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Speaker 1: What's having to friends? Jerry Flowers is coming in. You

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Speaker 1: gotta say, I really enjoyed this conversation. And this is

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Speaker 1: a complete Mike d booking because we were talking about Jerry.

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Speaker 1: What was it Ryan Herd or Ki Urban or both both? Yeah. Yeah,

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Speaker 1: When Ryan heard came in, I was like, that's interesting.

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Speaker 1: And I looked him up after that and I was like,

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Speaker 1: this guy has a lot to look into. Yeah, he's

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Speaker 1: written multiple number one songs. He was in the Ranch,

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Speaker 1: which was Keith Urban's original band. He was one of

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Speaker 1: the three people. He also is Keith Urban's musical leader,

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Speaker 1: like music director now just just wild. He's done so

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Speaker 1: many things. So I really enjoyed this conversation and I

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Speaker 1: think you guys well too. So hang out for that

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Speaker 1: Top five songs releases this week that I'm looking forward to.

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Speaker 1: At number five, Lady A has a new album out

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Speaker 1: and the album is called What a Song Can Do.

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Speaker 1: There is a song on it called Friends Don't Let Friends.

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Speaker 1: He's got Carly Pierce, Darius Rutger, and Thomas read on it,

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Speaker 1: and here's the clip saying along give them, man, you're

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Speaker 1: gonna make a bad decision. You shouldn't make it. On

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Speaker 1: your Friends Friends Tring Along. At number four, I'm a

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Speaker 1: big Taylor Acorn fan. She has a new song called

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Speaker 1: left You insteadt You Instead and all the tables It's hurt.

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Speaker 1: What if the end of the smell that you're the

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Speaker 1: one who would get hurt? But to take back what

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Speaker 1: you say, show me a much you learn? If I

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Speaker 1: could get in Yet I'm playing the same scene that

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Speaker 1: you did. What if he laves you in? At number three,

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Speaker 1: Cassie Ashton has a new song called Heavyweight and Lady

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Speaker 1: lay it on the lack her Heavenly Heavenly At number two,

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Speaker 1: Brett Eldridge has a new Christmas album out called Mr. Christmas.

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Speaker 1: Here is his version of It's the most wonderful time

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Speaker 1: of the year. It's the most wonderful time. I mean,

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Speaker 1: he's the guy for Christmas the country, right, Yeah, he's embraced.

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Speaker 1: If he works hard at it, it's his, he owns.

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Speaker 1: It was weird that Brett Young put out an album

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Speaker 1: the same day for Christmas songs. Yeah double Brett, like

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Speaker 1: you know, with a lot of Christmas this week. It is,

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Speaker 1: but the two breads at the same time is also

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Speaker 1: confusing and right now Eldridge is over a Young. So

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Speaker 1: if I were Brett Young, I went maybe a week

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Speaker 1: later or a week before, because I think he'll get

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Speaker 1: he'll get lost. I mean we didn't even mentioned in

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Speaker 1: the five. I guess I did now, But Brett Eldridge

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Speaker 1: is number two. And then Abby Anderson has a new song,

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Speaker 1: not the Abbey from our show, different Abby Anderson. This

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Speaker 1: is called Bad Posture. So those are my favorite releases

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Speaker 1: this week. Yeah, you mentioned there's a lot of Christmas songs.

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Speaker 1: I mean Paisley has a song with Rob Thomas, Tim

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Speaker 1: McGraw has one, Landy Wilson has one, Morgan Wade has one,

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Speaker 1: has two. So it's Christmas time and most of those songs,

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Speaker 1: they're classics that people are covering and it's free to

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Speaker 1: do so public domain. Yeah, because he needs just going

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Speaker 1: record him and you gotta pay anything for it. You know,

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Speaker 1: it's been out long enough. Garth Brooks has said two

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Speaker 1: intimate shows at the Rheman two hundred and fifty bucks

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Speaker 1: a seat. They're not going to fill the Rheman up though,

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Speaker 1: if you can afford that ticket, that'd be a really

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Speaker 1: cool ticket to have. I saw Garth play Vegas, just

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Speaker 1: him and a guitar. It was really awesome. I've still

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Speaker 1: never seen him. What do you mean, you've never seen

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Speaker 1: him in concert, big or little? Nope in studio as

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Speaker 1: he played while you've been in here. I don't think

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Speaker 1: he played when I was here. Really, Yeah, he's played

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Speaker 1: a couple of times, and I went to that show

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Speaker 1: that got out. Oh you went to the Big Garth

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Speaker 1: Brookshire was the first time we're gonna get to see him.

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Speaker 1: Chris Stapleton has rescheduled two Nashville shows for vocal Rest.

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Speaker 1: He's fighting learningitis, so please God, don't let us lose

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Speaker 1: Chris Stapleton. Ryan Herd has announced his tour day Pelago dates,

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Speaker 1: so if you want to see Ryan Hurd, he'll be,

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Speaker 1: you know, hopping all over the road. Luke Bryan's gonna

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Speaker 1: host the c m A Awards and he'll be doing

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Speaker 1: it by himself. He's hosted the A c m S

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Speaker 1: with the Dirks and Blake, but he's gonna do the

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Speaker 1: c m A S alone, which will be interesting to

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Speaker 1: see rooting for that. Kanye West has changed his name

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Speaker 1: to just Yea. It's not ye Yeah. It looks like

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Speaker 1: ye if you just see it, but you just have

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Speaker 1: to think of it as Kanye, So he's now Yea,

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Speaker 1: which isn't a dramatic change. People were already calling him that.

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Speaker 1: It's not like Puffy when he changed his name did

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Speaker 1: nobody was calling him Diddy before. He's just like using

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Speaker 1: his nickname now. All right, that's pretty much the news

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Speaker 1: and the songs. Let's get going here. I think you're

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Speaker 1: really gonna like this interview. Here you go all right

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Speaker 1: in studio now with Jerry fly hours, which I think

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Speaker 1: I'll start before we get into the ranch, before we

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Speaker 1: get into what you're doing now. And I guess I

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Speaker 1: was just talking about you with Ryan heard two days ago,

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Speaker 1: all right, Yeah, so like you're top of mind because

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Speaker 1: Ryan was talking about you. Um as far as chasing

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Speaker 1: after you you wrote that, right? How long did you

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Speaker 1: write the song for Ryan and seven years ago? Yeah,

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Speaker 1: that's what you said. And I guess it wasn't written

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Speaker 1: as a duet first, no, no, no, um Uh. I

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Speaker 1: wrote it with Brindley Addington. It was the very first

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Speaker 1: time I ever wrote with him, uh. And it was

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Speaker 1: just one of those super fast songs, like I wrote

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Speaker 1: that riff and the melody literally right when he was

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Speaker 1: walking to the door and he goes, oh, what's that

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Speaker 1: and then it was off. Man. We were finished in

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Speaker 1: probably an hour. When you say you wrote the riff

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Speaker 1: of the melody, which like the verse, yeah, yeah, and

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Speaker 1: then I wrote the chorus melody really fast, and then

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Speaker 1: we just wrote the lyrics. Was that common for you

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Speaker 1: to write them fast like that? I mean, I'm a

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Speaker 1: riff guy. That's what I do best, you know. And um,

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Speaker 1: that kind of thing is more my style to that

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Speaker 1: particular song because it's a little more on the R

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Speaker 1: and B side, which I grew up loving. So um,

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Speaker 1: and you also have had success like even like looking

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Speaker 1: at the Keith Sweat stuff. Oh no, that's different Jerry Flowers,

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Speaker 1: but I have I do come up. I was gonna

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Speaker 1: make a joke about that because when I looked you

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Speaker 1: up at first, I was like, that's not the same guy.

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Speaker 1: I know. It was like a pastor who's a black guy.

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Speaker 1: And I was like in Atlanta, Yeah, Like, I wanna

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Speaker 1: bring up this Jerry Flower and see if he if

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Speaker 1: people confusing, I'm hoping he's not getting some of my

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Speaker 1: royalties maybe, but or maybe I'm getting some of his.

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Speaker 1: Uh No, I've I've had adjacent rulo cut years ago. Right, Yeah,

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Speaker 1: that was like the first R and B thing I've had.

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Speaker 1: But yeah, I grew up loving Prince and Stevie Wonder

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Speaker 1: and people like that, and like, I grew up in

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Speaker 1: a really really country area, but I didn't listen to

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Speaker 1: country that much growing up because at that point in

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Speaker 1: the eighties, it wasn't that cool. You know, Hank Jr.

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Speaker 1: Was the only cool and so like West Virginia, Inch,

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Speaker 1: West Virginia, What what what's Pinch, West Virginia about? Uh,

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Speaker 1: it's just very, very tiny. It's maybe two thousand people. Um,

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Speaker 1: I mean it's a beautiful place. Uh, nice mountains and everything,

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Speaker 1: but not a big music biz there. I met from

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Speaker 1: Mountain Pine, Arkansas, seven dred people a similar but we

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Speaker 1: had our town. I don't know if you guys went

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Speaker 1: to town, but we went to town and town was

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Speaker 1: Hot Springs where they had fifteen thousand people, and that

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Speaker 1: that was the city to us. Yeah, we had Charleston,

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Speaker 1: which was that's the capital city. It's a hundred thousand people.

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Speaker 1: So how far was Charleston from Pinch Maybe thirty minutes.

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Speaker 1: So would you go to town? Was that a term

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Speaker 1: that was used? Sure? Yeah? And then you know, when

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Speaker 1: I was eighteen, I started playing there, you know, in clubs. Uh,

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Speaker 1: you know, I was on the road two weeks after

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Speaker 1: I graduated high school for about a year. Then I

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Speaker 1: came back and just started playing a bunch of clubs

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Speaker 1: and then um uh I met uh guy meat Loaf

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Speaker 1: was playing in town and his band happened to walk

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Speaker 1: into this bar that we were playing at and met

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Speaker 1: those guys, and then from there they kind of met

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Speaker 1: the meat Loaf guys. Yeah, I got even path Rawle

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Speaker 1: kind of took me in after he saw me playing

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Speaker 1: this club, and I became like a mentor to me,

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Speaker 1: and um, you know, really convinced me that I could

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Speaker 1: do this. How do you pick up an instrument in Pinch,

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Speaker 1: Virginia or West Virginia? Is there a family member that

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Speaker 1: was like, Yeah, my brother Randy, who's an amazing musician.

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Speaker 1: He's here also and he played with meat Loaf for

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Speaker 1: twelve years. He also played with Meatland. Yeah, but not

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Speaker 1: then he got the gig later on because of that,

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Speaker 1: because they saw us, you know that one time in

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Speaker 1: this little bar in West Virginia. Were you guys playing together? Yeah?

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Speaker 1: Did you guys ever think about pursuing you know, we'll

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Speaker 1: do you know, the Brothers Osborne type thing. We did

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Speaker 1: for a minute. Um, after you know, after the Ranch

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Speaker 1: broke up, and then I went to the Dixie Chicks.

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Speaker 1: After that we um, uh, you know, the Dixie Chicks

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Speaker 1: went to a bluegrass thing and which I don't play

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Speaker 1: upright bass, so I was like suddenly out of a gig.

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Speaker 1: So then we started doing our own band, but it

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Speaker 1: was more of a rock thing. So you grow up

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Speaker 1: in West Virginia, You're playing clubs in Charleston for the

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Speaker 1: most part, the meat Loaf Crew comes in. Is that

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Speaker 1: what got you out of that area though? And do

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Speaker 1: you think you would have stayed in the area? No? No,

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Speaker 1: I mean I always knew that I wanted to do something.

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Speaker 1: My brother and also and then our keyboard player John Derick,

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Speaker 1: who was with us then he actually ended up playing

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Speaker 1: with Alison Krauss here and and Mike McDonald and has

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Speaker 1: an amazing career. Um. But uh no, we always knew

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Speaker 1: were going to get out. Um, but I didn't think

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Speaker 1: it was gonna be Nashville. I thought it was gonna

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Speaker 1: be New York. And then uh, we ended up moving

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Speaker 1: here and I met Keith six months later. In nine

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Speaker 1: and started playing with him. So the ranch was a

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Speaker 1: trio and so it was you, Keith and Peter. Percussion

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Speaker 1: was Peter right, yeah? And so what was the genesis

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Speaker 1: of that three piece? Was it always? Hey, all three

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Speaker 1: of us we get together. Whether two of you guys

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Speaker 1: that kind of recruited a third they recruit they they

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Speaker 1: found me because they had moved here maybe six months

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Speaker 1: before that. And uh, I don't know what happened to

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Speaker 1: their bass player, but um they a guy that my

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Speaker 1: brother met at a jingle studio. UM met uh that

195
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Speaker 1: he just mentioned that his he's got this Australian friend

196
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Speaker 1: that needed a bass player. So we went to their house.

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Speaker 1: I went to his house and it was a rough place. Man.

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Speaker 1: It was a place where three Australian shouldn't have been

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Speaker 1: living at the time. You know, now it's a super

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Speaker 1: cool area, but then it was not. And uh we

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Speaker 1: went down to his basement. He had a little p

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Speaker 1: a and uh I played a couple of songs with him,

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Speaker 1: and then two weeks later I was in Australia for

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Speaker 1: six months. You were in Australia. Yeah, I mean, what

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Speaker 1: were you doing it? What was the idea of it?

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Speaker 1: In Australia. He just said, hey, do you have a

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Speaker 1: passport after like the second song, and I said nope.

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Speaker 1: So we went and got one and then we moved.

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Speaker 1: We went there for six months just to play, because

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Speaker 1: that's what they would do. They would have to go

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Speaker 1: back and make money there to playing clubs to come

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Speaker 1: back here and survive, you know, because they couldn't legally

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Speaker 1: make money here. They still happens. I mean, that's still

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Speaker 1: a thing now. Like I have friends that before they

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Speaker 1: could get like their their work visas. I guess we'll

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Speaker 1: call it. They really could come here and do nothing

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Speaker 1: except right I think um the drummer and the manager

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Speaker 1: with more lawns during the day, you know, to pay

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Speaker 1: for Keith to you know, have the ability to write songs.

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Speaker 1: What was it about Keith the mad to go okay,

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Speaker 1: there could be something here or was it just that

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Speaker 1: you were like, let's just try something with anybody talented

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Speaker 1: at all and just what hits. I mean, as soon

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Speaker 1: as I played with him, I knew, like you know,

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Speaker 1: he was the music was a little different than Um.

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Speaker 1: He was a lot more like Chicken picking old school

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Speaker 1: of country guitar playing. But uh, I just knew the

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Speaker 1: second I met him, because he just everything about him

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Speaker 1: was a superstar. You know how how wild were those times?

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Speaker 1: Meaning you know, I've talked to Keith both and Keith

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Speaker 1: and every buddies off the air a bit, and definitely

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Speaker 1: we do stuff on the air too, And you know

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Speaker 1: he's told me there are times months, months, full months

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Speaker 1: at a time, even maybe even years he didn't remember. Yeah,

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Speaker 1: He's like, I just I don't know. It was nuts. Yeah,

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Speaker 1: I mean in those days as you were starting and

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Speaker 1: having to hit the ground running, was it still nuts

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Speaker 1: in that way too? Um? Or did were you so

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Speaker 1: focused on making it? No? I mean I knew it

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Speaker 1: was gonna do well. Now, the Ranch we were so

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Speaker 1: different because we were a trio and at that time,

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Speaker 1: that time in Nashville, there weren't anybody that looked like him.

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Speaker 1: Uh and what do you look like him like? I

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Speaker 1: mean he had real long blonde Harry Hat ear rings,

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Speaker 1: he had all these chains, and what was Nashville saying

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Speaker 1: about him at the time. I mean, I think they

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Speaker 1: loved watching him play, but they didn't know what to

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Speaker 1: do with him, and so they stunned. The Ranch got

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Speaker 1: a deal with Warner Brothers. At first and uh, back

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Speaker 1: when I was still Warner Brothers, um and Uh, they

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Speaker 1: didn't know what to do with us. They would have

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Speaker 1: us go in and record all these different versions, different

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Speaker 1: producers coming in. And then finally Scott Hendrix was that

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Speaker 1: Capital at the time. He bought our contract from them,

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Speaker 1: and then it all kind of started from there. I mean,

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Speaker 1: it was it was a fun time for us, but

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Speaker 1: it was rough too because we were in a van

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Speaker 1: for five years just playing NonStop and kind of beating

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Speaker 1: our heads against the wall for a long time. You know,

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Speaker 1: did you guys feel like you were struggling to also

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Speaker 1: find an identity or did you know the identity and

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Speaker 1: people just were struggling. They were except what you felt

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Speaker 1: like they were struggling to understand it at that point,

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Speaker 1: you know, because we knew it was good. But then

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Speaker 1: after five years we said, down, it's like this is

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Speaker 1: not working. And so, uh, he did a solo thing

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Speaker 1: and then I went straight to the Dixie Chicks after that. So,

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Speaker 1: and I do want to come back to this, but

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Speaker 1: it's to me because I've seen you with Keith before.

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Speaker 1: Because you're working, I assume you're still like the musical director,

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Speaker 1: you know, with Keith as he plays playing bass and

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Speaker 1: musical director. Right. Yeah, you never know. Sometimes people come

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Speaker 1: in and like, well as of yesterday, Yeah, well yeah,

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Speaker 1: it's it's hard to say, but to go as you know,

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Speaker 1: one of the three in the ranch. And I mean,

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Speaker 1: was there appointment when you split up and he went

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Speaker 1: solo and then for you to go back and play

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Speaker 1: as part of his solo. No, really no, because we

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Speaker 1: had tried so hard and we knew it wasn't working,

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Speaker 1: and I was actually super excited to get a gig.

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Speaker 1: That was you know that actually had a tour bus

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Speaker 1: at this point, you know, because we're in a van

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Speaker 1: and roughing it man like, because it was just the

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Speaker 1: three of us and we had one guy and that

285
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Speaker 1: travel with us, and you know, we had our all

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Speaker 1: our gear in the back. We took out the back

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Speaker 1: seats of the van, and uh, it was rough going

288
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Speaker 1: for a while. Like you know, we would play for nobody,

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Speaker 1: you know, because they would the the label would send

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Speaker 1: out like the singles like a week ahead of tim

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Speaker 1: and to try to get somebody to show up, and

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Speaker 1: most of the time nobody would care. Nobody would show up.

293
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Speaker 1: When you're grinding in a van like that, and again

294
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Speaker 1: I emphasized band. Are you guys stopping down to stay

295
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Speaker 1: all three of you in a hotel room? Yeah? Or

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Speaker 1: do you ever just stopped down to go We're gonna

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Speaker 1: sleep in the van tonight? No? No, I mean we

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Speaker 1: we traveled most of the time. We would play and

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Speaker 1: then drop all night the next one. Would you switch

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Speaker 1: up who drove so other people could sleep? Yeah? Yeah,

301
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Speaker 1: we just rotated the three of us all the time,

302
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Speaker 1: always tired, always always drunk too. Like it was so

303
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Speaker 1: I mean, not the driver. But it was just like

304
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Speaker 1: a full on party all the time back then too.

305
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Speaker 1: But it didn't seem it didn't seem out of control.

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Speaker 1: It just seemed like we're just young dudes on the road.

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Speaker 1: That's what we're supposed to do, you know. But it

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Speaker 1: was it was fun. It was There were fun times

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Speaker 1: just living in a vegor and touring, because there's a

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Speaker 1: difference in country music touring and my friends who do

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Speaker 1: pop or rock touring, um, and you guys were basically

312
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Speaker 1: doing rock touring, meaning you don't come home all over

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Speaker 1: the place. Yeah, like crazy routing, just stuff that should

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Speaker 1: not have happened, you know, because the country tour will

315
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Speaker 1: go sometimes Thursday, Friday, Saturday, sometimes just Friday Saturday, you know,

316
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Speaker 1: and then you come back home and you live your

317
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Speaker 1: life and maybe right maybe your family. But if you're

318
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Speaker 1: like a rock group or you're a pop artist, it's Monday, Tuesday, Thursday, Friday, Saturday.

319
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Speaker 1: But imagine doing that in Avand No, it wasn't easy.

320
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Speaker 1: But I mean it sounds horrible now to me because

321
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Speaker 1: the way we traveled now. But uh then it didn't

322
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Speaker 1: seem that terrible because that's all we knew. You know,

323
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Speaker 1: after five years of it, it got a little I

324
00:16:20,600 --> 00:16:22,280
Speaker 1: got a little rough. Who had to pull the trigger

325
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Speaker 1: or pull the plug and go Keith did, Yeah, yeah.

326
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Speaker 1: I mean he's a brutally honest person in the absolute

327
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Speaker 1: best way. What's that conversation like to the guys. I

328
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Speaker 1: mean he just set us down. He said, he said, hey,

329
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Speaker 1: let's meet and we had some coffee and then he goes,

330
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Speaker 1: this is just not working anymore. I think I think

331
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Speaker 1: we need to to to make a change. And again

332
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Speaker 1: I was I was okay with it just because I was,

333
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Speaker 1: you know, ready for something new. And I think it

334
00:16:46,000 --> 00:16:48,600
Speaker 1: was hard on his drummer, Peter, because they've been together

335
00:16:48,640 --> 00:16:51,280
Speaker 1: along on time, so you know many years. Here is

336
00:16:51,560 --> 00:17:00,480
Speaker 1: walk in the Country from the Ranch down the Tree

337
00:17:03,200 --> 00:17:10,800
Speaker 1: was so good data. What do you think about when

338
00:17:10,800 --> 00:17:13,800
Speaker 1: you hear that song? I mean it steel feels good, yeah,

339
00:17:14,000 --> 00:17:17,080
Speaker 1: and it also feels like because Keith has so many

340
00:17:17,119 --> 00:17:20,480
Speaker 1: different versions of himself, it just almost depends and what

341
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Speaker 1: creative space he's in when he's doing a record. And

342
00:17:22,840 --> 00:17:25,200
Speaker 1: you know that's more than I do. But you know,

343
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Speaker 1: he may have you know, breath and hop on a record,

344
00:17:28,280 --> 00:17:32,800
Speaker 1: or then he may do you know, the Tennessee two Stay. Yeah,

345
00:17:32,840 --> 00:17:35,000
Speaker 1: he doesn't sit still right, but this sounds like it

346
00:17:35,040 --> 00:17:39,399
Speaker 1: could be on a current that record. Every song on

347
00:17:39,480 --> 00:17:41,440
Speaker 1: that album is great because he wrote all those with

348
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Speaker 1: this guy Vernon Rust and man, they just had some

349
00:17:43,920 --> 00:17:46,520
Speaker 1: special chemistry at that point. Here is just some love

350
00:17:46,960 --> 00:17:55,840
Speaker 1: food here the Grand Canyon, He's just some nichh just

351
00:17:56,080 --> 00:18:05,080
Speaker 1: some which have the Bigot was just seeing down Baby.

352
00:18:08,200 --> 00:18:09,800
Speaker 1: I feel like it's it was ahead of its time.

353
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Speaker 1: I could be hit right now exactly what I'm thinking

354
00:18:13,000 --> 00:18:14,920
Speaker 1: as it's playing like. I feel like that was just

355
00:18:15,080 --> 00:18:17,440
Speaker 1: a bit ahead of its time. It was his look,

356
00:18:17,560 --> 00:18:20,320
Speaker 1: the style of what you guys were doing. You were

357
00:18:20,400 --> 00:18:24,639
Speaker 1: maybe fifteen years too early. Maybe twelve and you've been

358
00:18:24,680 --> 00:18:27,359
Speaker 1: still early then, but then you owned it because you know,

359
00:18:27,480 --> 00:18:31,600
Speaker 1: then we it was not the norm. You know, everybody

360
00:18:31,720 --> 00:18:34,440
Speaker 1: was really rocking the cowboy hats and you know, the

361
00:18:34,720 --> 00:18:37,800
Speaker 1: flame shirts and everything, and we just didn't look like that.

362
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Speaker 1: Do you ever go and you know, as you tour

363
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Speaker 1: with Keith and people recognize you, does anyone know you

364
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Speaker 1: from the range? Yeah? We were in Vegas about two

365
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Speaker 1: weeks ago. We're doing a little residency there and uh,

366
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Speaker 1: I met up with um a guy named David Ryan

367
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Speaker 1: Harris after the show. He's a guitar player for John Mayer.

368
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Speaker 1: And he had a lady with him that we're for

369
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Speaker 1: Caesar's and she was saying, I don't know, you probably

370
00:19:03,680 --> 00:19:06,760
Speaker 1: would never remember this show, but I saw you guys

371
00:19:06,880 --> 00:19:11,159
Speaker 1: and as the ranch in uh uh it was it

372
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Speaker 1: was Arizona, I think. And she mentioned the name of

373
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Speaker 1: the club and I remembered it like immediately because Keith recently,

374
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Speaker 1: uh sent me a picture he found this. Uh he

375
00:19:23,280 --> 00:19:26,760
Speaker 1: found this calendar that because he took notes for everything,

376
00:19:26,880 --> 00:19:30,280
Speaker 1: he recorded everything, like tons and tons of video from

377
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Speaker 1: all those days. You know, I don't remember him doing that,

378
00:19:32,680 --> 00:19:34,560
Speaker 1: but he always had a camera because there's a lot

379
00:19:34,640 --> 00:19:37,399
Speaker 1: of video, but he found this. He found this one

380
00:19:37,520 --> 00:19:40,080
Speaker 1: year of us on tour and every single show was

381
00:19:40,080 --> 00:19:42,399
Speaker 1: written and he's got the little liner notes of what

382
00:19:42,520 --> 00:19:44,679
Speaker 1: the p A was like in each club. And then

383
00:19:44,760 --> 00:19:49,000
Speaker 1: I showed her that particular show, you know, and so

384
00:19:49,200 --> 00:19:50,760
Speaker 1: she said that she saw us he was a little

385
00:19:50,800 --> 00:19:53,640
Speaker 1: a teenager because her her dad was a radio guy.

386
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Speaker 1: And uh, she still remembers that seeing us in that moment,

387
00:19:58,560 --> 00:20:02,440
Speaker 1: Keith took those notes like that, Oh yeah, like it's funny,

388
00:20:03,040 --> 00:20:04,840
Speaker 1: I want to play and then I want to also

389
00:20:04,880 --> 00:20:07,280
Speaker 1: get to your songwriting in a second. But some days

390
00:20:07,320 --> 00:20:14,359
Speaker 1: you gotta dance from from the ranch. First chance in

391
00:20:14,400 --> 00:20:24,280
Speaker 1: the world. And then the Dixie Chicks. The Chicks they

392
00:20:24,320 --> 00:20:27,280
Speaker 1: piked number number seven with this song. This was some

393
00:20:28,320 --> 00:20:30,000
Speaker 1: somewhat of a hit for them, and I was playing

394
00:20:30,040 --> 00:20:32,119
Speaker 1: with them at this time. So you did this to

395
00:20:32,760 --> 00:20:35,119
Speaker 1: you did it in both that I did the fly

396
00:20:35,320 --> 00:20:42,200
Speaker 1: tour with them. Do you know how that song got

397
00:20:42,240 --> 00:20:46,440
Speaker 1: to them to recut? Yeah, I mean, so we were

398
00:20:46,680 --> 00:20:52,880
Speaker 1: in uh, California at the CRS West Seminar and are

399
00:20:53,440 --> 00:20:55,919
Speaker 1: Walk in the Country had just come out, and then

400
00:20:56,040 --> 00:20:58,040
Speaker 1: they were about to come out with their first single,

401
00:20:58,119 --> 00:21:00,200
Speaker 1: so we met them there and we went and saw

402
00:21:00,359 --> 00:21:02,920
Speaker 1: there like they did a little radio show in a

403
00:21:04,000 --> 00:21:06,720
Speaker 1: like in a restaurant, like a back back room at restaurant,

404
00:21:07,000 --> 00:21:08,680
Speaker 1: and just got up there with acoustic and play and

405
00:21:08,720 --> 00:21:11,560
Speaker 1: so we became friends with him, and that's why they

406
00:21:11,680 --> 00:21:13,920
Speaker 1: they ended up cutting that because they were huge fans

407
00:21:13,960 --> 00:21:16,719
Speaker 1: of the Ranch, and so when when we broke up,

408
00:21:16,760 --> 00:21:18,720
Speaker 1: it was just like an easy transition for me to

409
00:21:19,000 --> 00:21:21,640
Speaker 1: join that tour. The early days you'd mentioned that you'd

410
00:21:21,680 --> 00:21:23,800
Speaker 1: moved from the Ranch to playing with at the time

411
00:21:23,840 --> 00:21:27,200
Speaker 1: the Dixie Chakes. Was it before Natalie was singing and

412
00:21:27,240 --> 00:21:30,880
Speaker 1: they were playing real bluegrass and stuff. No, I joined, Uh,

413
00:21:31,280 --> 00:21:33,560
Speaker 1: we did. When I joined, they were doing the Tim

414
00:21:33,640 --> 00:21:36,159
Speaker 1: McGraw tour, the we did Liul Affair tour, and then

415
00:21:36,240 --> 00:21:38,680
Speaker 1: the fly Tour, which at that point they were so

416
00:21:38,800 --> 00:21:41,800
Speaker 1: you were there for the explosion. Yeah, And you know

417
00:21:41,920 --> 00:21:44,280
Speaker 1: you mentioned Keith where people didn't know what to do

418
00:21:44,440 --> 00:21:47,720
Speaker 1: with him because of it. But I wasn't in Nashville yet.

419
00:21:48,000 --> 00:21:49,680
Speaker 1: But from the stories that I hear from kind of

420
00:21:49,720 --> 00:21:54,000
Speaker 1: the older guard of label folks, they're not running it,

421
00:21:54,040 --> 00:21:55,480
Speaker 1: but at the time weren't they were. They were like

422
00:21:55,640 --> 00:21:59,399
Speaker 1: Natalie Mains was like a firecracker that people were like,

423
00:21:59,440 --> 00:22:02,000
Speaker 1: what's happening right now? Because she really wasn't what was

424
00:22:02,119 --> 00:22:06,320
Speaker 1: normal for country music. So that that show we're talking about,

425
00:22:06,359 --> 00:22:07,480
Speaker 1: we went and so you know, it was like it's

426
00:22:07,480 --> 00:22:10,159
Speaker 1: just a little little restaurant table and it was all

427
00:22:10,200 --> 00:22:12,680
Speaker 1: these p ds and they were just standing up there playing,

428
00:22:13,200 --> 00:22:17,080
Speaker 1: being awesome as they always are. And then Natalie made

429
00:22:17,200 --> 00:22:21,359
Speaker 1: some crazy joke that offended a lot of people. And

430
00:22:22,000 --> 00:22:23,600
Speaker 1: because we saw them the next day and she was

431
00:22:23,640 --> 00:22:26,199
Speaker 1: telling us that she had to personally call them all

432
00:22:26,240 --> 00:22:29,240
Speaker 1: and apologize for this joke. And I can't see that joke.

433
00:22:29,960 --> 00:22:32,359
Speaker 1: Were you were you with them whenever the stuff in

434
00:22:32,400 --> 00:22:34,600
Speaker 1: England happened though, because they were doing the bluegrass stuff

435
00:22:34,600 --> 00:22:36,600
Speaker 1: at that point, and so I was actually there at

436
00:22:36,640 --> 00:22:39,960
Speaker 1: the same time though with my brother. We were doing

437
00:22:40,000 --> 00:22:43,399
Speaker 1: a little tour with this singer named David Gates. Uh,

438
00:22:43,880 --> 00:22:45,680
Speaker 1: and you know, it was a scary time to be

439
00:22:45,720 --> 00:22:48,119
Speaker 1: in England because they were pretty angry at us for

440
00:22:48,640 --> 00:22:52,280
Speaker 1: invading Iraq, and so, uh, you know, I felt that

441
00:22:52,359 --> 00:22:53,840
Speaker 1: heat because a couple of times we were out on

442
00:22:53,840 --> 00:22:56,320
Speaker 1: the street and people heard our accent got pretty aggressive

443
00:22:56,400 --> 00:23:00,280
Speaker 1: with Yeah, even when I was like, I just play base.

444
00:23:00,359 --> 00:23:05,280
Speaker 1: I don't know, yeah exactly, but yeah, we were there

445
00:23:05,280 --> 00:23:07,280
Speaker 1: at the exact same time, though you play with the

446
00:23:07,280 --> 00:23:09,879
Speaker 1: County Crows a little bit. How long? I mean, I

447
00:23:09,960 --> 00:23:13,600
Speaker 1: didn't do that long. I was brought in to do

448
00:23:13,960 --> 00:23:17,400
Speaker 1: the oscars and then we started doing shows. We started

449
00:23:17,440 --> 00:23:20,120
Speaker 1: doing like corporate gigs and some club gigs they were doing,

450
00:23:20,200 --> 00:23:25,000
Speaker 1: which were amazing. But then right at that moment, I

451
00:23:25,160 --> 00:23:27,680
Speaker 1: kind of had the choice. I could go with them,

452
00:23:27,800 --> 00:23:30,880
Speaker 1: and then Keith called right then because I went through

453
00:23:30,880 --> 00:23:33,840
Speaker 1: a little rough patch of not being able to get

454
00:23:33,840 --> 00:23:37,080
Speaker 1: a gig after the Chicks gig ended. I couldn't get

455
00:23:37,119 --> 00:23:38,840
Speaker 1: a job with anybody. What do you mean you couldn't

456
00:23:38,880 --> 00:23:40,920
Speaker 1: get a job, but nobody would hire me. I just

457
00:23:41,000 --> 00:23:43,320
Speaker 1: could not get a gig. Was it because you were

458
00:23:43,440 --> 00:23:46,719
Speaker 1: with the Chick I wonder because at that point they

459
00:23:46,760 --> 00:23:49,639
Speaker 1: were the absolute biggest thing in the world. And I

460
00:23:49,720 --> 00:23:52,159
Speaker 1: wondered if it was a perception thing like I was

461
00:23:52,160 --> 00:23:55,040
Speaker 1: gonna ask for too much money or something over qualified,

462
00:23:55,080 --> 00:23:58,320
Speaker 1: So maybe hire somebody who's too good, I mean audition

463
00:23:58,400 --> 00:24:00,920
Speaker 1: for people didn't get it. You know. It was a

464
00:24:01,000 --> 00:24:05,160
Speaker 1: rough time, and so when the kind of Crows brought

465
00:24:05,240 --> 00:24:07,960
Speaker 1: me in um. It was around that time. It's probably

466
00:24:07,960 --> 00:24:10,320
Speaker 1: about I went about a year without getting a gig

467
00:24:10,400 --> 00:24:13,520
Speaker 1: and uh and so right when I was about to

468
00:24:13,560 --> 00:24:17,159
Speaker 1: make that decision, Keith called. The same week, I got

469
00:24:17,280 --> 00:24:21,520
Speaker 1: a call from Keith, Dwight, Yoakum, and Chris Cagel. They

470
00:24:21,600 --> 00:24:24,720
Speaker 1: all called me, and uh, you know, it was a

471
00:24:24,840 --> 00:24:28,400
Speaker 1: pretty easy decision. I never knew Chris here. He's pretty

472
00:24:28,440 --> 00:24:32,359
Speaker 1: tough to work with. Ye I never knew him. Right again,

473
00:24:33,000 --> 00:24:37,960
Speaker 1: fifty of my Nashville existence is hearing about the existence

474
00:24:38,000 --> 00:24:41,840
Speaker 1: before I was here. Um County Crows one of my

475
00:24:41,920 --> 00:24:43,880
Speaker 1: favorite bands of all time. However, I have a few

476
00:24:43,920 --> 00:24:45,920
Speaker 1: bones to pick with them. By the way, I just

477
00:24:45,960 --> 00:24:50,040
Speaker 1: saw them here and they actually sang the right melodies. Yeah,

478
00:24:50,840 --> 00:24:54,160
Speaker 1: and Adam sounded good. It looked Goody cut his hair,

479
00:24:54,520 --> 00:24:56,920
Speaker 1: cut his hair well for a while that he was

480
00:24:56,960 --> 00:24:59,240
Speaker 1: wearing this dumb wig. It was crazy. I say this

481
00:24:59,480 --> 00:25:03,960
Speaker 1: as love can't get enough. You know, every record, even

482
00:25:03,960 --> 00:25:06,200
Speaker 1: the Sucky ones. I'm a huge fan Sucky in terms

483
00:25:06,280 --> 00:25:10,159
Speaker 1: of like sales. And was that just a weird vibe?

484
00:25:10,680 --> 00:25:17,440
Speaker 1: Was Dave the man was Dave tough? Um he like Um, No,

485
00:25:17,640 --> 00:25:19,119
Speaker 1: it wasn't a weird job. It was actually a lot

486
00:25:19,119 --> 00:25:21,360
Speaker 1: of fun. I've never seen so Adam Durt's like when

487
00:25:21,400 --> 00:25:25,720
Speaker 1: he was on stage. Uh, he was a pure rock

488
00:25:25,800 --> 00:25:27,959
Speaker 1: star even at this point, you know, because it's been

489
00:25:27,960 --> 00:25:30,600
Speaker 1: a while since they had had big hits, but they

490
00:25:30,760 --> 00:25:32,800
Speaker 1: people still loved him so much. And I remember we

491
00:25:32,880 --> 00:25:34,880
Speaker 1: were playing this club in New York and the Olsen

492
00:25:34,960 --> 00:25:39,000
Speaker 1: twins were in the front row like looking at him

493
00:25:39,080 --> 00:25:42,159
Speaker 1: like he was this sex god the whole time, and

494
00:25:42,720 --> 00:25:45,439
Speaker 1: you know it was he just had something about him

495
00:25:45,480 --> 00:25:47,760
Speaker 1: still does you know, He's just got something special. So

496
00:25:47,880 --> 00:25:50,320
Speaker 1: they were super fun gigs, you know. But my friend

497
00:25:50,400 --> 00:25:53,760
Speaker 1: Jim Bojis, who's their drummer. He was in the Dixie

498
00:25:53,840 --> 00:25:55,920
Speaker 1: Chicks band when I was there too. He was with

499
00:25:56,000 --> 00:25:58,560
Speaker 1: Sheryl Crowe for years. So he's the one that called

500
00:25:58,640 --> 00:26:00,600
Speaker 1: me in, you know, to be a part of him.

501
00:26:00,640 --> 00:26:01,960
Speaker 1: Do you do you do you end up with the

502
00:26:02,040 --> 00:26:03,800
Speaker 1: relationship without him or is he kind of like the

503
00:26:03,880 --> 00:26:08,440
Speaker 1: David letterman ory. It's pretty distant and then come. I

504
00:26:08,520 --> 00:26:10,840
Speaker 1: mean I had some fun moments with him, like the

505
00:26:10,960 --> 00:26:14,280
Speaker 1: Oscar week. He he let me even though I was

506
00:26:14,320 --> 00:26:16,959
Speaker 1: still brand new, he let me do everything with him,

507
00:26:17,040 --> 00:26:19,439
Speaker 1: do all the gift rooms, and and he took us

508
00:26:19,520 --> 00:26:22,320
Speaker 1: to this the most insane Hollywood party I ever seen

509
00:26:22,320 --> 00:26:24,639
Speaker 1: in my life. It's just generally from people I know

510
00:26:24,720 --> 00:26:26,680
Speaker 1: that have worked with them closely. He's a peculiar guy.

511
00:26:26,680 --> 00:26:28,359
Speaker 1: I love that about him. As an artist, I would

512
00:26:28,359 --> 00:26:30,960
Speaker 1: I don't think to be his friend. But I love

513
00:26:31,040 --> 00:26:34,040
Speaker 1: Counting Crows so much that I've probably spent too much

514
00:26:34,119 --> 00:26:37,360
Speaker 1: time learning about the County guys. It's almost like the industry,

515
00:26:37,480 --> 00:26:39,920
Speaker 1: Like I love it so much. Once you get in it,

516
00:26:40,040 --> 00:26:42,200
Speaker 1: you go, you know, I kind of wish I didn't

517
00:26:42,200 --> 00:26:44,720
Speaker 1: know as about it because and then it becomes a

518
00:26:44,720 --> 00:26:46,680
Speaker 1: little gross too. Yeah. For a while, I mean he

519
00:26:46,840 --> 00:26:49,760
Speaker 1: was real kind to me. I found him to be

520
00:26:49,840 --> 00:26:53,440
Speaker 1: a really funny Guy's extremely smart. But he definitely, you know,

521
00:26:53,640 --> 00:26:55,679
Speaker 1: stand office yeah a little bit, you know. I mean

522
00:26:55,760 --> 00:26:58,480
Speaker 1: he he hooked up with and dated Jennifer Aniston and

523
00:26:58,640 --> 00:27:02,159
Speaker 1: Courtney Carry from Friends and Their Prime. Yeah. When I

524
00:27:02,320 --> 00:27:04,960
Speaker 1: was playing in the band, he was with Emmy Rossum.

525
00:27:05,280 --> 00:27:09,399
Speaker 1: Yeah yeah, crazy. Yeah, he has to have something about him.

526
00:27:09,640 --> 00:27:18,760
Speaker 1: I love him. So you go from Counting Crows and

527
00:27:18,920 --> 00:27:22,200
Speaker 1: Keith calls, and what does Keith say to you? Does

528
00:27:22,240 --> 00:27:23,720
Speaker 1: he wants you to just be part of the band

529
00:27:23,760 --> 00:27:25,720
Speaker 1: as he wants you to be like music director at

530
00:27:25,920 --> 00:27:29,119
Speaker 1: no No, Chris MQ was empty at the time. So

531
00:27:29,280 --> 00:27:32,800
Speaker 1: Chris had called me because he had talked to Keith

532
00:27:32,840 --> 00:27:36,600
Speaker 1: about it and said, like I didn't Keith was like,

533
00:27:36,640 --> 00:27:38,200
Speaker 1: I don't know if you'd want to come back or not.

534
00:27:38,400 --> 00:27:40,960
Speaker 1: And so when he asked me, I was like, of course,

535
00:27:41,040 --> 00:27:43,760
Speaker 1: you know, it didn't take me two seconds to to

536
00:27:43,840 --> 00:27:45,879
Speaker 1: answer that one. Did he not know? Because of the

537
00:27:45,960 --> 00:27:48,520
Speaker 1: past relationship with you, guys were pretty equal. Yeah, And

538
00:27:48,680 --> 00:27:51,840
Speaker 1: and even though we and even after those years, we

539
00:27:51,920 --> 00:27:54,879
Speaker 1: were always completely cool with each other. Like I have

540
00:27:55,560 --> 00:27:58,919
Speaker 1: more respect for him than probably anybody in this entire business.

541
00:27:58,920 --> 00:28:02,760
Speaker 1: You know, I still do. Um, But maybe that's what

542
00:28:02,880 --> 00:28:05,120
Speaker 1: he was, you know, he's he's a guy that when

543
00:28:05,200 --> 00:28:08,200
Speaker 1: he moves on, he usually moves on. He doesn't think that,

544
00:28:08,320 --> 00:28:10,159
Speaker 1: you know, somebody's gonna come back or that kind of thing.

545
00:28:10,400 --> 00:28:14,280
Speaker 1: So um. But yeah, like I didn't hesitate for a second.

546
00:28:14,359 --> 00:28:18,679
Speaker 1: How natural was the fit immediate? And it was incredible,

547
00:28:19,200 --> 00:28:22,480
Speaker 1: you know. And and there's been a lot of players

548
00:28:22,600 --> 00:28:24,600
Speaker 1: that that have come on Gonstince I've joined and for

549
00:28:24,680 --> 00:28:27,600
Speaker 1: some reason, I'm I'm still there. Man. How do you

550
00:28:27,760 --> 00:28:34,240
Speaker 1: elevate inside of the group. Is it just staying um, well,

551
00:28:34,480 --> 00:28:39,360
Speaker 1: like Chris McK left in and then um, he asked

552
00:28:39,400 --> 00:28:43,160
Speaker 1: me to to to jump up into that to that position.

553
00:28:43,800 --> 00:28:45,840
Speaker 1: So does that mean there's a lot more communication between

554
00:28:45,880 --> 00:28:48,080
Speaker 1: you and him directly whenever the show is not happening, like, hey,

555
00:28:48,120 --> 00:28:50,040
Speaker 1: what are we doing here? Are you are you telling it?

556
00:28:50,160 --> 00:28:51,800
Speaker 1: Are you going to him to say hey, I'd like

557
00:28:51,840 --> 00:28:53,920
Speaker 1: to do this? And he says, well maybe, I mean

558
00:28:54,040 --> 00:28:57,240
Speaker 1: is it more bringing into I brought in a couple

559
00:28:57,240 --> 00:28:59,760
Speaker 1: of guys in the band, um, Nathan Barlow and our

560
00:29:00,000 --> 00:29:04,560
Speaker 1: track operator Jeff Lindzenmeyer and then our drummer Seth h Raush.

561
00:29:04,680 --> 00:29:07,280
Speaker 1: I was the one that brought those guys to him. Um.

562
00:29:08,680 --> 00:29:12,680
Speaker 1: But he like the great thing about him is he

563
00:29:12,960 --> 00:29:17,200
Speaker 1: never he never stops wanting to be great. And so

564
00:29:18,120 --> 00:29:22,400
Speaker 1: the majority of what we do now is set list change,

565
00:29:22,680 --> 00:29:25,920
Speaker 1: you know, like he's always always working on the set list,

566
00:29:25,960 --> 00:29:28,480
Speaker 1: trying to get the timing perfect. We'll watch, you know,

567
00:29:28,600 --> 00:29:30,680
Speaker 1: we're on tour, We'll watch video of the night before

568
00:29:31,200 --> 00:29:34,680
Speaker 1: you know. We will go like we need to tape yeah,

569
00:29:34,680 --> 00:29:36,120
Speaker 1: and he'll say, like we need to start this song

570
00:29:36,240 --> 00:29:38,640
Speaker 1: two seconds earlier that kind of thing and he'll notice

571
00:29:38,640 --> 00:29:41,240
Speaker 1: a blue light when it should be read. And uh,

572
00:29:41,640 --> 00:29:44,360
Speaker 1: the guy just wants to be great. Do you ever

573
00:29:44,400 --> 00:29:46,200
Speaker 1: say kid stopped running into the middle of the crowd

574
00:29:46,360 --> 00:29:51,120
Speaker 1: like people love it. It only takes one stabber, though,

575
00:29:52,480 --> 00:29:55,840
Speaker 1: it takes one stabber that We did have one crazy,

576
00:29:55,920 --> 00:30:00,080
Speaker 1: crazy experience. Uh. We were playing a corporate gig for

577
00:30:00,280 --> 00:30:03,800
Speaker 1: the company Cisco. So the guy, the president of that

578
00:30:03,920 --> 00:30:08,640
Speaker 1: company was retiring, so he rented out forty stadium for

579
00:30:08,760 --> 00:30:12,160
Speaker 1: his retirement party. And which is what you'll probably do

580
00:30:12,280 --> 00:30:16,240
Speaker 1: to time comes. Uh, And so he had all eight

581
00:30:16,280 --> 00:30:19,160
Speaker 1: thousand of their employees there. So it was us and

582
00:30:20,080 --> 00:30:24,080
Speaker 1: Christina Aguilera was the other artists. But when we played

583
00:30:24,920 --> 00:30:28,360
Speaker 1: the you know, he had a lot of um engineers

584
00:30:28,440 --> 00:30:30,920
Speaker 1: that from India that were there, and there were a

585
00:30:31,080 --> 00:30:34,160
Speaker 1: lot of Indians in the audience. And I don't know

586
00:30:34,280 --> 00:30:38,960
Speaker 1: if they had never seen a concert like him, because

587
00:30:39,000 --> 00:30:41,760
Speaker 1: he's so great, he's so dynamic. I've made jokes like

588
00:30:41,840 --> 00:30:44,200
Speaker 1: we could play for you know, he played for a

589
00:30:44,280 --> 00:30:45,720
Speaker 1: till of the till of the hunt and he would

590
00:30:45,760 --> 00:30:48,480
Speaker 1: win him over, like he's the best at that. But

591
00:30:49,000 --> 00:30:53,400
Speaker 1: that crowd got so so wound up and so into it.

592
00:30:53,720 --> 00:30:55,520
Speaker 1: When he went down into the audience, because you know,

593
00:30:55,600 --> 00:30:57,440
Speaker 1: we had a little stage at the back, you know,

594
00:30:57,640 --> 00:31:01,640
Speaker 1: we're near the soundboard. He walked rut and when he

595
00:31:01,800 --> 00:31:05,360
Speaker 1: got up there, like his shirt was completely ripped off.

596
00:31:05,840 --> 00:31:08,680
Speaker 1: Our security guy Paxson said that they were people were

597
00:31:08,760 --> 00:31:12,680
Speaker 1: jumping on him and biting his shoulders and everything, and

598
00:31:12,760 --> 00:31:15,880
Speaker 1: they were just jazz man, send jazz to my life.

599
00:31:15,960 --> 00:31:17,440
Speaker 1: Let me think about the time that I've been jazzing.

600
00:31:17,480 --> 00:31:21,160
Speaker 1: Bit somebody, none none, but that's wild. Yeah. And when

601
00:31:21,200 --> 00:31:22,600
Speaker 1: he got up on stage, he was like, what the

602
00:31:22,640 --> 00:31:25,240
Speaker 1: hell just happened? And he was like, sure, it was

603
00:31:25,320 --> 00:31:28,120
Speaker 1: just hanging off and he was just like so into it. Man,

604
00:31:28,360 --> 00:31:33,240
Speaker 1: But when did you decide? Because obviously playing live music

605
00:31:33,640 --> 00:31:36,000
Speaker 1: is something you excel at and your passionate that, right,

606
00:31:36,440 --> 00:31:39,000
Speaker 1: So when did you go? And maybe it was, you know,

607
00:31:39,280 --> 00:31:41,720
Speaker 1: thirty years ago, but you go, I think this town

608
00:31:41,840 --> 00:31:44,479
Speaker 1: is ready for me to be a songwriter too. Um.

609
00:31:44,600 --> 00:31:46,600
Speaker 1: I mean it was interesting. I had always written songs,

610
00:31:46,920 --> 00:31:50,840
Speaker 1: but again I was more I loved I just sold

611
00:31:50,920 --> 00:31:54,320
Speaker 1: music so much. That was more my style sold in

612
00:31:54,440 --> 00:31:57,760
Speaker 1: rock music. Um. I didn't know a ton about the

613
00:31:57,880 --> 00:31:59,880
Speaker 1: history of country until I met Keith because that guy's

614
00:31:59,880 --> 00:32:02,120
Speaker 1: a jukebox. I don't know if you've ever talked to

615
00:32:02,200 --> 00:32:04,000
Speaker 1: me about it, but that guy knows every country song

616
00:32:04,080 --> 00:32:06,400
Speaker 1: ever written. So he really kind of schooled me on

617
00:32:07,320 --> 00:32:09,920
Speaker 1: so many of the greats and then you know, just

618
00:32:10,120 --> 00:32:12,480
Speaker 1: learned to love it. But I was still not really

619
00:32:12,520 --> 00:32:15,280
Speaker 1: writing that much country. And after I joined him, I

620
00:32:15,360 --> 00:32:18,680
Speaker 1: got a call from a lady named Leanne phalan Um

621
00:32:19,240 --> 00:32:22,560
Speaker 1: who she was working with Um I got named Chris

622
00:32:22,600 --> 00:32:24,120
Speaker 1: Oglesby at the time, and they were doing like a

623
00:32:24,160 --> 00:32:28,160
Speaker 1: writer management thing, uh, and she just asked me out

624
00:32:28,160 --> 00:32:31,320
Speaker 1: of the blues, she like, would you consider writing country?

625
00:32:31,880 --> 00:32:33,720
Speaker 1: I was like, yeah, sure, And then I mean I

626
00:32:34,000 --> 00:32:35,960
Speaker 1: I started it a bit, but I wasn't like full

627
00:32:36,040 --> 00:32:39,680
Speaker 1: on into it, and um, that's what started my whole career.

628
00:32:39,880 --> 00:32:41,479
Speaker 1: You know. I want to roll through some of your

629
00:32:41,560 --> 00:32:44,440
Speaker 1: number ones, but when you just looked at some of

630
00:32:44,480 --> 00:32:49,320
Speaker 1: the number one they all started, there's definitely as we

631
00:32:49,440 --> 00:32:51,400
Speaker 1: kind of and I think that's ryan A Marin song

632
00:32:51,480 --> 00:32:52,840
Speaker 1: is gonna be a number one too, just looking at

633
00:32:52,880 --> 00:32:56,160
Speaker 1: the factory of charts and I don't really control that.

634
00:32:56,280 --> 00:32:58,440
Speaker 1: But no, Keith cut that song first though, No, I

635
00:32:58,480 --> 00:33:03,120
Speaker 1: didn't know I cut it. Yeah, the weird thing to

636
00:33:03,320 --> 00:33:05,520
Speaker 1: someone who and was weird to me for a while

637
00:33:05,600 --> 00:33:07,200
Speaker 1: with Keith too, because he would keep it, have me

638
00:33:07,240 --> 00:33:09,280
Speaker 1: over his house and be like, you know, we're going

639
00:33:09,320 --> 00:33:11,560
Speaker 1: a little back and we going to his little studio

640
00:33:11,640 --> 00:33:14,560
Speaker 1: before anything else, and he played these songs and be like, yeah,

641
00:33:14,560 --> 00:33:16,200
Speaker 1: I have them, I'm gonna end up putting on the record,

642
00:33:17,440 --> 00:33:19,600
Speaker 1: and man, you cut so you cut so many like

643
00:33:19,800 --> 00:33:23,320
Speaker 1: Caney cuts them perfectly. Yeah, like he doesn't use him.

644
00:33:23,320 --> 00:33:24,719
Speaker 1: It's not like a work tape, like a really good

645
00:33:24,760 --> 00:33:26,760
Speaker 1: work tape. And then like he cuts them like it's

646
00:33:26,800 --> 00:33:28,360
Speaker 1: going to be on the record and they just go away.

647
00:33:29,240 --> 00:33:31,120
Speaker 1: And so he did that with this. He got it

648
00:33:31,160 --> 00:33:33,000
Speaker 1: and then decided it wasn't Yeah he like I seen

649
00:33:33,120 --> 00:33:35,680
Speaker 1: him the demo the day I did it because I

650
00:33:35,720 --> 00:33:37,120
Speaker 1: didn't think he would like it. I was just gonna

651
00:33:37,160 --> 00:33:38,760
Speaker 1: get his opinion because he's such a song guy. I

652
00:33:38,800 --> 00:33:40,360
Speaker 1: thought he could tell me, like who, I could pitch

653
00:33:40,400 --> 00:33:42,520
Speaker 1: it too, because I didn't really hear him liking it,

654
00:33:43,120 --> 00:33:44,720
Speaker 1: and he was like he just went crazy for it.

655
00:33:44,800 --> 00:33:46,800
Speaker 1: Then he started saying that he wanted to do a

656
00:33:46,920 --> 00:33:48,920
Speaker 1: duet with this song. He leanted to do it with

657
00:33:49,000 --> 00:33:52,520
Speaker 1: Pink Then, so Uh. Then he ended up writing his

658
00:33:52,600 --> 00:33:56,560
Speaker 1: bridge to it, recorded it. It was awesome, but he

659
00:33:56,720 --> 00:33:58,920
Speaker 1: just didn't quite get it to where he wanted it.

660
00:33:59,600 --> 00:34:01,720
Speaker 1: Uh So he when you say, to where he wanted

661
00:34:01,720 --> 00:34:04,400
Speaker 1: it because the conversations and I definitely want to get

662
00:34:04,480 --> 00:34:07,200
Speaker 1: to your songs, but the conversations at times I've had

663
00:34:07,240 --> 00:34:09,520
Speaker 1: with him are I love it, but it doesn't fit

664
00:34:09,640 --> 00:34:12,080
Speaker 1: the record in between any certain songs. How you're talking

665
00:34:12,080 --> 00:34:14,360
Speaker 1: about the set list, he was listening to songs in

666
00:34:14,440 --> 00:34:17,040
Speaker 1: that way too, going it just doesn't fit anywhere in

667
00:34:17,120 --> 00:34:19,560
Speaker 1: between two songs. That makes the set list kind of

668
00:34:19,719 --> 00:34:23,480
Speaker 1: a hole. Like he just he knows exactly what he wants.

669
00:34:23,520 --> 00:34:25,320
Speaker 1: You know, the guy just knows who he is. And

670
00:34:25,400 --> 00:34:29,880
Speaker 1: that's every songwriter in this town respects the fact that,

671
00:34:30,040 --> 00:34:32,600
Speaker 1: like most of the time you'll send songs to people,

672
00:34:32,640 --> 00:34:36,440
Speaker 1: you'll never get a response. It didn't matter who you

673
00:34:36,560 --> 00:34:38,560
Speaker 1: are in this town. If you send him a song,

674
00:34:38,719 --> 00:34:40,920
Speaker 1: he's gonna respond to you. And it's you know, and

675
00:34:41,000 --> 00:34:43,920
Speaker 1: he'll say he'll like he'll actually write two people and

676
00:34:44,000 --> 00:34:45,960
Speaker 1: say like what about the song? Like didn't work for

677
00:34:46,120 --> 00:34:48,799
Speaker 1: him as an artist? You know, he just knows who

678
00:34:48,840 --> 00:34:51,600
Speaker 1: he is. You know, how long ago was him cutting

679
00:34:51,640 --> 00:34:54,120
Speaker 1: that song. I mean he cut it right after we

680
00:34:54,160 --> 00:34:58,160
Speaker 1: wrote it seven years years ago, so it sits sits

681
00:34:58,160 --> 00:35:01,319
Speaker 1: and then Ryan cut it three or four years ago

682
00:35:01,600 --> 00:35:04,680
Speaker 1: and then did do We did a bridge with Mary

683
00:35:04,719 --> 00:35:07,120
Speaker 1: and she came to my house. We wrote a bridge, uh,

684
00:35:07,560 --> 00:35:10,640
Speaker 1: and she sang that and then you know the song

685
00:35:11,360 --> 00:35:13,279
Speaker 1: they didn't it didn't put on a record. So I thought, all,

686
00:35:13,480 --> 00:35:15,840
Speaker 1: Ryan Bridge Marrin, is that what you're saying about the

687
00:35:15,880 --> 00:35:18,160
Speaker 1: first version that Ryan? But yeah, yeah, yeah, So he

688
00:35:18,239 --> 00:35:21,120
Speaker 1: did the second verse like what she's she does now? Um,

689
00:35:22,640 --> 00:35:25,160
Speaker 1: and it just didn't go anywhere, and I was like,

690
00:35:25,239 --> 00:35:26,799
Speaker 1: I just thought it was the whole thing was dead. Yeah,

691
00:35:26,840 --> 00:35:28,880
Speaker 1: did you know that he was kind of keeping it Nope,

692
00:35:29,520 --> 00:35:32,000
Speaker 1: in the house. I didn't know anything about it until

693
00:35:32,280 --> 00:35:34,880
Speaker 1: it was like a week before it came out. My

694
00:35:35,440 --> 00:35:40,360
Speaker 1: old publisher at at um uh At Combustion called me

695
00:35:40,440 --> 00:35:42,600
Speaker 1: and told me, I had no clue. Do you think

696
00:35:42,600 --> 00:35:44,640
Speaker 1: that ediquettes a little weird? And I get it. I

697
00:35:44,840 --> 00:35:47,480
Speaker 1: understand that it is what happens, because again I'll talk

698
00:35:47,520 --> 00:35:49,480
Speaker 1: to other folks and they're like, hey, I never heard it.

699
00:35:49,520 --> 00:35:50,879
Speaker 1: I didn't even know I was on the record until

700
00:35:50,920 --> 00:35:53,360
Speaker 1: like the before the record came out or something of

701
00:35:53,480 --> 00:35:57,000
Speaker 1: that sort, like you've Marin came over to the house

702
00:35:57,080 --> 00:35:59,040
Speaker 1: and she you were in like the birth of that

703
00:35:59,320 --> 00:36:02,400
Speaker 1: song for him, and then nobody calls and goes, hey, man,

704
00:36:02,560 --> 00:36:04,040
Speaker 1: it's about to be it's about to be on No.

705
00:36:04,560 --> 00:36:07,400
Speaker 1: But I think a lot of that is probably like

706
00:36:07,480 --> 00:36:09,399
Speaker 1: they don't want to disappoint you if they do make

707
00:36:09,440 --> 00:36:12,239
Speaker 1: that decision at the last minute to take it off.

708
00:36:12,400 --> 00:36:15,040
Speaker 1: You know, I'd almost rather not know that it was

709
00:36:15,760 --> 00:36:17,640
Speaker 1: almost gonna be on there. When did you know it

710
00:36:17,680 --> 00:36:19,879
Speaker 1: was going to be a single? I mean when when

711
00:36:20,280 --> 00:36:23,440
Speaker 1: uh Falcon from Combustion called me and told me and

712
00:36:23,520 --> 00:36:25,320
Speaker 1: he said, hey, they recut it and it's going to

713
00:36:25,400 --> 00:36:28,879
Speaker 1: be the lead single for Ryan i Go album. Yeah, man,

714
00:36:29,040 --> 00:36:31,120
Speaker 1: seven years ago you wrote that song. I mean, the

715
00:36:31,280 --> 00:36:33,799
Speaker 1: journey rarely happens now that the journey that song took.

716
00:36:33,800 --> 00:36:36,879
Speaker 1: It was cut twice before, Yeah, by Keith and by Ryan.

717
00:36:37,600 --> 00:36:41,080
Speaker 1: And usually in this town, it's not that songs are

718
00:36:41,120 --> 00:36:43,279
Speaker 1: better and replace other songs because they're better. It's just

719
00:36:43,320 --> 00:36:45,960
Speaker 1: because they're newer and it people love shiny things. It's

720
00:36:46,000 --> 00:36:47,799
Speaker 1: like there's a new candy. Yeah. I mean, that doesn't

721
00:36:47,840 --> 00:36:49,600
Speaker 1: happen very often. At all anymore. But you look, there

722
00:36:49,680 --> 00:36:52,239
Speaker 1: are some like what hurts the most was seven years

723
00:36:52,280 --> 00:36:55,600
Speaker 1: old when that got cut? H God, bless the Broken Roads,

724
00:36:55,640 --> 00:36:59,120
Speaker 1: same things seven years old? Like how did these people

725
00:36:59,200 --> 00:37:00,640
Speaker 1: listen to those songs? Did not want to cut the

726
00:37:00,719 --> 00:37:02,640
Speaker 1: only Rascal Flats lists in the song seven years old?

727
00:37:03,960 --> 00:37:06,840
Speaker 1: That's what it is. That's their thing, that's their they

728
00:37:06,880 --> 00:37:08,800
Speaker 1: will It's like they like aged wine and they like

729
00:37:08,960 --> 00:37:12,560
Speaker 1: age songs. So for songwriters go back anything seven years old,

730
00:37:12,800 --> 00:37:15,480
Speaker 1: Well they're broken up. Now that's a whole different thing exactly. Um.

731
00:37:15,520 --> 00:37:17,560
Speaker 1: I wonder what the point I was gonna make about,

732
00:37:17,800 --> 00:37:19,319
Speaker 1: and we'll just roll through some of your Number one

733
00:37:19,640 --> 00:37:22,759
Speaker 1: is that they do have a bit of an R

734
00:37:22,840 --> 00:37:27,000
Speaker 1: and B field to them, especially the Sam song two

735
00:37:27,040 --> 00:37:38,560
Speaker 1: thousand fifteen, Sam Hunt House Party. That was this number

736
00:37:38,600 --> 00:37:41,520
Speaker 1: one for Sam. So that was my first number one

737
00:37:41,960 --> 00:37:44,239
Speaker 1: number one for you? Was this his first single? No?

738
00:37:45,120 --> 00:37:49,320
Speaker 1: Third single? What was his first one? Yeah? Because I

739
00:37:49,560 --> 00:37:54,080
Speaker 1: had a song called Raised on it Sam cut yeah

740
00:37:54,120 --> 00:37:58,239
Speaker 1: that he put out first. Yeah, and that was going

741
00:37:58,320 --> 00:38:01,279
Speaker 1: to be the first single, but they had put it

742
00:38:01,360 --> 00:38:05,600
Speaker 1: out on Uh, I can't remember what what what? How

743
00:38:05,680 --> 00:38:08,440
Speaker 1: they put it out? Maybe just did a video on YouTube, um,

744
00:38:08,800 --> 00:38:10,160
Speaker 1: and I guess it was out for so long they

745
00:38:10,200 --> 00:38:11,839
Speaker 1: decided to go with another song, so they put Leave

746
00:38:11,920 --> 00:38:15,239
Speaker 1: a Night on and then what was the second one was?

747
00:38:15,640 --> 00:38:18,879
Speaker 1: Then he talked in the second time yeah u um,

748
00:38:19,440 --> 00:38:22,120
Speaker 1: So how do you get in this Sam camp early

749
00:38:22,280 --> 00:38:25,160
Speaker 1: with this again unknown artist? Yeah, he didn't have a

750
00:38:25,239 --> 00:38:27,799
Speaker 1: deal with the time, so and why would you get

751
00:38:27,880 --> 00:38:30,440
Speaker 1: into the Sam camp? So I was writing at the

752
00:38:30,520 --> 00:38:33,640
Speaker 1: time for UM. I had like a three way deal.

753
00:38:33,800 --> 00:38:36,879
Speaker 1: I was with UM Ashley Gourley in his tape room

754
00:38:37,200 --> 00:38:39,600
Speaker 1: company and the Combustion and the Warren Chapel, and so

755
00:38:39,800 --> 00:38:45,080
Speaker 1: Ashley had signed Zach Kraw, who produces Sam Uh and

756
00:38:45,239 --> 00:38:48,000
Speaker 1: so they had just put us together because he thought,

757
00:38:48,080 --> 00:38:50,200
Speaker 1: you know, we would make He actually wanted us to

758
00:38:50,239 --> 00:38:52,000
Speaker 1: do a lot more R and B and pop stuff.

759
00:38:52,520 --> 00:38:55,719
Speaker 1: And then somehow they connected and then he brought me

760
00:38:55,760 --> 00:38:57,960
Speaker 1: into that. And what do you think of Sam when

761
00:38:57,960 --> 00:39:00,719
Speaker 1: you first meet him? I mean, he's awesome. I love

762
00:39:00,800 --> 00:39:02,960
Speaker 1: the dude. I really really love the guy. Man. He's

763
00:39:03,000 --> 00:39:05,920
Speaker 1: such a sweet person. But you know, as a songwriter,

764
00:39:07,000 --> 00:39:09,960
Speaker 1: he does something that I just had this conversation the

765
00:39:10,040 --> 00:39:12,520
Speaker 1: other day with with somebody. It's like he does something

766
00:39:12,560 --> 00:39:16,279
Speaker 1: that people don't do here. He edits and edits and

767
00:39:16,640 --> 00:39:18,160
Speaker 1: gonna say I don't want to say Sam, let's go,

768
00:39:18,360 --> 00:39:20,480
Speaker 1: let's move along. Yeah, because because Sam does, he takes

769
00:39:20,520 --> 00:39:23,279
Speaker 1: weeks sometimes. Well that one took I think how part

770
00:39:23,400 --> 00:39:27,239
Speaker 1: House Party took seven times together. That is wild. No

771
00:39:27,320 --> 00:39:30,120
Speaker 1: one does that. But that's why his lyrics, his songs

772
00:39:30,160 --> 00:39:32,759
Speaker 1: are so much better than most people, because he goes back.

773
00:39:32,840 --> 00:39:34,839
Speaker 1: I mean, listen to version I have, which you might

774
00:39:34,920 --> 00:39:38,520
Speaker 1: play this song of kin Folks. The week before it

775
00:39:38,640 --> 00:39:42,080
Speaker 1: came out. The version I had, the second verse was

776
00:39:42,800 --> 00:39:45,680
Speaker 1: completely different, and he right before it came out, he

777
00:39:45,760 --> 00:39:48,759
Speaker 1: stopped it, went back in, wrote a new second verse,

778
00:39:48,880 --> 00:39:50,640
Speaker 1: went in and recorded the day, I think the day

779
00:39:50,719 --> 00:39:53,480
Speaker 1: or two before it came out on Radio two thousand fifteen.

780
00:39:53,520 --> 00:39:57,120
Speaker 1: House Party, Let's jump up to here? I want to

781
00:40:00,400 --> 00:40:11,759
Speaker 1: friends to the road up Billy Currington sixteen, Do I

782
00:40:11,840 --> 00:40:19,759
Speaker 1: make you want to? You wanna against? There's still an

783
00:40:19,840 --> 00:40:22,080
Speaker 1: R and B field to this song, you know in

784
00:40:22,200 --> 00:40:25,040
Speaker 1: Billy's vibe is kind of country beach R and B. Yeah,

785
00:40:25,360 --> 00:40:29,000
Speaker 1: And so who'd you write this with? Zach Row, Ashley

786
00:40:29,040 --> 00:40:32,080
Speaker 1: Gurley and Matt Jenkins. And so when you write this,

787
00:40:33,520 --> 00:40:36,600
Speaker 1: was it a right for Billy was no, no, no, no. Uh.

788
00:40:37,400 --> 00:40:40,319
Speaker 1: It started out with me and Zach just getting together

789
00:40:40,400 --> 00:40:42,080
Speaker 1: and I had that riff and we made the track

790
00:40:42,200 --> 00:40:43,680
Speaker 1: and then which riff. There are a lot of rif

791
00:40:44,200 --> 00:40:47,040
Speaker 1: and and and and I did that and the other

792
00:40:47,239 --> 00:40:49,680
Speaker 1: main guitar riff after that. I mean, our demo sounds

793
00:40:49,719 --> 00:40:52,279
Speaker 1: pretty similar. And then I had the demo here here

794
00:40:52,320 --> 00:40:55,680
Speaker 1: you go, make you want to there it is stay

795
00:40:55,760 --> 00:41:02,560
Speaker 1: up to the sun. Maybe tell me that's true, to

796
00:41:03,200 --> 00:41:12,719
Speaker 1: make you angry? Yeah, go to Vegas hip as he's

797
00:41:12,719 --> 00:41:14,880
Speaker 1: gonna do, all right, I have faith in him. I

798
00:41:14,920 --> 00:41:16,080
Speaker 1: don't know. I don't know. I don't know if he's

799
00:41:16,080 --> 00:41:17,359
Speaker 1: gonna make it or have any money. I'll be honest

800
00:41:17,360 --> 00:41:21,000
Speaker 1: with you, he's gonna. Um, so you write this song,

801
00:41:21,440 --> 00:41:24,439
Speaker 1: how long until Billy picks it up? It took a while.

802
00:41:24,600 --> 00:41:27,600
Speaker 1: That was, I mean maybe a year or so. And

803
00:41:27,840 --> 00:41:32,560
Speaker 1: when um Stephanie right at Universal when she she she

804
00:41:32,680 --> 00:41:34,479
Speaker 1: took it. But she didn't take it for any artist.

805
00:41:34,560 --> 00:41:36,799
Speaker 1: She just heard the song, loved it so much, put

806
00:41:36,840 --> 00:41:39,080
Speaker 1: it on hold. Just in general, you can put a

807
00:41:39,120 --> 00:41:41,680
Speaker 1: generic hold on a song. Yeah, she did and never

808
00:41:41,760 --> 00:41:43,040
Speaker 1: heard of that. Yeah, And then it was a long

809
00:41:43,120 --> 00:41:45,680
Speaker 1: time after that, then we've finally heard that she had

810
00:41:45,719 --> 00:41:47,759
Speaker 1: pitched it to uh Billy and got him to do it.

811
00:41:48,040 --> 00:41:51,879
Speaker 1: Is that is that generic cold common? No, I've never

812
00:41:51,960 --> 00:41:53,400
Speaker 1: heard of that, not from me. And also I think

813
00:41:53,400 --> 00:41:55,960
Speaker 1: I'm gonna be disappointed if someone just win. I call tabs.

814
00:41:56,600 --> 00:41:58,320
Speaker 1: That's my song, but I don't know what to do

815
00:41:58,440 --> 00:42:00,560
Speaker 1: with it. Yeah, exactly, Well, they have a out of artists,

816
00:42:00,640 --> 00:42:03,879
Speaker 1: so uh, I mean she just was way into the song.

817
00:42:04,040 --> 00:42:05,560
Speaker 1: She just loved it. She just knew it was gonna

818
00:42:05,560 --> 00:42:08,120
Speaker 1: be for somebody, and I mean it was the perfect

819
00:42:08,160 --> 00:42:17,480
Speaker 1: guy to Billy crushed it. Jason Aldean a little more summertime. Yeah,

820
00:42:24,760 --> 00:42:27,000
Speaker 1: so you have a number one, you have two number

821
00:42:27,040 --> 00:42:29,040
Speaker 1: ones and twenty sixteen, you gotta be feeling pretty good

822
00:42:29,040 --> 00:42:32,040
Speaker 1: about your riding, Like when ends and it's like New

823
00:42:32,120 --> 00:42:38,160
Speaker 1: Year's Day, feeling pretty freaking good. Yeah, I was. This

824
00:42:38,320 --> 00:42:40,759
Speaker 1: is a crazy business, though, because it's all about like

825
00:42:41,440 --> 00:42:44,800
Speaker 1: what's happening next? You know, it's so funny in my mind,

826
00:42:45,200 --> 00:42:48,040
Speaker 1: I don't see myself as that, Like I just I

827
00:42:48,160 --> 00:42:50,360
Speaker 1: just I'm always logging it out and just trying. But

828
00:42:51,560 --> 00:42:53,960
Speaker 1: you know, I have to have my wife. She reminds

829
00:42:54,000 --> 00:42:55,680
Speaker 1: me a lot of times, like no, no, you're you're

830
00:42:55,719 --> 00:42:58,200
Speaker 1: doing all right? Man? Yeah, mine mine has to do

831
00:42:58,280 --> 00:42:59,760
Speaker 1: that to you. And she's like, why are you hating

832
00:42:59,800 --> 00:43:01,520
Speaker 1: your Yeah, that's what. Why do you think you're such

833
00:43:01,520 --> 00:43:04,399
Speaker 1: a loser and fry and like because no one likes

834
00:43:04,440 --> 00:43:09,200
Speaker 1: me anymore? And she when Mike. When Mike contact me

835
00:43:09,280 --> 00:43:11,600
Speaker 1: about this, I was like, I don't know why you

836
00:43:11,719 --> 00:43:13,279
Speaker 1: want to speak to me that you're like you mean

837
00:43:13,280 --> 00:43:17,400
Speaker 1: the Keith Sweat producer. I actually thought that literally when

838
00:43:17,400 --> 00:43:19,200
Speaker 1: I was driving over here, I was like, oh my god,

839
00:43:19,239 --> 00:43:28,760
Speaker 1: I hope he didn't. We got the wrong guy. You. Also,

840
00:43:28,840 --> 00:43:31,359
Speaker 1: if we go way back though, like two thousand nine

841
00:43:32,160 --> 00:43:35,160
Speaker 1: was boy Like Me? Was that your first success on

842
00:43:35,239 --> 00:43:38,360
Speaker 1: a chart writing song from Jessica Harp? Yes? And I

843
00:43:38,400 --> 00:43:42,120
Speaker 1: wrote that by myself too, which was funny. I had

844
00:43:42,200 --> 00:43:45,840
Speaker 1: moved out to l A because it was during that

845
00:43:45,960 --> 00:43:49,800
Speaker 1: time where I was just not getting anywhere with any gigs,

846
00:43:49,880 --> 00:43:52,440
Speaker 1: and so I decided to just get in my car.

847
00:43:52,520 --> 00:43:54,000
Speaker 1: I went to l A for a little bit. This guy,

848
00:43:54,239 --> 00:43:56,719
Speaker 1: Keith gaddis Um was out there that I knew from

849
00:43:56,800 --> 00:43:58,719
Speaker 1: years back, and he kind of introduced me to some people.

850
00:43:58,760 --> 00:44:01,800
Speaker 1: And but uh, when I came back I wrote that

851
00:44:02,160 --> 00:44:05,080
Speaker 1: when I was in the car on the drive home,

852
00:44:05,400 --> 00:44:09,400
Speaker 1: because I wrote that in the car, but you had

853
00:44:09,440 --> 00:44:12,640
Speaker 1: to be riding passenger. No, no, no, no, no, I

854
00:44:12,760 --> 00:44:14,279
Speaker 1: got that. I got the years next up. No, I

855
00:44:14,320 --> 00:44:16,480
Speaker 1: did ride in the car, but I was. I remember

856
00:44:16,560 --> 00:44:18,040
Speaker 1: now where I wrote that whole thing. I was at

857
00:44:18,080 --> 00:44:20,400
Speaker 1: the Percy Warner Park when you could still drive through it.

858
00:44:20,840 --> 00:44:22,800
Speaker 1: That's where I wrote that song, which you can't anymore.

859
00:44:22,800 --> 00:44:25,960
Speaker 1: You can only walk. Yeah, so you and here it is,

860
00:44:26,000 --> 00:44:38,600
Speaker 1: here's boy like you? Up until then? I know you

861
00:44:38,680 --> 00:44:40,640
Speaker 1: had an album cut for Lady A the year before

862
00:44:41,160 --> 00:44:44,040
Speaker 1: two thou eight. What was the first song writer like

863
00:44:44,239 --> 00:44:46,200
Speaker 1: taste you got? Was it the Lady A cut or

864
00:44:46,320 --> 00:44:48,520
Speaker 1: what it might have been? It might have been or

865
00:44:48,560 --> 00:44:52,920
Speaker 1: it might have been um uh, Carrie Underwood songs like

866
00:44:53,120 --> 00:44:59,600
Speaker 1: this Man two thousand eleven, unless she cut it and

867
00:44:59,719 --> 00:45:05,200
Speaker 1: held that. I don't Yeah, like my research, my man

868
00:45:05,400 --> 00:45:07,440
Speaker 1: years are terrible. Yeah, I don't know what happened when

869
00:45:07,640 --> 00:45:09,480
Speaker 1: two thousand eight is the first thing I could find

870
00:45:09,600 --> 00:45:12,560
Speaker 1: in your writing that it was that the Lady that

871
00:45:12,640 --> 00:45:17,440
Speaker 1: was Lady A perfect day. This is your life, let's

872
00:45:17,440 --> 00:45:18,920
Speaker 1: talk about it. I'm gonna teach you some things about you,

873
00:45:18,960 --> 00:45:21,760
Speaker 1: I'm not here, and so I got to I started

874
00:45:21,840 --> 00:45:23,759
Speaker 1: to produce some stuff. So I produced a couple of

875
00:45:23,800 --> 00:45:27,280
Speaker 1: songs with Jody Messina, and then the Jessica Harp thing happened.

876
00:45:27,480 --> 00:45:30,400
Speaker 1: I got to produce her whole record, which is a

877
00:45:30,560 --> 00:45:33,160
Speaker 1: great record. I mean it's not because I wrote some

878
00:45:33,280 --> 00:45:35,520
Speaker 1: songs on it, but like overall, it's a really good record.

879
00:45:35,640 --> 00:45:38,440
Speaker 1: She was she's really awesome. But Jody Massina was like

880
00:45:38,480 --> 00:45:42,160
Speaker 1: the first time I got to really produce someone, and

881
00:45:42,400 --> 00:45:46,439
Speaker 1: she's incredible. Man, Like, she played that. We actually talked

882
00:45:46,440 --> 00:45:48,040
Speaker 1: to her a few days ago. And because she lives

883
00:45:48,080 --> 00:45:51,480
Speaker 1: in Georgia, she doesn't live here anymore, but she played

884
00:45:52,000 --> 00:45:55,239
Speaker 1: my radio show in studio probably two years ago. And

885
00:45:55,920 --> 00:45:59,319
Speaker 1: you know, just honestly speaking, most artists that had their

886
00:45:59,360 --> 00:46:04,719
Speaker 1: success in the nineties, because they're older, their voice isn't

887
00:46:04,760 --> 00:46:09,160
Speaker 1: as good. Not with her. She came in and crushed us.

888
00:46:09,200 --> 00:46:12,280
Speaker 1: All we were just like, what is happening? Amazing? Still amazing.

889
00:46:12,320 --> 00:46:15,359
Speaker 1: My brother's playing guitar with her right now. Uh Man.

890
00:46:15,440 --> 00:46:18,839
Speaker 1: When she was in the studio, there was no need

891
00:46:19,000 --> 00:46:21,320
Speaker 1: for auto tune. A lot of people need that. She

892
00:46:21,560 --> 00:46:24,720
Speaker 1: did not. She was incredible. Every single take was incredible

893
00:46:24,840 --> 00:46:26,520
Speaker 1: and that was a lot of fun working with her.

894
00:46:27,120 --> 00:46:29,399
Speaker 1: She's the real Deal two thousand eight. Lady eight two

895
00:46:29,400 --> 00:46:31,759
Speaker 1: thousand nine is a Jessica Harps song. You have a

896
00:46:31,840 --> 00:46:34,759
Speaker 1: song Hit the Ground Running with Keith. Yes, here's a

897
00:46:34,800 --> 00:46:51,600
Speaker 1: cup of that, do you So that was funny. I

898
00:46:51,719 --> 00:46:53,640
Speaker 1: had a band that I was doing on the side

899
00:46:53,680 --> 00:46:57,080
Speaker 1: called Barefoot Johnny and we were, uh, you know, just

900
00:46:57,200 --> 00:47:00,120
Speaker 1: a pretty pretty rock and country kind of thing. And

901
00:47:00,239 --> 00:47:02,759
Speaker 1: so I had done that, Keith had seen me. We

902
00:47:03,040 --> 00:47:05,839
Speaker 1: had played a gig at exit In and Keith was there,

903
00:47:06,960 --> 00:47:10,200
Speaker 1: didn't speak to me about any of the songs or anything. Uh.

904
00:47:11,320 --> 00:47:13,960
Speaker 1: He later on said, hey, man, could you send me

905
00:47:14,040 --> 00:47:15,480
Speaker 1: that song? I want to I want to hear that

906
00:47:15,520 --> 00:47:17,600
Speaker 1: song again the demo of the song. So I sent

907
00:47:17,680 --> 00:47:20,160
Speaker 1: it to him. Never mentioned the word again. Literally, we

908
00:47:20,320 --> 00:47:22,520
Speaker 1: were about to walk on. We were at a stadium,

909
00:47:22,560 --> 00:47:25,120
Speaker 1: gig might have been opened up for Chesney or something,

910
00:47:25,200 --> 00:47:29,040
Speaker 1: and um, it was right before we walked out on

911
00:47:29,160 --> 00:47:32,120
Speaker 1: stage he goes, hey, I'm cutting Hit the Ground Running tomorrow.

912
00:47:33,120 --> 00:47:34,640
Speaker 1: What I didn't know it was on the whole like

913
00:47:34,719 --> 00:47:37,440
Speaker 1: he didn't mention it at all. And so he did

914
00:47:37,520 --> 00:47:40,440
Speaker 1: that and it was awesome. Man, Jason Derula falling you

915
00:47:40,480 --> 00:47:53,760
Speaker 1: know earlier. So where did this? How did this come about?

916
00:47:54,480 --> 00:47:57,439
Speaker 1: I was in l a uh at a rider trip

917
00:47:57,520 --> 00:47:59,680
Speaker 1: and I was writing with this guy, Evan Bogart, and

918
00:47:59,800 --> 00:48:04,960
Speaker 1: so like two other writers, UM and uh just started

919
00:48:05,000 --> 00:48:08,360
Speaker 1: playing that acoustic part right there and then we wrote

920
00:48:08,440 --> 00:48:13,359
Speaker 1: the song um. And it was a while while later,

921
00:48:13,520 --> 00:48:16,359
Speaker 1: but he um, those guys had given it to Jason

922
00:48:16,480 --> 00:48:20,320
Speaker 1: Ruler's producer, and so they used my that's actually my

923
00:48:20,560 --> 00:48:23,560
Speaker 1: acoustic right there. That used the demo and he just

924
00:48:23,719 --> 00:48:25,800
Speaker 1: rewrote a lot of the lyrics and the verses and

925
00:48:27,280 --> 00:48:29,040
Speaker 1: there it was. I've never met him, you know, and

926
00:48:29,080 --> 00:48:32,279
Speaker 1: everyone met him were his producer. But I got on

927
00:48:32,400 --> 00:48:34,439
Speaker 1: this got on the record. That was an exciting moment

928
00:48:34,520 --> 00:48:37,239
Speaker 1: for me. Oh yeah, because he's great man, Like his

929
00:48:37,560 --> 00:48:39,800
Speaker 1: album was really really good. When you moved here in

930
00:48:40,000 --> 00:48:43,920
Speaker 1: ninety three, what was the city like? I mean, for me,

931
00:48:44,120 --> 00:48:46,799
Speaker 1: it was a massive place coming from where I came from,

932
00:48:46,880 --> 00:48:48,840
Speaker 1: but it was nothing like what it is now, you know.

933
00:48:49,760 --> 00:48:52,920
Speaker 1: You know, I think I talked to a lot of

934
00:48:53,239 --> 00:48:57,480
Speaker 1: young young artists and musicians. I I kinda I'm enjoying

935
00:48:57,560 --> 00:49:00,160
Speaker 1: like a little mentor role and helping some different with

936
00:49:00,239 --> 00:49:02,319
Speaker 1: the shows and that kind of stuff. But like when

937
00:49:02,320 --> 00:49:05,680
Speaker 1: I talk about this town, to me, it's like it

938
00:49:05,840 --> 00:49:09,360
Speaker 1: seems overwhelming. But when you actually get into it and

939
00:49:09,520 --> 00:49:11,759
Speaker 1: really really started meeting people in this business, it's not

940
00:49:12,280 --> 00:49:15,320
Speaker 1: a big community. It's pretty small, you know, so you

941
00:49:15,440 --> 00:49:18,279
Speaker 1: just kind of know everybody, so it's completely attainable. But

942
00:49:18,640 --> 00:49:21,320
Speaker 1: moving here, though, it just it was pretty damn scary.

943
00:49:22,440 --> 00:49:25,200
Speaker 1: I can relate to that in that again, living in

944
00:49:25,239 --> 00:49:29,319
Speaker 1: Mountain Pine, Arkansas. When I thought about moving to Little Rock,

945
00:49:29,840 --> 00:49:32,480
Speaker 1: which is a third of the Nashville, I was like,

946
00:49:32,960 --> 00:49:35,200
Speaker 1: that's the big city, man, That's where the news happened,

947
00:49:35,200 --> 00:49:37,479
Speaker 1: and that's where the news came from. Like when watched

948
00:49:37,520 --> 00:49:39,279
Speaker 1: the news from an hour away and I was like,

949
00:49:39,280 --> 00:49:41,400
Speaker 1: that's where they shoot the news. Like it was always

950
00:49:41,440 --> 00:49:44,440
Speaker 1: a dream of mine to live in Little Rock. I mean,

951
00:49:44,480 --> 00:49:46,759
Speaker 1: obviously I've done that now, and you know, I've moved

952
00:49:46,800 --> 00:49:48,759
Speaker 1: around a bit until I got here. But did you

953
00:49:48,920 --> 00:49:53,560
Speaker 1: live anywhere before Nashville, So you went from your town

954
00:49:53,600 --> 00:49:56,040
Speaker 1: in West Virginia to hear I mean what I did

955
00:49:56,120 --> 00:49:58,200
Speaker 1: before that was, you know, like I said i'd move,

956
00:49:58,560 --> 00:50:01,040
Speaker 1: I'd went on the road. Two weeks after high school.

957
00:50:01,120 --> 00:50:03,120
Speaker 1: My brother and I and my our friend John Dedrick,

958
00:50:03,120 --> 00:50:05,480
Speaker 1: who we we all moved here together. We got this

959
00:50:05,560 --> 00:50:09,040
Speaker 1: gig playing for this Cuban pop singer that we played,

960
00:50:09,400 --> 00:50:13,560
Speaker 1: uh the like the just a bar in the hotel,

961
00:50:13,719 --> 00:50:16,000
Speaker 1: the Adams Mark Hotel chains. We'd go from city to

962
00:50:16,080 --> 00:50:18,440
Speaker 1: city to city, playing for three weeks, six nights a week,

963
00:50:18,480 --> 00:50:21,440
Speaker 1: four sets a night, playing with him for a year straight.

964
00:50:21,480 --> 00:50:23,560
Speaker 1: We never came home, you know. And so then I

965
00:50:23,680 --> 00:50:26,200
Speaker 1: came home for a little bit, played in in some clubs,

966
00:50:26,280 --> 00:50:29,919
Speaker 1: and then moved here. Are you so good at the base?

967
00:50:30,800 --> 00:50:35,000
Speaker 1: I don't know. I mean there's times like I didn't.

968
00:50:35,760 --> 00:50:38,520
Speaker 1: I don't play much when I'm off tour, so you know,

969
00:50:38,880 --> 00:50:41,400
Speaker 1: obviously during COVID we didn't play and I forgot, like

970
00:50:41,520 --> 00:50:44,000
Speaker 1: what what We We got a new drummer in the

971
00:50:44,080 --> 00:50:46,600
Speaker 1: band and we were rehearsing and it hit me and

972
00:50:46,680 --> 00:50:49,279
Speaker 1: I told my wife after the first rehearsal, it's like,

973
00:50:49,440 --> 00:50:53,040
Speaker 1: I'm actually pretty good at this, you know, Like I asked,

974
00:50:53,120 --> 00:50:56,640
Speaker 1: because Keith is so good that I don't think Keith's

975
00:50:56,640 --> 00:50:59,480
Speaker 1: gonna have a musical director that isn't someone that he

976
00:50:59,600 --> 00:51:04,279
Speaker 1: respect exactly music ship. Yeah, No, I mean I think so,

977
00:51:04,560 --> 00:51:07,160
Speaker 1: Like I'm not like a flashy bass player. I play

978
00:51:07,320 --> 00:51:11,719
Speaker 1: real simple parts. But my thing is that I had

979
00:51:11,760 --> 00:51:16,359
Speaker 1: a real clear vision from like fourteen on A knew

980
00:51:16,880 --> 00:51:19,960
Speaker 1: I knew what to do because I became obsessed at

981
00:51:20,040 --> 00:51:22,200
Speaker 1: that age with this guy named Darryl Jones who's now

982
00:51:22,520 --> 00:51:24,479
Speaker 1: the Rolling Stones bass player. But he was with Sting

983
00:51:24,640 --> 00:51:29,360
Speaker 1: and with Peter Gabriel. But he was a great player.

984
00:51:29,440 --> 00:51:32,480
Speaker 1: But he looked awesome on stage, Like the way he

985
00:51:32,560 --> 00:51:34,680
Speaker 1: moved his body. You don't see that with most bass players.

986
00:51:34,719 --> 00:51:36,799
Speaker 1: Most bass players are pretty static and they just kind

987
00:51:36,800 --> 00:51:39,560
Speaker 1: of stand there. But the way he moved I wanted

988
00:51:39,560 --> 00:51:41,400
Speaker 1: to emulate that because I kind of figured out at

989
00:51:41,440 --> 00:51:45,279
Speaker 1: the young age the people see music more than they

990
00:51:45,320 --> 00:51:48,359
Speaker 1: hear it, almost, you know, uh, Because you know, Keith

991
00:51:48,440 --> 00:51:52,240
Speaker 1: is a prime example. Like he's an incredible guitar player,

992
00:51:52,760 --> 00:51:57,279
Speaker 1: but you watch him and the way he holds his

993
00:51:57,360 --> 00:52:00,399
Speaker 1: guitar with such power, the way he moves it makes

994
00:52:00,520 --> 00:52:04,120
Speaker 1: him so much better than, you know, than what he

995
00:52:04,200 --> 00:52:06,960
Speaker 1: might want. He actually is pretty awesome. But uh, but

996
00:52:07,120 --> 00:52:10,200
Speaker 1: in the average you know, concert goer's mind, they see

997
00:52:10,280 --> 00:52:13,200
Speaker 1: him and they like, no one can compete with that.

998
00:52:13,440 --> 00:52:15,680
Speaker 1: You know, did you ever want to be the front man?

999
00:52:15,880 --> 00:52:17,320
Speaker 1: I mean you you obviously can sing a lot of

1000
00:52:17,400 --> 00:52:19,920
Speaker 1: you do background vocals on you know, I did. I

1001
00:52:19,960 --> 00:52:23,600
Speaker 1: did for a little bit, but then uh, it just wasn't.

1002
00:52:24,640 --> 00:52:28,080
Speaker 1: It just wasn't for me. Man, Like I like this role.

1003
00:52:28,640 --> 00:52:31,799
Speaker 1: Like I always say, I'm you know, people will make

1004
00:52:32,239 --> 00:52:34,279
Speaker 1: some kind of comment about like my life being a

1005
00:52:34,400 --> 00:52:37,839
Speaker 1: rock star, like I'm rock star adjacent. That's what I am.

1006
00:52:37,920 --> 00:52:40,880
Speaker 1: Like I stand near one and that's cool with me.

1007
00:52:41,000 --> 00:52:43,360
Speaker 1: I like that because you know, there's so much that

1008
00:52:43,440 --> 00:52:47,000
Speaker 1: comes along with that lifestyle that's not my thing. You know,

1009
00:52:47,880 --> 00:52:49,520
Speaker 1: Do you ever just go I wish that were me?

1010
00:52:50,680 --> 00:52:54,320
Speaker 1: Like I wish that I've just gotten my one lucky

1011
00:52:54,480 --> 00:52:57,360
Speaker 1: break where I was the guy like barefoot Billy. What

1012
00:52:57,440 --> 00:53:00,600
Speaker 1: was it called Barefoot Johnny? The Barefoot Johnny ever get

1013
00:53:00,600 --> 00:53:03,200
Speaker 1: a second look? Were the barefoot job was? Yeah, we did.

1014
00:53:03,320 --> 00:53:05,640
Speaker 1: We had we had labels coming at us. Uh my

1015
00:53:05,760 --> 00:53:08,000
Speaker 1: brother and I. We had a band called pinch Um

1016
00:53:08,680 --> 00:53:13,640
Speaker 1: that we got pretty close to getting some break away.

1017
00:53:13,719 --> 00:53:16,920
Speaker 1: One was lucky break because everybody that's made it's one

1018
00:53:17,000 --> 00:53:19,600
Speaker 1: lucky break. Good for them. Yeah, and some of those

1019
00:53:19,600 --> 00:53:21,880
Speaker 1: that happen is like they're just as good. They just

1020
00:53:21,960 --> 00:53:24,719
Speaker 1: didn't catch some little side shot. We came close. You know,

1021
00:53:24,800 --> 00:53:27,279
Speaker 1: we had a lot of labels looking at us, and um,

1022
00:53:27,640 --> 00:53:30,759
Speaker 1: it just wasn't quite right. You know. I want to

1023
00:53:30,800 --> 00:53:33,680
Speaker 1: ask about the brother dynamic. He's older, which makes sense

1024
00:53:33,719 --> 00:53:35,880
Speaker 1: to me as I hear you talk about it, because

1025
00:53:35,960 --> 00:53:38,320
Speaker 1: most older older brothers played the guitar, and so the

1026
00:53:38,400 --> 00:53:40,400
Speaker 1: younger brothers alway start playing drums are bass. No, he

1027
00:53:40,480 --> 00:53:42,959
Speaker 1: forced me to play like I didn't have a choice,

1028
00:53:42,960 --> 00:53:46,239
Speaker 1: no matter, we still so, I wish we I don't

1029
00:53:46,239 --> 00:53:47,759
Speaker 1: know where it is, but I think it's probably my

1030
00:53:47,920 --> 00:53:50,279
Speaker 1: mom's house, but we have a cassette tape of the

1031
00:53:50,480 --> 00:53:53,719
Speaker 1: very first song he taught me because he needed he

1032
00:53:53,840 --> 00:53:55,800
Speaker 1: needed back, he needed a companiments, so he taught me

1033
00:53:55,880 --> 00:53:59,480
Speaker 1: photographed from def Leppard. But I had an acoustic guitar

1034
00:53:59,520 --> 00:54:01,480
Speaker 1: and he took, you know, at the top two strings

1035
00:54:01,520 --> 00:54:03,840
Speaker 1: off and that's how so you played bass with the

1036
00:54:03,880 --> 00:54:07,560
Speaker 1: four strings, so I guess the bottom yeah, I mean

1037
00:54:07,640 --> 00:54:10,799
Speaker 1: like the B and the yeah yeah yeah, uh yeah.

1038
00:54:10,880 --> 00:54:13,799
Speaker 1: He just had no choice and you're okay with that, yeah,

1039
00:54:14,000 --> 00:54:15,560
Speaker 1: because he was your big brother and he was awesome.

1040
00:54:15,880 --> 00:54:19,200
Speaker 1: Oh he was awesome already, like he became incredible, like

1041
00:54:19,560 --> 00:54:27,600
Speaker 1: at a very young age. He's freakish talent. How did

1042
00:54:27,680 --> 00:54:29,279
Speaker 1: both of you end up doing this at such a

1043
00:54:29,360 --> 00:54:32,759
Speaker 1: high level? How like where genetically is it in the

1044
00:54:32,840 --> 00:54:35,480
Speaker 1: family where you just understand music? I don't know. I

1045
00:54:35,560 --> 00:54:39,239
Speaker 1: think my mom's mom, she died when she was really young.

1046
00:54:39,560 --> 00:54:42,160
Speaker 1: She I know, she was really into music. But you

1047
00:54:42,239 --> 00:54:46,880
Speaker 1: know our oldest brother, Scott play too. But um, I

1048
00:54:46,960 --> 00:54:49,360
Speaker 1: don't know. It's just from a young age I was.

1049
00:54:49,480 --> 00:54:52,360
Speaker 1: It was eleven or twelve for me, and then he

1050
00:54:52,520 --> 00:54:57,040
Speaker 1: was probably maybe thirteen. Uh, we just knew. I mean,

1051
00:54:57,120 --> 00:55:00,640
Speaker 1: there was no there was no like I remember when

1052
00:55:00,760 --> 00:55:02,480
Speaker 1: you know what our mom might would say, like you

1053
00:55:02,520 --> 00:55:04,920
Speaker 1: should have something to fall back on, and like that

1054
00:55:05,080 --> 00:55:07,360
Speaker 1: was funny to us because it's like there was no

1055
00:55:07,719 --> 00:55:10,960
Speaker 1: other path. We knew from a time. You know, when

1056
00:55:11,000 --> 00:55:12,839
Speaker 1: I saw Van Halen when I was in sixth grade,

1057
00:55:12,920 --> 00:55:15,120
Speaker 1: it was done like that's what I was gonna do

1058
00:55:16,600 --> 00:55:19,960
Speaker 1: as a player. You're doing a live show with Keith.

1059
00:55:20,040 --> 00:55:22,440
Speaker 1: Are you looking forward to your bass solo? Do you

1060
00:55:22,480 --> 00:55:25,080
Speaker 1: get a bass solo? I do a singing solo everynight

1061
00:55:25,200 --> 00:55:28,040
Speaker 1: you do? Yeah? Yeah? Which one? Uh? Well, it's different

1062
00:55:28,080 --> 00:55:30,400
Speaker 1: every single tour. You know, I did eight No Sunshine

1063
00:55:30,440 --> 00:55:32,440
Speaker 1: for a long time. Now you sang the whole Bill

1064
00:55:32,480 --> 00:55:35,000
Speaker 1: Weather song. He's like, now, yeah, he does that with

1065
00:55:35,120 --> 00:55:38,160
Speaker 1: every band member like for years, like he will each

1066
00:55:38,239 --> 00:55:41,120
Speaker 1: guy has his own moment of the show. And so

1067
00:55:41,320 --> 00:55:43,279
Speaker 1: that was always me, like, I just would would do

1068
00:55:43,360 --> 00:55:46,480
Speaker 1: an old R and B song. Um, right now this

1069
00:55:46,760 --> 00:55:52,279
Speaker 1: this past Vegas trip, I'm doing that. Um before you go.

1070
00:55:53,280 --> 00:55:56,480
Speaker 1: You know that pop song, Um, Louis Louis Capaldi. Yes,

1071
00:55:56,680 --> 00:55:59,000
Speaker 1: you sing Louis Capaldi. Yeah, yeah, yeah, I just do

1072
00:55:59,080 --> 00:56:04,200
Speaker 1: it if you can sing. It's on my Instagram right

1073
00:56:04,440 --> 00:56:06,160
Speaker 1: And then you're like, I don't know, it's a little bit.

1074
00:56:06,200 --> 00:56:07,120
Speaker 1: And then I'm like, well, what do you do? Well,

1075
00:56:07,120 --> 00:56:10,680
Speaker 1: I do Celen Deon, but harder than that's what Louis

1076
00:56:10,719 --> 00:56:13,680
Speaker 1: cap I could sing. Uh, would you do all like

1077
00:56:13,840 --> 00:56:16,279
Speaker 1: twenty six? I know, I know, I know, I know,

1078
00:56:16,600 --> 00:56:18,480
Speaker 1: I know what you do all of it. But actually

1079
00:56:18,719 --> 00:56:21,640
Speaker 1: those that that new song that Louis Capaldi and and

1080
00:56:21,840 --> 00:56:24,560
Speaker 1: a version of the live version of the uh um

1081
00:56:25,040 --> 00:56:27,680
Speaker 1: Bill Weathers song is on my Instagram that you know

1082
00:56:27,719 --> 00:56:29,759
Speaker 1: of us in concert. But yeah, it's a great thing

1083
00:56:29,840 --> 00:56:32,680
Speaker 1: for him to do because most people don't most singers

1084
00:56:32,719 --> 00:56:35,120
Speaker 1: don't do that, you know, they want the band to

1085
00:56:35,239 --> 00:56:38,239
Speaker 1: be in the back all dressed in black, and that

1086
00:56:38,440 --> 00:56:41,399
Speaker 1: is not what we do. Like he wants everyone all

1087
00:56:41,600 --> 00:56:45,480
Speaker 1: right there with him, and because you know, it makes

1088
00:56:45,520 --> 00:56:47,319
Speaker 1: it easier on the singer too, is like not all

1089
00:56:47,360 --> 00:56:50,600
Speaker 1: the pressures on them. So it's, uh, it's fun for

1090
00:56:50,719 --> 00:56:52,440
Speaker 1: every musician that gets to be in this band. Do

1091
00:56:52,640 --> 00:56:56,480
Speaker 1: you get a bass solo though? No? No, well, I

1092
00:56:56,560 --> 00:56:58,880
Speaker 1: mean it depends sometimes like we'll stop and on groove

1093
00:56:58,920 --> 00:57:00,320
Speaker 1: and then he'll come over and grow with me. But

1094
00:57:00,400 --> 00:57:02,440
Speaker 1: I'm not really no, I'd much rather just sing the

1095
00:57:02,480 --> 00:57:05,959
Speaker 1: solo song. When you guys are doing a the set,

1096
00:57:06,680 --> 00:57:09,000
Speaker 1: is it pretty much down to the click? Or do

1097
00:57:09,040 --> 00:57:10,640
Speaker 1: you ever have a time where you can you break

1098
00:57:10,680 --> 00:57:12,279
Speaker 1: off and it's like, hey, why don't we just go

1099
00:57:12,280 --> 00:57:14,080
Speaker 1: ahead and try this? Does he get on the mico over? Guys,

1100
00:57:14,080 --> 00:57:16,200
Speaker 1: we're gonna try this. You know, even with the click,

1101
00:57:16,280 --> 00:57:20,200
Speaker 1: he you just have to follow him. It's uh, that's

1102
00:57:20,240 --> 00:57:22,400
Speaker 1: what we brought in this guy, Jeff Lindsenmire to do

1103
00:57:22,640 --> 00:57:25,000
Speaker 1: our tracks because you know, he's on the side of

1104
00:57:25,040 --> 00:57:27,680
Speaker 1: the stage for all these years and he he's like

1105
00:57:27,960 --> 00:57:31,120
Speaker 1: Keith will just go off and go to a different direction.

1106
00:57:31,640 --> 00:57:33,400
Speaker 1: And so normally we would have to if we had

1107
00:57:33,400 --> 00:57:36,200
Speaker 1: any kind of backing tracks, keyboards or some drum machine stuff,

1108
00:57:36,200 --> 00:57:39,120
Speaker 1: we just have to shut it off. But now, so

1109
00:57:39,200 --> 00:57:41,880
Speaker 1: you would just shut it off. Yeah, if it's going,

1110
00:57:42,480 --> 00:57:43,560
Speaker 1: you have to go along with it. So if you

1111
00:57:43,560 --> 00:57:44,680
Speaker 1: don't want to go along with it, you just turn

1112
00:57:44,680 --> 00:57:46,680
Speaker 1: it off. Yeah, you have to. But we're good enough.

1113
00:57:46,720 --> 00:57:49,280
Speaker 1: It didn't matter. So when when this happens to us

1114
00:57:49,280 --> 00:57:51,080
Speaker 1: when we play our shows, we're not good enough. So

1115
00:57:51,240 --> 00:57:53,440
Speaker 1: we just go, oh god, oh god, oh god, what

1116
00:57:53,520 --> 00:57:57,520
Speaker 1: do we do? So you kind of have done a

1117
00:57:57,640 --> 00:58:00,360
Speaker 1: little bit of a lot of things the very high level.

1118
00:58:01,240 --> 00:58:04,880
Speaker 1: So when people say when they describe you, like, hey,

1119
00:58:04,960 --> 00:58:08,480
Speaker 1: this is Jerry he blank, what is it? Are you

1120
00:58:09,440 --> 00:58:12,880
Speaker 1: the song songwriter with multi number one'es? Are you Keith Urbans?

1121
00:58:13,360 --> 00:58:17,560
Speaker 1: That's the first thing that people say, uh, like, you

1122
00:58:17,640 --> 00:58:20,080
Speaker 1: know when with the songwriting, like with someone like Sam.

1123
00:58:20,200 --> 00:58:22,960
Speaker 1: The reason I don't really I was thinking about this

1124
00:58:23,000 --> 00:58:24,640
Speaker 1: the other day. I don't get a one of those

1125
00:58:24,680 --> 00:58:28,560
Speaker 1: guys that gets a ton of cuts. I'm more specific

1126
00:58:28,640 --> 00:58:30,480
Speaker 1: to the whatever the artist is looking for. And I'm

1127
00:58:30,560 --> 00:58:33,840
Speaker 1: usually the up tempo guy because that's just what I'm

1128
00:58:33,880 --> 00:58:36,640
Speaker 1: good at. I've you know, we've just been doing that

1129
00:58:36,760 --> 00:58:39,120
Speaker 1: for so long live and so I'm kind of brought

1130
00:58:39,160 --> 00:58:40,880
Speaker 1: in for that kind of special thing, and I bring

1131
00:58:41,000 --> 00:58:43,400
Speaker 1: up more of a vibe, you know, up tempo vibe.

1132
00:58:43,760 --> 00:58:46,120
Speaker 1: But like now I'm I'm starting to get hired to

1133
00:58:46,440 --> 00:58:49,360
Speaker 1: help people put their shows together. You know. I got

1134
00:58:49,440 --> 00:58:52,200
Speaker 1: hired Jordan Davis. I did his last show, and then

1135
00:58:52,640 --> 00:58:54,800
Speaker 1: Dustin Lynch brought me in to redo the set. What

1136
00:58:54,880 --> 00:58:57,160
Speaker 1: does that mean to to put a show together? Like,

1137
00:58:57,360 --> 00:58:59,640
Speaker 1: if they bring you in, I don't know your job consultant?

1138
00:58:59,720 --> 00:59:01,439
Speaker 1: What are they call you when that happens. I guess

1139
00:59:01,560 --> 00:59:05,040
Speaker 1: I was a consultant. Yeah. So my first one, Um,

1140
00:59:06,040 --> 00:59:09,880
Speaker 1: I was with Matt Steal and so I just went in. Uh,

1141
00:59:10,120 --> 00:59:12,439
Speaker 1: it was me and my friend Jeff Lynn's my art track.

1142
00:59:12,920 --> 00:59:15,040
Speaker 1: He's just perfect that he he will go in and

1143
00:59:15,640 --> 00:59:17,720
Speaker 1: take all their tracks and reado it in a way

1144
00:59:17,800 --> 00:59:19,960
Speaker 1: where it's real, super simple for everybody to you know,

1145
00:59:20,000 --> 00:59:22,600
Speaker 1: the drummer to use. Uh, and then I'll just go

1146
00:59:22,760 --> 00:59:25,720
Speaker 1: in and redo their set list. I'll look at all

1147
00:59:25,760 --> 00:59:28,840
Speaker 1: their songs and then I will come up with moments

1148
00:59:29,440 --> 00:59:32,200
Speaker 1: uh in the show that they wouldn't normally think of.

1149
00:59:32,400 --> 00:59:35,000
Speaker 1: Maybe because I've learned that over the years, Like, you know,

1150
00:59:35,080 --> 00:59:36,880
Speaker 1: you just have to have these little moments to grab

1151
00:59:36,960 --> 00:59:39,440
Speaker 1: people early on, especially if you're a new artist. And so,

1152
00:59:39,960 --> 00:59:42,280
Speaker 1: you know, I'll do something where I'll think of a

1153
00:59:42,880 --> 00:59:45,720
Speaker 1: different cover song and I'll put it in the middle

1154
00:59:45,800 --> 00:59:48,640
Speaker 1: of someone's song, like after the second chorus, just to

1155
00:59:48,720 --> 00:59:50,600
Speaker 1: grab people. Does that mean you'll have to find a

1156
00:59:50,680 --> 00:59:54,439
Speaker 1: song in a certain key and then pursue a cover

1157
00:59:54,840 --> 00:59:56,960
Speaker 1: that you've been played in that key. That's also gonna

1158
00:59:57,000 --> 00:59:59,800
Speaker 1: be cool. So it's like the exact right puzzle piece. Yeah,

1159
01:00:00,000 --> 01:00:01,760
Speaker 1: And I don't know why it comes to me so fast.

1160
01:00:02,200 --> 01:00:03,960
Speaker 1: And so I did that with Matt Stell, I did

1161
01:00:04,080 --> 01:00:07,360
Speaker 1: Chris Bandy and then Jordan Davis. They had me come

1162
01:00:07,400 --> 01:00:10,160
Speaker 1: in and do his whole show and we put together

1163
01:00:10,160 --> 01:00:12,840
Speaker 1: an amazing show. Uh. And he got to do that

1164
01:00:12,920 --> 01:00:16,840
Speaker 1: particular show only for like three months before COVID shut down.

1165
01:00:16,880 --> 01:00:19,959
Speaker 1: But man, what was happening, what I was seeing live

1166
01:00:20,200 --> 01:00:22,840
Speaker 1: on Instagram was so exciting because all these little moments

1167
01:00:22,880 --> 01:00:25,480
Speaker 1: that I helped think of. It was just connecting. You know,

1168
01:00:26,360 --> 01:00:27,960
Speaker 1: I'm gonna ask you a weird question. It's gonna be

1169
01:00:28,000 --> 01:00:29,800
Speaker 1: hard for you to answer it honestly, but are you

1170
01:00:29,880 --> 01:00:34,040
Speaker 1: a musical genius. No, I'm not joking when I say that,

1171
01:00:34,480 --> 01:00:37,400
Speaker 1: and see and hear and feel music in all these ways. Yeah,

1172
01:00:37,560 --> 01:00:41,280
Speaker 1: well no, no, no, I wouldn't think. I've never thought

1173
01:00:41,280 --> 01:00:45,720
Speaker 1: about that. No, I've just again, like I can't stress

1174
01:00:45,800 --> 01:00:50,320
Speaker 1: this enough. Like with being alongside Keith Urban all these years,

1175
01:00:51,800 --> 01:00:53,800
Speaker 1: you know, I'm with the best of the best. There's

1176
01:00:53,840 --> 01:00:57,120
Speaker 1: still there's rarely a night that I'm on stage with

1177
01:00:57,160 --> 01:00:59,680
Speaker 1: him and I don't go like damn like he brings it.

1178
01:00:59,800 --> 01:01:04,640
Speaker 1: He always brings something special and because of all the

1179
01:01:05,320 --> 01:01:08,560
Speaker 1: extreme detail he takes with the set list and now

1180
01:01:08,600 --> 01:01:11,480
Speaker 1: I mean like we don't start the tour and do

1181
01:01:12,000 --> 01:01:14,400
Speaker 1: you know work it out before the tour. He's doing

1182
01:01:14,440 --> 01:01:16,720
Speaker 1: it throughout the entire tour. Like a week before the

1183
01:01:16,760 --> 01:01:18,480
Speaker 1: tour ends, we'll have a different set list that we

1184
01:01:18,560 --> 01:01:21,400
Speaker 1: did at the beginning because he's always tweaking. And so

1185
01:01:21,520 --> 01:01:24,760
Speaker 1: I've just learned. I've just learned what works, you know,

1186
01:01:25,080 --> 01:01:29,240
Speaker 1: with with audiences and what moves people. And so you know,

1187
01:01:29,440 --> 01:01:33,000
Speaker 1: like like Dustin Lynch called me, that guy is awesome

1188
01:01:33,040 --> 01:01:35,400
Speaker 1: on stage, Like he's opened up for us. So he's

1189
01:01:35,400 --> 01:01:37,880
Speaker 1: done a whole tour with us, and uh, the guy

1190
01:01:37,960 --> 01:01:40,280
Speaker 1: is a rock star. He's so good and when he

1191
01:01:40,360 --> 01:01:43,640
Speaker 1: brought me in, he let me do the entire set list.

1192
01:01:43,720 --> 01:01:46,920
Speaker 1: He didn't change one thing and we created these incredible

1193
01:01:46,960 --> 01:01:49,240
Speaker 1: moments and it was really working man. So that that

1194
01:01:49,360 --> 01:01:51,360
Speaker 1: means a lot to me for someone like him to

1195
01:01:51,640 --> 01:01:54,240
Speaker 1: trust me, you know, with his show. Must be cool

1196
01:01:54,280 --> 01:01:58,200
Speaker 1: to be a genius. No you're saying, but I'm hearing. Yes.

1197
01:01:58,280 --> 01:02:02,320
Speaker 1: And by the way, you guys can follow Jerry at

1198
01:02:02,400 --> 01:02:06,280
Speaker 1: Jerry Flowers Music. It's just interesting all that you've done,

1199
01:02:06,600 --> 01:02:09,880
Speaker 1: how people would introduce you, because we will bring in

1200
01:02:10,000 --> 01:02:14,360
Speaker 1: songwriters that have two and three number ones and in

1201
01:02:14,440 --> 01:02:16,480
Speaker 1: town they're considered Wow's look at this guy's huge. You

1202
01:02:16,520 --> 01:02:18,800
Speaker 1: got two or three number one. I mean you've got

1203
01:02:19,080 --> 01:02:21,680
Speaker 1: four massive songs. Yeah, you're like, you know, people really

1204
01:02:21,720 --> 01:02:24,280
Speaker 1: know me for being the band leader for Keith. Yeah,

1205
01:02:25,000 --> 01:02:27,200
Speaker 1: I think so. Did you ever think, to Adam Dirt,

1206
01:02:27,240 --> 01:02:29,480
Speaker 1: it's one more County Crows question, do you ever think, hey, dude,

1207
01:02:29,480 --> 01:02:32,080
Speaker 1: sing the songs the right way because you don't have

1208
01:02:32,160 --> 01:02:34,040
Speaker 1: any dank concerts ip A go to and he would

1209
01:02:34,200 --> 01:02:39,360
Speaker 1: it would be like, you know, Mr Jones and me like, bro,

1210
01:02:39,520 --> 01:02:41,760
Speaker 1: we just want to sing the song him and then

1211
01:02:41,800 --> 01:02:44,480
Speaker 1: the black Crows were like that too, Both Crows, they

1212
01:02:44,880 --> 01:02:47,040
Speaker 1: just kind of they just kind of make it up

1213
01:02:47,080 --> 01:02:49,920
Speaker 1: as they go along. But you'd never play with them, though,

1214
01:02:49,960 --> 01:02:52,600
Speaker 1: did you like Crows? That would have been that would

1215
01:02:52,600 --> 01:02:53,920
Speaker 1: have been a good one. You would have constantly been

1216
01:02:53,920 --> 01:02:56,160
Speaker 1: seeing those guys are trying to kill each other before

1217
01:02:56,200 --> 01:02:57,800
Speaker 1: and after the ship. Now, we did have a big

1218
01:02:57,920 --> 01:03:01,400
Speaker 1: night with them in a bar Sydney, Australia, went um,

1219
01:03:01,520 --> 01:03:05,840
Speaker 1: who's we you and counting or chick with with Keith Band. Okay, yeah,

1220
01:03:05,960 --> 01:03:08,080
Speaker 1: we had a big, big night back when I was

1221
01:03:08,160 --> 01:03:12,280
Speaker 1: still drinking, and uh it was. It was a wild

1222
01:03:12,360 --> 01:03:15,720
Speaker 1: one big night like good Night or Big Nights Throne No, no, no, no,

1223
01:03:15,920 --> 01:03:18,439
Speaker 1: the best night. Like the brother wasn't there, Rich wasn't

1224
01:03:18,440 --> 01:03:20,560
Speaker 1: there because I think, you know those are those two

1225
01:03:20,800 --> 01:03:22,560
Speaker 1: don't like each other, but they do now they came

1226
01:03:22,600 --> 01:03:25,840
Speaker 1: into my show together I did. Yeah, yeah, it was right.

1227
01:03:25,880 --> 01:03:27,280
Speaker 1: That's what I felt too. They were like, hey, the

1228
01:03:27,560 --> 01:03:29,439
Speaker 1: Black Crows are coming through. I'm a big Black Crows.

1229
01:03:30,320 --> 01:03:32,560
Speaker 1: And so they were doing that tour where they were

1230
01:03:33,400 --> 01:03:35,880
Speaker 1: performing that whole first record front to back, okay, right,

1231
01:03:36,120 --> 01:03:37,280
Speaker 1: and so they were like, hey, they'll come in and

1232
01:03:37,320 --> 01:03:39,640
Speaker 1: play whatever you want and I was like, well, it's great,

1233
01:03:40,360 --> 01:03:42,440
Speaker 1: and they came in and you know, I didn't know that.

1234
01:03:42,480 --> 01:03:44,000
Speaker 1: I knew their whole story. I knew how they had

1235
01:03:44,040 --> 01:03:47,200
Speaker 1: been convinced to get back together, and they were pretty

1236
01:03:47,200 --> 01:03:52,680
Speaker 1: professional about it. Well he was. Chris the singer hung

1237
01:03:52,760 --> 01:03:55,240
Speaker 1: with us the entire night. I still remember this place.

1238
01:03:55,280 --> 01:03:58,520
Speaker 1: It's called the ship in Uh and we just went

1239
01:03:58,640 --> 01:04:01,760
Speaker 1: for But he was so much fun. Man, great stories too, well,

1240
01:04:01,880 --> 01:04:03,400
Speaker 1: saying for you, man, this has been awesome for me.

1241
01:04:03,600 --> 01:04:06,560
Speaker 1: Oh man, it's incredible for me. Like I mean, you've

1242
01:04:06,560 --> 01:04:09,720
Speaker 1: done at all. And you know, I see out at times,

1243
01:04:09,920 --> 01:04:11,680
Speaker 1: but usually if I ever see you and you're with

1244
01:04:11,760 --> 01:04:13,440
Speaker 1: Keith and we're somewhere, you're you have the ears in

1245
01:04:14,040 --> 01:04:15,360
Speaker 1: and I know what it's like people trying to talk

1246
01:04:15,360 --> 01:04:16,800
Speaker 1: to you when you have ears, like what hold on?

1247
01:04:18,120 --> 01:04:21,720
Speaker 1: What's that? Okay? It's some very unapproaching You are completely

1248
01:04:22,000 --> 01:04:25,120
Speaker 1: and only partially because of the years. The respect number one.

1249
01:04:25,280 --> 01:04:27,600
Speaker 1: I usually tell the crews like, avert your eyes, don't

1250
01:04:27,600 --> 01:04:30,480
Speaker 1: don't look over here. Um, you guys follow Jerry at

1251
01:04:30,560 --> 01:04:34,440
Speaker 1: Jerry Flowers Music. Um, I've really enjoyed this. I appreciate that.

1252
01:04:34,680 --> 01:04:36,720
Speaker 1: I will say something about that if you don't mind.

1253
01:04:37,040 --> 01:04:40,919
Speaker 1: Like I've I'm having so much fun having people reach

1254
01:04:40,960 --> 01:04:44,240
Speaker 1: out to me on Instagram and like I'm I'm finding

1255
01:04:44,280 --> 01:04:47,560
Speaker 1: something like real, real talent. I mean tomorrow, I'm I'm

1256
01:04:47,600 --> 01:04:50,760
Speaker 1: writing with this girl named Katherine Roach from uh, Massachusetts,

1257
01:04:50,960 --> 01:04:54,000
Speaker 1: same thing. She just reached out to me. Uh. And

1258
01:04:54,360 --> 01:04:56,800
Speaker 1: you just never know because there's some crazy talent out there.

1259
01:04:56,880 --> 01:05:01,040
Speaker 1: So anybody wants to to message me, you know, I'll

1260
01:05:01,040 --> 01:05:02,920
Speaker 1: definitely I need a message him after this. Yeah, and

1261
01:05:03,000 --> 01:05:06,120
Speaker 1: if you get something like, hey, man, are set together?

1262
01:05:06,280 --> 01:05:08,640
Speaker 1: All right? You guys follow Jerry at Jerry Flowers Music

1263
01:05:08,920 --> 01:05:12,040
Speaker 1: and listen, I'll just end saying this just that you know,

1264
01:05:12,080 --> 01:05:16,120
Speaker 1: the Keith Sweat stuff of all my stuff, that's your favorite.

1265
01:05:16,160 --> 01:05:18,080
Speaker 1: That's it. Yeah, It's so much better than everything else.

1266
01:05:18,240 --> 01:05:20,280
Speaker 1: I mean, listen, I would kill to have a key

1267
01:05:20,320 --> 01:05:24,840
Speaker 1: sweat cut from Jerry back from me, and like that

1268
01:05:24,880 --> 01:05:27,920
Speaker 1: would be my dream that Jerry, have you seen you? Look?

1269
01:05:27,960 --> 01:05:30,640
Speaker 1: You're the opposite. You're the opposite in every way. Here

1270
01:05:30,720 --> 01:05:33,040
Speaker 1: you go. This is you. If someone just hears this

1271
01:05:33,480 --> 01:05:36,400
Speaker 1: and decides they want to look for you, there you go. Yeah,

1272
01:05:36,640 --> 01:05:39,120
Speaker 1: very clock to see where that would people get mixed up?

1273
01:05:39,240 --> 01:05:42,240
Speaker 1: Except in every way other than every every possible way.

1274
01:05:42,560 --> 01:05:44,160
Speaker 1: All right, Jerry, good to talk to you, man, Man,

1275
01:05:44,160 --> 01:05:44,800
Speaker 1: I appreciate it.