff during the day as well.

1:13:14.640 --> 1:13:16.680
<v Speaker 1>You know, there's there's this really cool thing that the

1:13:16.720 --> 1:13:19.640
<v Speaker 1>Grammy Foundation does where they bring high school kids in

1:13:19.680 --> 1:13:21.600
<v Speaker 1>for your sound check and things like that. And I

1:13:21.600 --> 1:13:24.160
<v Speaker 1>don't know if we'll what what will get worked out

1:13:24.160 --> 1:13:25.920
<v Speaker 1>and what want, but we want to do stuff like

1:13:25.960 --> 1:13:29.000
<v Speaker 1>that too. And um, we'd really love to take this

1:13:29.080 --> 1:13:31.680
<v Speaker 1>to more cities, you know, if if this is successful

1:13:31.720 --> 1:13:35.160
<v Speaker 1>and there's a demand for it, we'd we'd love to

1:13:36.680 --> 1:13:40.479
<v Speaker 1>keep rolling down the highway. Well, I'm a fan. I'm

1:13:40.479 --> 1:13:45.519
<v Speaker 1>a genuine fan. Thanks man. Likewise, so you know, I

1:13:45.560 --> 1:13:48.120
<v Speaker 1>hope you get whatever film that you get out of

1:13:48.120 --> 1:13:50.120
<v Speaker 1>this record, I hope you get it. Thank you. If

1:13:50.160 --> 1:13:52.600
<v Speaker 1>it means a bunch of sold if it means you

1:13:52.680 --> 1:13:55.280
<v Speaker 1>know you're happy with all the songs are on, I

1:13:55.320 --> 1:13:56.840
<v Speaker 1>don't know. I don't know what you find where do

1:13:56.840 --> 1:13:58.719
<v Speaker 1>you find your happiness, but I hope you find it. Yeah,

1:13:58.720 --> 1:14:01.400
<v Speaker 1>thank you. Well, getting to May it was the big one,

1:14:01.560 --> 1:14:07.120
<v Speaker 1>that's the big happiness, and it would be nice to

1:14:07.160 --> 1:14:11.559
<v Speaker 1>buy a house. But you know, I got a cool place,

1:14:11.680 --> 1:14:15.639
<v Speaker 1>I got a doll I'm all right, uh and really, man,

1:14:15.720 --> 1:14:18.120
<v Speaker 1>just getting to keep doing it. Not a lot of

1:14:18.120 --> 1:14:20.439
<v Speaker 1>people get to do this, and I'm I'm really grateful

1:14:20.479 --> 1:14:24.080
<v Speaker 1>I get to do it. And I'm a fan of yours. Uh,

1:14:24.160 --> 1:14:27.120
<v Speaker 1>your book really knocked me out, man. I appreciate that.

1:14:27.560 --> 1:14:29.760
<v Speaker 1>I was a fan before, but you know, it's just

1:14:31.640 --> 1:14:34.360
<v Speaker 1>knowing your story and it's not an easy story to tell.

1:14:34.479 --> 1:14:37.559
<v Speaker 1>And I think we all have a story, and we

1:14:37.600 --> 1:14:40.080
<v Speaker 1>all have a similar story. It's just we don't see

1:14:40.080 --> 1:14:43.760
<v Speaker 1>those stories because again, all we're seeing is the very

1:14:44.600 --> 1:14:49.400
<v Speaker 1>epidermist of what everybody wants us to see. And I

1:14:49.920 --> 1:14:52.439
<v Speaker 1>think I after this. Before that, I always felt that

1:14:52.479 --> 1:14:53.560
<v Speaker 1>I was writing and I was the only one that

1:14:53.600 --> 1:14:55.160
<v Speaker 1>had that story until I wrote it and put it out.

1:14:55.160 --> 1:14:58.040
<v Speaker 1>Then I realized everybody has something like that and they

1:14:58.080 --> 1:15:00.400
<v Speaker 1>come and talk to you about it, like just X

1:15:00.560 --> 1:15:03.200
<v Speaker 1>Y Z A, B C, D E f G has

1:15:03.200 --> 1:15:05.200
<v Speaker 1>happened to me? And holy crap, when I wrote that,

1:15:05.200 --> 1:15:06.920
<v Speaker 1>I thought I was alone, Like I thought I was

1:15:06.960 --> 1:15:09.160
<v Speaker 1>alone in this world when I wrote that. Yeah, and

1:15:09.240 --> 1:15:13.000
<v Speaker 1>so yeah, that, if anything, that book has done so

1:15:13.080 --> 1:15:14.960
<v Speaker 1>much for me because I realized I'm not the only

1:15:15.000 --> 1:15:18.439
<v Speaker 1>guy on the planet that has struggles the old meat too. Yeah,

1:15:18.720 --> 1:15:20.880
<v Speaker 1>even what is it, page four or five years in

1:15:20.920 --> 1:15:22.560
<v Speaker 1>there with Dean Sanders and is going to me to

1:15:22.760 --> 1:15:28.280
<v Speaker 1>man and that and still like my dude Dion Sanders,

1:15:28.439 --> 1:15:31.000
<v Speaker 1>who I looked up to as a kid prime time,

1:15:31.400 --> 1:15:34.479
<v Speaker 1>like Dean, he'll just text me and like you're good. Still,

1:15:34.520 --> 1:15:36.880
<v Speaker 1>I'm like, this is Deon and if I don't text

1:15:36.920 --> 1:15:38.280
<v Speaker 1>the back, I'll get mad. He's like, I know you're

1:15:38.280 --> 1:15:42.120
<v Speaker 1>watching your phone, but yeah, it's it's one of those wild,

1:15:42.840 --> 1:15:45.400
<v Speaker 1>wild things. It's it's been good to have you with

1:15:45.400 --> 1:15:47.519
<v Speaker 1>the house. Thanks for having I appreciate you coming. And

1:15:47.520 --> 1:15:50.160
<v Speaker 1>not the record. Whenever you hear this either it's the

1:15:50.200 --> 1:15:52.320
<v Speaker 1>records already out and just be able. But when these

1:15:52.320 --> 1:15:54.960
<v Speaker 1>podcasts are listened to it for months years, that's probably

1:15:54.960 --> 1:16:01.360
<v Speaker 1>putting the Smithsonian. Yeah yeah, so um, you could be

1:16:01.360 --> 1:16:03.080
<v Speaker 1>in your tenth record right now, but go back to

1:16:03.160 --> 1:16:05.960
<v Speaker 1>this one, all right, And what's the name of the record,

1:16:06.439 --> 1:16:09.840
<v Speaker 1>Beginning of Things, Beginning of Things. So that's the record

1:16:09.880 --> 1:16:11.760
<v Speaker 1>to go back to. He's talking about here the other

1:16:11.920 --> 1:16:15.320
<v Speaker 1>five Grammy Award winning records. Afterwards, don't go back to

1:16:15.360 --> 1:16:17.599
<v Speaker 1>this one that started off alright, Charlie, good to see

1:16:17.600 --> 1:16:20.600
<v Speaker 1>you alright, episode thirty nine, and uh, I feel like

1:16:20.640 --> 1:16:22.400
<v Speaker 1>I was trying, like eighty bucks for day every session.

1:16:23.680 --> 1:16:25.960
<v Speaker 1>No man, I'll pay, I'll pay you all the way out.

1:16:26.400 --> 1:16:28.120
<v Speaker 1>Just let me have a copy of that game show me,

1:16:29.120 --> 1:16:33.640
<v Speaker 1>Charlie Warsham download cut your groove. You know. I was

1:16:33.680 --> 1:16:36.920
<v Speaker 1>also tempted, but I didn't because I have the whole

1:16:36.920 --> 1:16:38.599
<v Speaker 1>record and I never get to I never take records

1:16:38.600 --> 1:16:39.960
<v Speaker 1>from anybody and listen to them ever, It's just my

1:16:40.000 --> 1:16:42.760
<v Speaker 1>general rule. I listening to record like four times, and

1:16:42.800 --> 1:16:44.439
<v Speaker 1>I was like, I wander I put up and I

1:16:44.479 --> 1:16:46.200
<v Speaker 1>didn't hadn't put up any clips with anything new. I

1:16:46.400 --> 1:16:49.680
<v Speaker 1>was like, you know, I'm gonna know what's over now,

1:16:49.760 --> 1:16:51.960
<v Speaker 1>So I didn't. But it's just really good, Like I

1:16:52.320 --> 1:16:54.880
<v Speaker 1>really like the record. I don't even talk about anymore

1:16:54.880 --> 1:16:57.040
<v Speaker 1>because any now. Yeah, it all right, Uh well, we'll

1:16:57.040 --> 1:16:59.200
<v Speaker 1>see you next time. The thirty nine is over all right,

1:16:59.240 --> 1:16:59.559
<v Speaker 1>good bye,