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Speaker 1: All right, welcome to episode seventy six of The Bobby

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Speaker 1: Cast with Jonathan Singleton. Now I'll tell you what happened,

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Speaker 1: and I want to play how all your hits on

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Speaker 1: a second and then get deeper. But so Jesse Alexander

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Speaker 1: texting me this morning. Jesse Alexander, a friend of mine

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Speaker 1: on the A C. M Board with me and has

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Speaker 1: been on this show, wrote, I drive your truck to

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Speaker 1: climb like super accomplished songwriter herself. And she texted me

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Speaker 1: and said, so, Jonathan's coming up to Bobby Casts. I

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Speaker 1: was like yeah. She was like, bretes yourself for a

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Speaker 1: funny redneck song writer. Funny too, and I gotta be funny.

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Speaker 1: And I was like, written next, I think, well you

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Speaker 1: walked in you have some skull in your pocket. And

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Speaker 1: I was like, okay, Jesse, Jesse, Jesse, Jesse's right on.

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Speaker 1: So she said, tell you hello, but you listen. You

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Speaker 1: listen to that one, Huh. I listened to it last night.

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Speaker 1: I got a forty minute drive every day, so on podcast,

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Speaker 1: I'll where I'm out. What what you drive? Acton city?

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Speaker 1: So you drive to Nashville every day every day. I

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Speaker 1: was in East Nashville for seven years and had two

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Speaker 1: kids and got tired of the kids that too, but

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Speaker 1: I got to you know, the little quarter eighth acre yard,

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Speaker 1: and so now I got a big one and I

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Speaker 1: drive in every day. I enjoyed. Man, it's great. But yeah,

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Speaker 1: so I podcast a lot, so I just hip to

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Speaker 1: this one as of well coming here past. It was great, man,

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Speaker 1: And I really appreciate. I'm so bad at it. You know,

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Speaker 1: I can write songs, but I'm so bad at that

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Speaker 1: kind of especially the interviewing process. And listen to some

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Speaker 1: of those guys do it and Joe Rogan, I mean,

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Speaker 1: whether you like the guy or not, he's so good

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Speaker 1: to interview. He's so good at it. So and I

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Speaker 1: felt the same about you was Jesse's and I've known

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Speaker 1: Jesse for years. We're kind of same hometown, Jackson, Tennessee.

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Speaker 1: We both say Jackson. I'm not sure either when are

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Speaker 1: from Jackson proper, little rural areas around there. And I

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Speaker 1: learned some stuff on that podcast about her. Yeah, do

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Speaker 1: you know what's funny? As I was talking to Laura

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Speaker 1: Acuna last night, and I love Laurie. I love her.

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Speaker 1: Everybody everbody loves Laura. You can't Yeah, if you don't.

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Speaker 1: You gotta you gotta leave to Yeah, like, go go away,

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Speaker 1: You're not my friend if you don't love Laura and

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Speaker 1: Laurie for those that are listening, is one of the

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Speaker 1: love Junkies with Hillary, Lindsay and Liz Rose. But she's

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Speaker 1: also Laurie McKenna, the songwriter of the Year. And she's

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Speaker 1: also Laura McKenna, a wonderful artist, singer in and she's

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Speaker 1: awesome with all of her kids in her But so

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Speaker 1: she lives in Boston and people will go and up

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Speaker 1: and right with her. Yeah. And so I was talking

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Speaker 1: to her because we were in a picture and it

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Speaker 1: was me, her and Dolly Parton right exactly, and She's like,

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Speaker 1: what do I do? And I was like, why are

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Speaker 1: you asking me? Like you deserved next to Dolly Moore

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Speaker 1: than night. You stand by them all the time, though

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Speaker 1: she was scared, right, it's Dolly Parton. Though see Dolly

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Speaker 1: Parton is my is my wife? Pass? I still get

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Speaker 1: a pass if Dolly were to say in the weirdest way,

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Speaker 1: which she never would, I get a pass on Dolly Parton.

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Speaker 1: So well, I two stories. Now I'm branching, but let

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Speaker 1: me tell you, I tell no no, no, I tell

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Speaker 1: you the first story because that that leads me somewhere else.

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Speaker 1: But so I was talking to Laura McKenna and she

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Speaker 1: was like, I was listening to the Jaren Johnson. She

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Speaker 1: was like, and I know Jarren, and I listened to

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Speaker 1: that podcast and there were stuff I had no idea about.

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Speaker 1: And I took that as a compliment the same money

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Speaker 1: you would say that about. And I love Joe. Joe

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Speaker 1: Rogan is the best. He's so good at just waiting

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Speaker 1: on them to do the thing. And that's a hard

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Speaker 1: thing to do, man, what you guys do it every day?

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Speaker 1: So we've just been handed waters we have, we have

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Speaker 1: no crack open it. And I just loved the gym that.

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Speaker 1: Let me give you my my day real quick. I

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Speaker 1: go to the gym, and I'm have to need the

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Speaker 1: hour because my day usually doesn't stop. I wake up

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Speaker 1: with three in the morning every day, do you know,

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Speaker 1: get up to the radio show going at five because

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Speaker 1: we're on the East coast, so that's six East Coast

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Speaker 1: and it goes until whenever. And last night I was

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Speaker 1: up until like midnight because the a c M Honors

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Speaker 1: were last night. I was presenting. So I go the

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Speaker 1: gym today. Good lections then and my heart and I'm

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Speaker 1: an in ship, guess what's going and I know something's

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Speaker 1: not right. So I was that guy that had to

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Speaker 1: land on the floor and put the wet towels on.

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Speaker 1: I never want to be that guy. That's my huge

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Speaker 1: fear of mind. I was that guy today. So what's up?

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Speaker 1: What's going on? Nothing? I did have dinner last night,

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Speaker 1: just too much and I've had like four nights and

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Speaker 1: no sleep. My dog sick, So that's whole, the whole thing.

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Speaker 1: So that's stressful. Get you, man, It's like, yeah, physically,

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Speaker 1: that's stressful. That's stress will make you sick. Yeah, I

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Speaker 1: gotta kind of keep it straight. I've been known to,

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Speaker 1: you know, chug some antidepressants in the in the past.

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Speaker 1: I did. I was on antipresence for a while and

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Speaker 1: I don't know how what you talking about this, but

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Speaker 1: because I talked about everything, but it did. I got

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Speaker 1: an um like a zoe offt. I did that for

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Speaker 1: a minute and it did nothing. It didn't not hate me, Okay,

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Speaker 1: didn't zombie like on that. So you felt something I did? Yeah,

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Speaker 1: I didn't feel And I took it and my doctor

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Speaker 1: was like because I it's so funny to me that

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Speaker 1: you do that and and anxiety and you do what

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Speaker 1: you do for a living and uh, but you do

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Speaker 1: what you I know, but talking is different. I'm kind

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Speaker 1: of freaked out right now that we're just talking and

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Speaker 1: I don't have a good time. But we're doing nothing

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Speaker 1: but human talking. This isn't like a radio show where

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Speaker 1: it's like a body welcome second, but you do that

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Speaker 1: in the morning. Yeah, but also don't do that. Hey

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Speaker 1: you have seveny but but this is just humans. So

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Speaker 1: I got on Zolo often I struggle with sleep. I

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Speaker 1: struggle with anxiety like crazy, and so he's like, okay,

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Speaker 1: try this. I was on it for twelve weeks now

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Speaker 1: did nothing. I opened up the dose that did nothing

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Speaker 1: interesting and but for you it's well, I said, Zola, No,

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Speaker 1: I quit that immediately, and but you felt it. Huh yeah,

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Speaker 1: well yeah, I did, like the tiniest amount. Got this

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Speaker 1: nice army doctor it's over at Hillsborol thing, and so

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Speaker 1: I told him I need something. You know. At that time,

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Speaker 1: I had a record deal and stuff going home as

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Speaker 1: a sponsibility that I've never had. I was a bar

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Speaker 1: band guy, and all of a sudden I got a

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Speaker 1: wife and and a record soft Live. Yeah. Yeah, And

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Speaker 1: it was like and you know, I think part two

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Speaker 1: was like I knew I really didn't want to be

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Speaker 1: doing what I was doing. You know, I was doing

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Speaker 1: some things that I knew. You know, the music thing

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Speaker 1: is a soul thing. So I feel like when you

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Speaker 1: start screwing with that a little bit, you kind of

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Speaker 1: get here something inside he goes, no, we're not gonna

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Speaker 1: We're not gonna do that. I think that's what happened

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Speaker 1: to me. I don'd what you're saying along with the responsibility. Well,

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Speaker 1: I just like, I'm not sure that was for me.

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Speaker 1: You know, I don't think it was for men. I

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Speaker 1: know it wasn't because I'm so happy doing so right,

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Speaker 1: and I mean, that's what I want to do. So

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Speaker 1: you're telling me because that's a whole different part of

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Speaker 1: your career because you were a legitimate signed artist, like signed, Yeah,

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Speaker 1: like you had directly I was talking to aunt man

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Speaker 1: who what is it? Pet and Austin now but it

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Speaker 1: was a Nashville and he was like, I mean it

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Speaker 1: was a huge fan whenever he's about your band. Yeah. Yeah.

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Speaker 1: But so you did that and you didn't feel like

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Speaker 1: that was like naturally you what it wasn't, man? I

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Speaker 1: mean we we played country music and we were from

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Speaker 1: I mean, Jackson, Tennessee was a special place. Memphis is

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Speaker 1: right down the road. So I grew up playing in

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Speaker 1: my brother's band. We played blues and played R and B.

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Speaker 1: We kind of did that stuff. He's a great harmonica

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Speaker 1: player and wonderful singer and songwriter, and so I did

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Speaker 1: that and then the older you get, it kind of

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Speaker 1: come towards Nashville, you know, because that's what's going on,

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Speaker 1: and that just never really I mean, I love country,

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Speaker 1: mean I love writing country music, but the thing of

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Speaker 1: you know, play I want to play. I want to

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Speaker 1: I want to kind of rock. I want to do

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Speaker 1: that thing. And I got over that and later in

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Speaker 1: life too, but yeah, it just wasn't for It wasn't

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Speaker 1: for me at all. And we're going the opposite order

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Speaker 1: because we were gonna get to yours. This is how

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Speaker 1: the it's the best whenever you're just going. I like

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Speaker 1: where this is going. This is good. It's called sick

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Speaker 1: of Me. Sounds temporary, like did it was that kind

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Speaker 1: of ahead of it? Did? I mean? This was my

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Speaker 1: record idea over welcome to nineteen seventy nine, which is

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Speaker 1: your neighbor over here. It's like a straight to tape,

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Speaker 1: UH studio. That was the record my me and my

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Speaker 1: band did after the UM record deal. We had what's

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Speaker 1: the What's what song got the highest fee on the

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Speaker 1: chart when we had a deal. It was a song

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Speaker 1: called look Who's Back in Love? All right? What kind

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Speaker 1: of memory do you have when you hear this song?

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Speaker 1: What comes to your head? I Maine, not wonderful. Look

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Speaker 1: on your face? Not wonderful, man. I mean I had

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Speaker 1: a good time doing it. Did you know, okay, why

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Speaker 1: you're doing this? Did you know that? Okay, I'm doing this,

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Speaker 1: But really what I want to do is just write

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Speaker 1: songs for you knew that even I came to town

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Speaker 1: to write songs. I mean I was also third nine thirty,

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Speaker 1: you know when I when I came to town, maybe

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Speaker 1: a little bit earlier, but I came to town going

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Speaker 1: I want to write songs. So we go take these meetings,

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Speaker 1: and you do these meetings and they hear your demos

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Speaker 1: and stuff, and they go, Man, you ever thought about

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Speaker 1: getting a record deal? This is the opposite of every story.

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Speaker 1: It is. And you know, and and Also, when somebody

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Speaker 1: hands you and records, you go aunt. I can't turn

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Speaker 1: down a record deal, I can't. I can't turn down

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Speaker 1: a manager. I can't turn down this producer. I can't

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Speaker 1: do that, you know, because it was a dream for people,

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Speaker 1: you know, But my dream was I was, you know, writing.

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Speaker 1: I wanted to ride. That's what I Once I figured

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Speaker 1: out you could write for a living, That's what I

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Speaker 1: wanted to do. Okay, everyone be the guy behind the

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Speaker 1: guy behind the guy behind the guy. Every person that

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Speaker 1: comes in here, he goes. I wanted to be an artist,

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Speaker 1: but I wrote until I got to be an artist.

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Speaker 1: I like playing in bars. I like I like sometimes

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Speaker 1: sometimes and I do. My guys we still play together.

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Speaker 1: We still go out and do some stuff. There's a

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Speaker 1: bar down in two below, Mississippi, where I'm close to

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Speaker 1: where I went to college, and this band will book

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Speaker 1: the bar and then we'll just kind of show up

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Speaker 1: and play, uh and kind of take over and other thing,

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Speaker 1: but not advertise it. Not. I don't know. Someone's weird

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Speaker 1: to me about about doing that. And I like playing

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Speaker 1: cover songs. I like, but we did you're the anti everybody. Wow.

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Speaker 1: I don't make no no that's what's amazing. You have

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Speaker 1: so many songs. I'm just gonna run the real quick

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Speaker 1: and we'll get back to them. But let's see you've written.

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Speaker 1: What do your friends call you? They call you John

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Speaker 1: or Jonathan, Jonathan? Okay, your friends call you Jonathan. Yeah, okay.

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Speaker 1: I didn't know if I was gonna like the formal

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Speaker 1: like Mr Jonathan. But if it's Jonathan, it's Jonathan. Yeah. Yeah, Yeah,

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Speaker 1: it's a lot of syllables. It's a lot of Jonathan. Yes,

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Speaker 1: it's it's I'm tired already, I was saying, Jonathan Singleton,

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Speaker 1: I'm tired of here. Okay, so here we go. We're

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Speaker 1: gonna run this quick and we'll come back. Joe the

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Speaker 1: flat yours. If you want to just remember once Tyler

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Speaker 1: farr it goes again, Gary Allen, let it rain David

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Speaker 1: Neil that I love him all. Why don't we just

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Speaker 1: dance diamond rings and old barstools. We're gonna come back,

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Speaker 1: don't where, Because I got lots to talk about. This

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Speaker 1: is the jam, like a lot of these are the jams,

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Speaker 1: idn't this is the jam. I'm also such a Belly fan,

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Speaker 1: and I love the fact that he just there's a

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Speaker 1: drum and he beats it his own way. Yeah, and

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Speaker 1: that's his drum and leave him alone. Yeah, and then

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Speaker 1: he he's so good, so good, he's so uh David Neil,

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Speaker 1: David Neil. So you have to remind this guy, and

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Speaker 1: we're coming back. I'm gonna do this. Fore, I got it.

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Speaker 1: You're such a big deal as a commercial during your podcast.

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Speaker 1: Sleep number. Let me talk about that for a second.

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Speaker 1: So I have a sleep number of bed. You know,

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Speaker 1: this is the bedroom. You know, this is the bedroom closet.

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Speaker 1: There's no clause this even considered a bedroom. Then, I

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Speaker 1: don't know if you can call it. It's it's a bathroom.

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Speaker 1: But this is listed as a bedroom in my house

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Speaker 1: and there's no no closet. I you had to have

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Speaker 1: a closet me too. So anyway, my real bedrooms like

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Speaker 1: right there is how like low tech we are? This

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Speaker 1: is literally bedroom. I have a sleep number bed. My

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Speaker 1: sleep number setting is thirty. And maybe if you're listening

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Speaker 1: to this, you thought about signing for a new bed.

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Speaker 1: And I will tell you that I do love my

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Speaker 1: sleep number two justs on each side. There's now the

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Speaker 1: sleep number three sixty. It's so smart that actually senses

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Speaker 1: your every single move and as you're moving, it automatically

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Speaker 1: adjusts to you, so you stay sleeping comfortably throughout your night.

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Speaker 1: And if you're it also pretty warms. So you have

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Speaker 1: this thing, you can pretty warm your bed and the

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Speaker 1: sleep Number has it and you can fall asleep. Say

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Speaker 1: that my Sleepmer setting is thirty. That's because I went

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Speaker 1: in the store and had it done for me. And

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Speaker 1: you look at the screen. It shows your back and

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Speaker 1: your neck and my sleep Iq score last night was

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Speaker 1: in the nineties, the biggest sale of the year. Right now,

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Speaker 1: say fifty on the limited edition beds now through Labor Day.

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Speaker 1: You'll only find sleep Number in at the five hundred

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Speaker 1: fifty sleep Number stores nationwide, eight hundred next bed or

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Speaker 1: sleep number dot com. And you can be sure telling

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Speaker 1: about say you, have you ever seen Abody do a

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Speaker 1: lot commercial before? I've always wondered on podcast if they

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Speaker 1: were just really doing that, if it was pretty it's

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Speaker 1: kind of amazing to watch. You got to watch number

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Speaker 1: so you write songs. I read it off peace paper.

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Speaker 1: I would have stumbled all over that man. Okay, now

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Speaker 1: where do we start. So my producer from Jackson, Tennessee,

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Speaker 1: I've been John I went to the because Jackson actually

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Speaker 1: is bigger than I thought it was. Now it's like

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Speaker 1: a low big town, you know, low meaning McDonald's Walmart.

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Speaker 1: Because I'm from Arkansas, and so I grew up in

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Speaker 1: a talk on Mountain Pines, seven hundred people. You'd never

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Speaker 1: know it, but Hot Springs was town. In Hot Springs

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Speaker 1: at twenty, that was town. When you go to Walmart.

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Speaker 1: Walmart was the first place in town. So when you

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Speaker 1: go to town, you tell over tail the neighbors, Hey,

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Speaker 1: well I'm going to town. You need to. But then

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Speaker 1: Little Rock was a big city, okay, and Little Rocks

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Speaker 1: half a size in Nashville. But growing up, Little Rock

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Speaker 1: was a monster to me. So how far was that from?

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Speaker 1: An hour? And once it's close, I guess we were

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Speaker 1: really poor and we have good cars, so to risk

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Speaker 1: an hour drive. We went once a year. When I

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Speaker 1: turned thirteen and fourteen, my stepdad would take me to

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Speaker 1: the Arkansas Travelers baseball game. We went to Little Rock

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Speaker 1: once a year, double a baseball team, and that to

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Speaker 1: me was the coolest. And I was going into the city.

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Speaker 1: And when I moved to Little Rock, I thought I

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Speaker 1: was in New York. City because they had tall buildings

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Speaker 1: and Little Rock it's dangerous, right, and that horribly dangerous. Yeah,

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Speaker 1: and it was so bad that they did banging in

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Speaker 1: Little Rock on HBO. I've seen that because per capita,

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Speaker 1: more gangs in Little Rocks than any city in America.

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Speaker 1: Not the biggest city, so not literally the most gangs,

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Speaker 1: but per the side, there were more gangs than anybody

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Speaker 1: on this little so it's right there. We played the fair.

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Speaker 1: I can't remember who we played, but to get to

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Speaker 1: the fair rounds you go through. I mean it's super

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Speaker 1: ghet up. Yeah, there's some hardcore parts. We were leaving

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Speaker 1: I think we were in a van trailer and the

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Speaker 1: guy at the gate he said, if somebody gets in

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Speaker 1: front of your car and tries to stop you while

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Speaker 1: you're leaving, just run over because they're going and probably serious.

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Speaker 1: He was dead. Yeah, that's the thing he said, they're

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Speaker 1: going to right if they if you stop, they're gonna

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Speaker 1: rob you. I get held a gun point like a

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Speaker 1: gun in my head. One of the times and Little Rock,

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Speaker 1: I was at the there's a country bar called Electric Cowboy,

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Speaker 1: and I went I was going in close to the

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Speaker 1: gang Lander. You know, it's all and here's the and

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Speaker 1: I grew up in a bad neighborhood. And the thing

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Speaker 1: about bad neighborhoods is bad neighborhoods really don't rob. Bad

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Speaker 1: neighborhoods they robbed on the edges of that neighborhood. They

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Speaker 1: kind of go out a little bit. And so when

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Speaker 1: you live in a bad neighborhood, you really don't worry

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Speaker 1: about it because everybody's got guns. And so I would

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Speaker 1: lectric Cowboy not really in a bad part of town,

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Speaker 1: but right off the highway, and anything close the closer

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Speaker 1: guard of the highway, it's kind of the sketcher regardless

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Speaker 1: of the highwa if you're right on the highway, pretty dangerous.

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Speaker 1: So I'm right inside of the the highway. Electric Cowboy go

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Speaker 1: to the A T M. Put my card in, type

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Speaker 1: of my number. Gun right to my head, oh man,

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Speaker 1: like pressing on my skull with the gun and what

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Speaker 1: do you think You're done? That's done? Game over. Oddly,

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Speaker 1: I remember it so vivid and it was so not

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Speaker 1: real because I thought, wow, there's a gun to my head.

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Speaker 1: This is like what I see on TV. Every thought

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Speaker 1: was right was with me. And he said, hey, which

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Speaker 1: money you got in there? I was broke. I might

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Speaker 1: have had like thirty one dollar and my my whole,

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Speaker 1: my entire account, and I was like, I have no money,

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Speaker 1: but I will give you all of it. And had

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Speaker 1: a girl with me. That because my girlfriend, but I

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Speaker 1: was kind of since I was like a nineteen year

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Speaker 1: old DJ, I was cool because I no cover you

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Speaker 1: kind of line. And so I had a girl with

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Speaker 1: me and I kind of passed over my wallet to

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Speaker 1: her and I put the card in and as she

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Speaker 1: was taking her wall a person put under the car.

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Speaker 1: On the other side, another guy goes doomed doom with

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Speaker 1: the gun and puts a gun up against her head

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Speaker 1: after she rolls the windown, so we both have guns

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Speaker 1: at her heads. And all these guys got guns, so

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Speaker 1: they obviously got more money than you did, more money, bullets.

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Speaker 1: They win like they win. They have masks on and

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Speaker 1: I can't remeb a pen. My pin numbers blanked and

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Speaker 1: he's like, give me and he slams my head with

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Speaker 1: the gun like he pistol whips me. I don't feel

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Speaker 1: a thing. It was such a like looking down to

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Speaker 1: my own I don't and I freaked out, almost collapsed

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Speaker 1: when it was over because away and then I was like,

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Speaker 1: oh my god, I'm gonna like until because almost I

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Speaker 1: got jumped on at the radio station years later. But

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Speaker 1: um until, I never explained because it was like super vivid,

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Speaker 1: like I was. I was looking at the gun. I

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Speaker 1: was looking right into the hole, going, man, all he's

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Speaker 1: gotta do is take that muscle on his finger and

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Speaker 1: squeeze it. And I'm not even gonna know the difference.

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Speaker 1: And I remember thinking that, like, I'm not even going

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Speaker 1: to know the difference. And so anyway, a little right school. So, um,

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Speaker 1: Jackson was my point. I went to Jackson, and I

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Speaker 1: stopped Jackson a couple times because I go through there

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Speaker 1: to go to Arkansas. They're actually things were stuff. I

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Speaker 1: got stuff. Yeah, yeah, there's I mean, is it considered

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Speaker 1: Memphis kind of You're like seventy miles from Memphis, so

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Speaker 1: you're is this is it? I mean no, not really

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Speaker 1: because Memphis you talk about Memphis is tough. Memphis is tough. Yeah,

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Speaker 1: Jackson is too. It's got, it's got stuff. But no, man,

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Speaker 1: it's it's different. It's a completely different music scene. It's

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Speaker 1: a different ball together. Memphis. To me, I got a Memphis.

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Speaker 1: I mean, it's a blues town to me, for I

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Speaker 1: think it's changed as of like they have like a

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Speaker 1: country bars downtown and there's a losers down there, and

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Speaker 1: maybe there is, but that does the culture still Yeah,

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Speaker 1: it's still the same. Like if you want real Memphis music,

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Speaker 1: you go to one of the blues bars. It's like

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Speaker 1: in Nashville you can go to the honky tonks. But

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Speaker 1: that's not right. You know, there are also places in

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Speaker 1: Nashville and go where you kind of want to see

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Speaker 1: the real stuff. See, you're in Jackson. You decided to

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Speaker 1: move to town to write songs. But yeah, but you're

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Speaker 1: so good they forced a record deal on you. That's

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Speaker 1: that's how it happened. Here's what I figured out. I

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Speaker 1: figured out that, uh, the more they said you should

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Speaker 1: get a record deal, if I acted interested, I would

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Speaker 1: get better at co writes, I would get better. You know,

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Speaker 1: these guys where I was kind of jumping wrongs, we're

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Speaker 1: abould have taken me three or four years to get

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Speaker 1: rights with these guys. If it was Warner Brothers, you know,

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Speaker 1: or or Sony or whoever it was, they would all

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Speaker 1: of a sudden set me up with their biggest writer.

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Speaker 1: Because I'm going to get a record deal now, and

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Speaker 1: you'll have songs on the radio, and if you're writing,

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Speaker 1: then those songs will probably exactly yeah. Yeah, So they're

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Speaker 1: kind of trying to fast track, and I'm trying to

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Speaker 1: kind of fast track and uh yeah. So I was

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Speaker 1: in the room with those guys a lot quicker than

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Speaker 1: I would have been if I just came to and

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Speaker 1: didn't and didn't do the thing. And not to say

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Speaker 1: I wasn't excited. I was excited about a record deal.

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Speaker 1: I really was. I mean, I thought it would be

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Speaker 1: a little different. I thought I would. I thought we

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Speaker 1: were closer to what we were doing than than country

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Speaker 1: was at the time, because at the time it was

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Speaker 1: me and Randy Houser, Eli Young Band kept more uh

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Speaker 1: Randy Montana, you know, a bunch of guys like that

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Speaker 1: that we were kind of running with and uh and

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Speaker 1: those some of those guys made it work, but I

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Speaker 1: think we just it wasn't quite ready for that yet.

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Speaker 1: Whenever it finally didn't work, And and when it didn't work,

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Speaker 1: as an artist, did did they give you the hey,

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Speaker 1: we're done or we're oh no, no, no, they they

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Speaker 1: kept trying, yeah, without without sending the names, you know,

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Speaker 1: I kind of I went in, Uh, they wanted to

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Speaker 1: cut another you know, we don't, so we kind of

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Speaker 1: cut the record and Dan Huff produced my record. I

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Speaker 1: mean it was by the way, Dan great guitar player,

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Speaker 1: great producer, even play like with Wallflowers, people don't the

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Speaker 1: other time. He's great man. He's done everything, and people

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Speaker 1: will mention Dan Huff and sometimes I don't. Kind of

424
00:21:06,240 --> 00:21:08,880
Speaker 1: set it up. Dan Huff is like a guitar god.

425
00:21:09,840 --> 00:21:12,080
Speaker 1: I mean all the way back to like White Snake. Yes,

426
00:21:12,119 --> 00:21:13,560
Speaker 1: he was playing on I think he played on the

427
00:21:13,600 --> 00:21:17,080
Speaker 1: Michael Jackson Bad record like that kind of good. So

428
00:21:17,200 --> 00:21:20,639
Speaker 1: so yeah, Dan, Yeah, And that's kind of how I

429
00:21:20,760 --> 00:21:23,480
Speaker 1: got there too. The first the first person I hooked

430
00:21:23,520 --> 00:21:26,040
Speaker 1: up with in town was a girl named Katherine Blessing Game.

431
00:21:26,080 --> 00:21:29,080
Speaker 1: He was Eric Church's wife. She's a publisher at the time,

432
00:21:29,600 --> 00:21:32,919
Speaker 1: she's working for Dan. Then she's from West Tennessee. So

433
00:21:32,960 --> 00:21:35,200
Speaker 1: when we kind of got together, we kind of had

434
00:21:35,200 --> 00:21:37,520
Speaker 1: that in common, and she kind of lapsed on and

435
00:21:37,560 --> 00:21:39,359
Speaker 1: set me up co writes and doing all the stuff.

436
00:21:39,359 --> 00:21:42,000
Speaker 1: And and so she gets me with Dan and I

437
00:21:42,080 --> 00:21:44,840
Speaker 1: go over and kind of do, uh, you know, play

438
00:21:44,920 --> 00:21:47,200
Speaker 1: for him, and he set this close to me and

439
00:21:47,520 --> 00:21:50,520
Speaker 1: watched me play guitar and and and sing and you know,

440
00:21:50,680 --> 00:21:53,680
Speaker 1: terrifying all that stuff. So we do a production deal.

441
00:21:54,200 --> 00:21:56,159
Speaker 1: He's going gonna get a record deal. We do a

442
00:21:56,160 --> 00:21:59,200
Speaker 1: publishing deal and all that stuff. And I forget where

443
00:21:59,200 --> 00:22:03,760
Speaker 1: I was going with that. Still worry. Uh, but oh

444
00:22:03,840 --> 00:22:06,280
Speaker 1: how did it end? Yeah? Yeah, So we go we're

445
00:22:06,440 --> 00:22:10,840
Speaker 1: three years in, we're a single, one single, two singles. Uh,

446
00:22:10,880 --> 00:22:12,720
Speaker 1: and they go, well, they we don't think there's another

447
00:22:12,760 --> 00:22:15,159
Speaker 1: single on this record. We want to go in and

448
00:22:15,200 --> 00:22:18,160
Speaker 1: cut another song. And I just kind of said, I'm

449
00:22:18,200 --> 00:22:19,840
Speaker 1: not really sure I want to do that. And that

450
00:22:19,840 --> 00:22:22,080
Speaker 1: means another record if it works, like if you're cutting

451
00:22:22,080 --> 00:22:24,360
Speaker 1: another song that they were going to add one more

452
00:22:24,400 --> 00:22:28,520
Speaker 1: song to my record to make the third song, which

453
00:22:28,520 --> 00:22:30,119
Speaker 1: they hadn't come out with the record yet. It was

454
00:22:30,160 --> 00:22:35,520
Speaker 1: still um so I said, I'll go in and cut

455
00:22:36,200 --> 00:22:38,560
Speaker 1: even if it breaks your heart, because Will Hoax, you know,

456
00:22:38,640 --> 00:22:42,000
Speaker 1: there's a buddy and we're lighting one hundred. They were

457
00:22:42,040 --> 00:22:43,720
Speaker 1: killing it, but the rest of the world had no

458
00:22:43,760 --> 00:22:46,800
Speaker 1: idea what that about that song? So uh, they said,

459
00:22:46,840 --> 00:22:48,720
Speaker 1: you know, we don't think that's a hit at all,

460
00:22:48,880 --> 00:22:52,080
Speaker 1: and and uh, and so we didn't cut it, and

461
00:22:52,119 --> 00:22:55,399
Speaker 1: then it kind of went away. The record company switched

462
00:22:55,480 --> 00:22:57,840
Speaker 1: over to another thing over the holidays, and so I,

463
00:22:58,640 --> 00:23:03,879
Speaker 1: you know, Monday more in paper to look at news

464
00:23:04,119 --> 00:23:06,679
Speaker 1: music news, and I go, oh, man, my record company

465
00:23:06,760 --> 00:23:09,439
Speaker 1: is not my record company anymore. And so I just

466
00:23:09,480 --> 00:23:12,200
Speaker 1: called an asked off, you know, I said, I think

467
00:23:12,240 --> 00:23:14,399
Speaker 1: I'm done, and I kind of knew. I was, what

468
00:23:14,400 --> 00:23:16,160
Speaker 1: do you mean your record companies not your record boys.

469
00:23:16,160 --> 00:23:19,560
Speaker 1: They had just kind of merger on music row, you know,

470
00:23:20,280 --> 00:23:22,720
Speaker 1: so they had merged with another company, and uh, it's

471
00:23:22,760 --> 00:23:24,879
Speaker 1: they were gonna be transitioning. Some people were gone that

472
00:23:24,960 --> 00:23:27,439
Speaker 1: weren't there, and and and you felt like that was

473
00:23:27,440 --> 00:23:29,360
Speaker 1: the time for you to go. It's a perfect time

474
00:23:29,359 --> 00:23:31,639
Speaker 1: for me to say, if this is moving around, I

475
00:23:31,720 --> 00:23:35,560
Speaker 1: think I'm just gonna exit, uh and and write songs.

476
00:23:35,560 --> 00:23:38,240
Speaker 1: But at that time I also had four number ones

477
00:23:38,320 --> 00:23:40,399
Speaker 1: I think that you had written but you didn't know.

478
00:23:40,600 --> 00:23:43,000
Speaker 1: Still sleeping in a van, in the floor of a van,

479
00:23:43,080 --> 00:23:46,840
Speaker 1: and you know, I've got I got I've got number one.

480
00:23:46,920 --> 00:23:49,320
Speaker 1: I just feel like sleeping in the van being the

481
00:23:49,400 --> 00:23:52,920
Speaker 1: artist as you've got four number one written by yeah

482
00:23:53,280 --> 00:23:55,560
Speaker 1: somebody else doing yeah, yeah, yeah, yeah. You mentioned that

483
00:23:55,600 --> 00:23:57,439
Speaker 1: will hope thing just decide note abody that one of

484
00:23:57,480 --> 00:24:01,680
Speaker 1: my best buds, Eric pass Lay, Will and Eric right

485
00:24:01,800 --> 00:24:05,119
Speaker 1: that song Eli Yorke was playing it out at the

486
00:24:05,960 --> 00:24:09,600
Speaker 1: was that thing that we used to do, So that's

487
00:24:09,640 --> 00:24:11,600
Speaker 1: where I heard it the first time, and then Will's

488
00:24:11,720 --> 00:24:14,120
Speaker 1: kind of came out. So then Eli oh Ma gets

489
00:24:14,119 --> 00:24:17,160
Speaker 1: its number one. Young man, But you as a songwriter,

490
00:24:17,200 --> 00:24:19,879
Speaker 1: as you're writing all these hits, like, how did you

491
00:24:19,880 --> 00:24:23,520
Speaker 1: feel that outside cuts? Well? At that point, I think

492
00:24:23,560 --> 00:24:26,199
Speaker 1: I just thought for an artist wise, I thought, you know,

493
00:24:26,720 --> 00:24:29,920
Speaker 1: if what I'm doing is not working, maybe I could

494
00:24:30,200 --> 00:24:32,879
Speaker 1: make something. I just wanted to look forward to it

495
00:24:32,960 --> 00:24:35,439
Speaker 1: on the set list, you know, which I kind of

496
00:24:35,560 --> 00:24:38,840
Speaker 1: wasn't with what was on my record. It's so interesting.

497
00:24:38,880 --> 00:24:41,880
Speaker 1: It's such a like a weird dichotomy of your You've

498
00:24:41,920 --> 00:24:44,320
Speaker 1: got four number one as a songwriter, but you're you're

499
00:24:44,520 --> 00:24:48,280
Speaker 1: struggling around, Yeah, because there's my lowest charting single as

500
00:24:48,320 --> 00:24:51,520
Speaker 1: a as a songwriter or artist. It was my single.

501
00:24:53,240 --> 00:24:57,240
Speaker 1: So I guess I'm what was your first song that

502
00:24:57,280 --> 00:25:00,840
Speaker 1: you wrote? You didn't sing that you felt, man, I

503
00:25:01,119 --> 00:25:02,960
Speaker 1: can actually write some songs and get on the radio

504
00:25:03,000 --> 00:25:06,000
Speaker 1: like this kind of works. I mean, I was super

505
00:25:06,119 --> 00:25:10,520
Speaker 1: super lucky man. Me and Jim Beevers wrote Watching Airplanes

506
00:25:11,040 --> 00:25:15,400
Speaker 1: maybe four or five months into me being in town

507
00:25:15,400 --> 00:25:20,240
Speaker 1: writting Wow that quick, It was real quick and such

508
00:25:20,280 --> 00:25:22,800
Speaker 1: a such a jam. That was my first hold, my

509
00:25:22,840 --> 00:25:25,639
Speaker 1: first everything. It might have been my first demo. This

510
00:25:25,720 --> 00:25:28,960
Speaker 1: was your first hold, my first first hole turned into

511
00:25:29,040 --> 00:25:37,600
Speaker 1: this song, into that song. Yes, very lucky. You're like, what,

512
00:25:37,600 --> 00:25:40,560
Speaker 1: what's Who's the guy that's opposite of everything? I like

513
00:25:40,600 --> 00:25:44,200
Speaker 1: on the Simpsons? The guy that's the opposite of everybody?

514
00:25:44,359 --> 00:25:49,240
Speaker 1: Uh like reverse everything that the character? Oh, come on,

515
00:25:50,400 --> 00:25:54,679
Speaker 1: everything is the opposite for you. A lot of my

516
00:25:54,720 --> 00:25:58,879
Speaker 1: friends are ours, you know, dirty holds, no doubt. Then

517
00:25:58,920 --> 00:26:01,280
Speaker 1: they get a hold and the album cut and they

518
00:26:01,359 --> 00:26:04,199
Speaker 1: might get a single later on doesn't quite make the

519
00:26:04,240 --> 00:26:10,560
Speaker 1: record your bizarrozar man, Well, it's not working that way anymore.

520
00:26:10,680 --> 00:26:14,400
Speaker 1: I've definitely had something that didn't make the record. Love averages, dude,

521
00:26:14,440 --> 00:26:17,280
Speaker 1: you got it all early. You've already peaked. Sorry, sorry,

522
00:26:18,600 --> 00:26:21,520
Speaker 1: Watching Airplanes? Did you think it was gonna be this easy?

523
00:26:21,520 --> 00:26:23,640
Speaker 1: Because here you go, you five months now, you're like, oh,

524
00:26:23,720 --> 00:26:26,399
Speaker 1: I got this. There was a part of me and

525
00:26:26,560 --> 00:26:29,400
Speaker 1: as Jim Beavers, who we I co wrote that song

526
00:26:29,440 --> 00:26:31,800
Speaker 1: he said. And I made a joke one day. I said,

527
00:26:31,800 --> 00:26:33,879
Speaker 1: oh this is easy, man, nothing to this. And he

528
00:26:33,960 --> 00:26:36,400
Speaker 1: was like, hey, man, don't even make that joke. Man.

529
00:26:36,480 --> 00:26:39,359
Speaker 1: He's like, there's dudes living in their car behind you know,

530
00:26:39,440 --> 00:26:41,840
Speaker 1: the hotel over there on Demumbri And it's like, not

531
00:26:41,880 --> 00:26:43,640
Speaker 1: funny at all, man. I said, damn, I'm just joking.

532
00:26:43,680 --> 00:26:45,720
Speaker 1: There's that, but don't do it in front of anybody else.

533
00:26:45,720 --> 00:26:48,160
Speaker 1: He was very serious, man, and I and I saw

534
00:26:48,200 --> 00:26:50,160
Speaker 1: it too. I mean I had a super slump over

535
00:26:50,359 --> 00:26:52,040
Speaker 1: you know, two years. I went a couple of years

536
00:26:52,080 --> 00:26:54,720
Speaker 1: without without a cut at all. And you know, you

537
00:26:55,000 --> 00:26:56,960
Speaker 1: know how you lifestyle creep and you see, you know,

538
00:26:56,960 --> 00:26:59,080
Speaker 1: you're spending more money and you're spending moment and I said,

539
00:26:59,080 --> 00:27:01,480
Speaker 1: you don't get any cut and it's like, oh man,

540
00:27:01,680 --> 00:27:04,719
Speaker 1: we're in trouble, you know, uh, and you gotta make

541
00:27:04,720 --> 00:27:08,960
Speaker 1: it work. Were you able to with that song kind

542
00:27:08,960 --> 00:27:13,400
Speaker 1: of set your feet like by a house? Yes? Yeah,

543
00:27:13,520 --> 00:27:15,880
Speaker 1: and like that it used to be that way. I mean,

544
00:27:15,880 --> 00:27:18,080
Speaker 1: this is a terrifying thinking about about Nashville now. I

545
00:27:18,119 --> 00:27:20,760
Speaker 1: mean even then, and that was ten years ago, two

546
00:27:20,760 --> 00:27:23,640
Speaker 1: thousand seven, yeah, ten years ago, two thousand and eight,

547
00:27:23,680 --> 00:27:26,520
Speaker 1: maybe Uh, sorry, Gary if I got that wrong, But

548
00:27:26,720 --> 00:27:29,199
Speaker 1: uh yeah, you could still do that. I mean it

549
00:27:29,240 --> 00:27:31,399
Speaker 1: was enough money two way. It was enough money to

550
00:27:31,800 --> 00:27:33,560
Speaker 1: put a down payment on the house. No, you're not

551
00:27:33,640 --> 00:27:36,520
Speaker 1: paying for it, but but we definitely moved to town

552
00:27:36,760 --> 00:27:39,359
Speaker 1: on that song. I was still driving back and forth

553
00:27:40,520 --> 00:27:43,359
Speaker 1: from from Jackson. You talked about a two way, and

554
00:27:43,400 --> 00:27:45,760
Speaker 1: so what happens is when you write a song and

555
00:27:45,800 --> 00:27:47,800
Speaker 1: I don't know what you're publishing, dells down these songs

556
00:27:47,800 --> 00:27:49,080
Speaker 1: you have to turn in a year. But let's say

557
00:27:49,280 --> 00:27:50,879
Speaker 1: you have to turn in ten songs. Yere, I'll just

558
00:27:50,920 --> 00:27:52,679
Speaker 1: use that as a number. So if you do a

559
00:27:52,680 --> 00:27:54,560
Speaker 1: two way, the only counts half a song half a song.

560
00:27:54,640 --> 00:27:56,040
Speaker 1: If you do it three way, it's a third of

561
00:27:56,080 --> 00:27:58,760
Speaker 1: a song. So it takes three songs to write one song.

562
00:27:59,720 --> 00:28:02,520
Speaker 1: And so there's all this math to it. But if

563
00:28:02,520 --> 00:28:03,920
Speaker 1: you also do a two way, like I was talking

564
00:28:03,960 --> 00:28:06,640
Speaker 1: to Luke Bryan a couple of days ago and him

565
00:28:06,760 --> 00:28:08,840
Speaker 1: and one of the guys from Old Dominion wrote Luke's

566
00:28:08,840 --> 00:28:12,359
Speaker 1: new single and I was like, oh, Brad, Yeah. He

567
00:28:12,400 --> 00:28:14,160
Speaker 1: was like me and Brad, you know, we wrote the song.

568
00:28:14,200 --> 00:28:16,159
Speaker 1: He said, Brad took it and he's I thought the

569
00:28:16,200 --> 00:28:20,600
Speaker 1: song was okay, but Brad took it and musically made

570
00:28:20,600 --> 00:28:24,919
Speaker 1: it fantastic because because Brad is awesome. And I was like,

571
00:28:24,960 --> 00:28:27,119
Speaker 1: you guys did a two way. He's like yeah, I

572
00:28:27,119 --> 00:28:30,800
Speaker 1: said yeah. And then I asked him, I said, you

573
00:28:30,800 --> 00:28:34,240
Speaker 1: ever write anybody yourself? Because that's almost super and that's

574
00:28:34,240 --> 00:28:37,280
Speaker 1: super rare now that someone just goes, I wrote this

575
00:28:37,359 --> 00:28:40,080
Speaker 1: alone and then it becomes something. And he said one

576
00:28:40,120 --> 00:28:41,880
Speaker 1: time he wrote one song and made a record and

577
00:28:41,920 --> 00:28:44,680
Speaker 1: it was not that good. He put one by himself.

578
00:28:45,400 --> 00:28:51,640
Speaker 1: Luke him great writer, great piano, great musician. But what

579
00:28:51,680 --> 00:28:55,120
Speaker 1: about you? Do you have any one way? Man? I don't, man,

580
00:28:55,960 --> 00:28:58,960
Speaker 1: I've always said, you know, and as we're moving forward

581
00:28:58,960 --> 00:29:02,080
Speaker 1: and trying to do stuff in town, you know, when

582
00:29:02,080 --> 00:29:04,600
Speaker 1: you're even when you're producing stuff, it's like I'm a

583
00:29:04,600 --> 00:29:07,280
Speaker 1: band guy, Like on stage, I want my drummer and

584
00:29:07,320 --> 00:29:09,720
Speaker 1: my my guys. I want my guys, you know, and

585
00:29:09,760 --> 00:29:11,840
Speaker 1: in a co writing room, I want another person at

586
00:29:11,920 --> 00:29:14,360
Speaker 1: least to go. Is that right? You know? It's like

587
00:29:14,600 --> 00:29:18,280
Speaker 1: and if you're standing there and oh there's nobody there.

588
00:29:18,280 --> 00:29:20,440
Speaker 1: I'm doing this by myself. I can't think I could

589
00:29:20,520 --> 00:29:23,240
Speaker 1: ever finish one. I mean I have finished them. But

590
00:29:23,320 --> 00:29:26,360
Speaker 1: it's also so easy if I got Rodney classon tomorrow

591
00:29:26,400 --> 00:29:28,120
Speaker 1: to go, I've got this verse, of course, why don't

592
00:29:28,160 --> 00:29:30,760
Speaker 1: I just get him to help me do it? Which

593
00:29:30,800 --> 00:29:33,600
Speaker 1: would be really smart for me to do that. So

594
00:29:33,640 --> 00:29:35,680
Speaker 1: it's so hard to finish one by myself. I think

595
00:29:35,760 --> 00:29:37,240
Speaker 1: if I did, it would have to be such a

596
00:29:37,280 --> 00:29:39,120
Speaker 1: personal thing. I don't think it would be a commercial

597
00:29:39,760 --> 00:29:42,400
Speaker 1: songs that makes sense, it does. Who's your go to?

598
00:29:42,680 --> 00:29:45,200
Speaker 1: You have something You're like, I really feel good about

599
00:29:45,240 --> 00:29:48,280
Speaker 1: this in my heart, like I I've got this groove

600
00:29:49,040 --> 00:29:53,040
Speaker 1: or I've got this concept, and you don't. I don't

601
00:29:53,040 --> 00:29:54,160
Speaker 1: even want to use the word waste, but I'm just

602
00:29:54,160 --> 00:29:55,160
Speaker 1: gonna use it for the sake of this. And you

603
00:29:55,160 --> 00:29:57,800
Speaker 1: don't want to waste it on a random calendar, right

604
00:29:57,880 --> 00:30:00,320
Speaker 1: that you don't know the person who to? Who would

605
00:30:00,320 --> 00:30:01,640
Speaker 1: you go to? When you call and you're like, I

606
00:30:01,680 --> 00:30:04,280
Speaker 1: got this, we need to get together. I think we're

607
00:30:04,400 --> 00:30:07,320
Speaker 1: super I'm super lucky. And that my schedule looks like

608
00:30:07,360 --> 00:30:10,480
Speaker 1: a you know, U n s A ten songs. I

609
00:30:10,480 --> 00:30:13,840
Speaker 1: wish I had written the roster, you know, uh so

610
00:30:14,240 --> 00:30:16,560
Speaker 1: it's usually which everyone's next, but I mean it is

611
00:30:16,680 --> 00:30:20,160
Speaker 1: Jesse and and Uh, I've just I said Rodney because

612
00:30:20,160 --> 00:30:23,360
Speaker 1: I got Rodney tomorrow. Derek or Tan It was Andrew Dorff.

613
00:30:23,400 --> 00:30:26,880
Speaker 1: Me and him wrote a ton of ton and oh man,

614
00:30:26,960 --> 00:30:29,560
Speaker 1: there's all of them. Are you get one? You're on

615
00:30:29,600 --> 00:30:32,720
Speaker 1: the deserted island? You have one song to write? Right?

616
00:30:33,080 --> 00:30:37,120
Speaker 1: Who have one? You have one song to write? Man?

617
00:30:37,520 --> 00:30:39,840
Speaker 1: You get one call? You have to write it. You

618
00:30:39,840 --> 00:30:42,840
Speaker 1: have to write a love song, which is impossible. It's

619
00:30:42,840 --> 00:30:45,040
Speaker 1: a love song. I'm even putting parameters on it because

620
00:30:45,080 --> 00:30:47,640
Speaker 1: love songs are really hard because every angle has been covered,

621
00:30:48,720 --> 00:30:50,960
Speaker 1: so you have different You have to write a love song.

622
00:30:51,720 --> 00:30:53,760
Speaker 1: You have to write it tomorrow, and if you don't,

623
00:30:54,040 --> 00:30:56,240
Speaker 1: it's game of throwing. Your head gets chopped off. Who

624
00:30:56,240 --> 00:31:01,360
Speaker 1: do you call? Man? Cancel? Who am I pitching it too?

625
00:31:02,640 --> 00:31:05,480
Speaker 1: Call him? Yeah? Right? So don't you know what I'll

626
00:31:05,520 --> 00:31:09,120
Speaker 1: make it? You're you're pitching it to Dirk's Dirk's Oh well,

627
00:31:09,160 --> 00:31:11,200
Speaker 1: I call Jesse and j all right, can I get

628
00:31:11,200 --> 00:31:16,440
Speaker 1: a five way Jesse Jr? Dirks? So you called you

629
00:31:16,520 --> 00:31:18,840
Speaker 1: called the team Jesse and Jr. Sure, I mean they're

630
00:31:18,880 --> 00:31:23,200
Speaker 1: in that thing? Yeah? Yeah, that wasn't fair though, I mean,

631
00:31:23,240 --> 00:31:26,600
Speaker 1: for sure, she's one of my favorites for sure. But

632
00:31:26,680 --> 00:31:28,719
Speaker 1: I've got a lot of favorite Well, don't you avoiding

633
00:31:28,760 --> 00:31:34,600
Speaker 1: it Sophie's choice? Yeah, pick one of the kids. Man,

634
00:31:34,760 --> 00:31:36,640
Speaker 1: that is tough. I'll let you out of that one.

635
00:31:36,640 --> 00:31:39,400
Speaker 1: We'll come back to more. Um. I want to know

636
00:31:39,760 --> 00:31:43,960
Speaker 1: your side of this, because I know Blake pretty well.

637
00:31:44,280 --> 00:31:48,320
Speaker 1: Tyler really well, guy walks into a bar. Now you're

638
00:31:48,360 --> 00:31:50,720
Speaker 1: on the side of this. You're on a whole different

639
00:31:50,720 --> 00:31:58,160
Speaker 1: side of this because you wrote. Now just I'm gonna

640
00:31:58,160 --> 00:32:00,400
Speaker 1: give a quick story and you can fix it and

641
00:32:00,400 --> 00:32:02,160
Speaker 1: tell me how wrong I am and the real story

642
00:32:02,160 --> 00:32:10,840
Speaker 1: behind it. But Blake had it, Tyler had it. It's

643
00:32:11,080 --> 00:32:15,440
Speaker 1: one of them had it, Okay, right, somebody had it,

644
00:32:16,480 --> 00:32:18,960
Speaker 1: and Blake was going to cut it who regardless if

645
00:32:18,960 --> 00:32:21,640
Speaker 1: you put him on hold first or not. But Tyler

646
00:32:21,680 --> 00:32:23,080
Speaker 1: went and cut the full song and took it to

647
00:32:23,120 --> 00:32:27,360
Speaker 1: Blake and said, dude, can I please cut this song?

648
00:32:27,360 --> 00:32:29,160
Speaker 1: Will you let me have it? Is that? Is that?

649
00:32:29,280 --> 00:32:33,479
Speaker 1: What's the story? I think it's been so long. I

650
00:32:33,520 --> 00:32:37,840
Speaker 1: think Tyler remembers for sure. I do know this. I

651
00:32:37,920 --> 00:32:41,280
Speaker 1: know I think this is the way it Actually. I

652
00:32:41,320 --> 00:32:43,040
Speaker 1: just did an article about this the other day because

653
00:32:43,040 --> 00:32:45,840
Speaker 1: I know the writer Emily Emily, yeah, yeah, yeah, yeah, yeah.

654
00:32:45,920 --> 00:32:51,360
Speaker 1: So but I think actually Blake had it on hold.

655
00:32:51,920 --> 00:32:57,320
Speaker 1: He had talked to his uh had a person that

656
00:32:57,360 --> 00:32:59,200
Speaker 1: works for him as a great friend of mine, so

657
00:32:59,240 --> 00:33:02,120
Speaker 1: she had already talked to me about he loves a song,

658
00:33:02,200 --> 00:33:04,080
Speaker 1: he's just thinking about making it. You know, his record

659
00:33:04,120 --> 00:33:07,800
Speaker 1: are around this one song and he and uh So, anyway,

660
00:33:09,280 --> 00:33:11,080
Speaker 1: I don't know if I knew that at the time.

661
00:33:11,080 --> 00:33:13,240
Speaker 1: I can't remember how web, but somehow Blake had it

662
00:33:13,280 --> 00:33:17,000
Speaker 1: on hold. And I played that rider U pub Crawl

663
00:33:17,360 --> 00:33:21,040
Speaker 1: thing down at Losers and Tyler was there, and Tyler

664
00:33:21,080 --> 00:33:24,920
Speaker 1: heard the song. So Tyler walked over to me and said, hey, man,

665
00:33:24,920 --> 00:33:26,760
Speaker 1: what about that guy walks into bar soon? What's going

666
00:33:26,800 --> 00:33:29,000
Speaker 1: on with it? And uh And I said, Man, I

667
00:33:29,680 --> 00:33:31,960
Speaker 1: think if he wanted it's yours. But I would have

668
00:33:31,960 --> 00:33:34,440
Speaker 1: said if it was on hold anyway, I think I'm

669
00:33:34,480 --> 00:33:37,160
Speaker 1: not sure I would have changed my answer. My my

670
00:33:37,320 --> 00:33:39,680
Speaker 1: publisher's asses and he's right here, man, you know. So

671
00:33:39,800 --> 00:33:41,120
Speaker 1: I mean they kind of get on it, and they

672
00:33:41,160 --> 00:33:43,640
Speaker 1: get it working out and and going on, and I'm

673
00:33:43,720 --> 00:33:46,520
Speaker 1: kind of out. So in that situation, all I did

674
00:33:46,680 --> 00:33:48,680
Speaker 1: was just made sure that Blake wasn't mad at me

675
00:33:49,120 --> 00:33:51,320
Speaker 1: and that Tyler wasn't mad at me, whichever one day.

676
00:33:51,600 --> 00:33:55,880
Speaker 1: But yes, Tyler, when he did cut it, that's what Tyle.

677
00:33:55,880 --> 00:33:57,760
Speaker 1: I think Tyler told me that, So I think that's

678
00:33:57,760 --> 00:34:01,360
Speaker 1: probably true that he went and was talking to Blake

679
00:34:01,360 --> 00:34:03,360
Speaker 1: about it, and Blake said, well, let's here man, that's

680
00:34:03,400 --> 00:34:05,600
Speaker 1: what If you messed it up, then he was gonna

681
00:34:05,600 --> 00:34:07,040
Speaker 1: be mad. So he played it for him and he

682
00:34:07,080 --> 00:34:09,080
Speaker 1: goes to a good job, man, did a great job.

683
00:34:09,160 --> 00:34:11,080
Speaker 1: But I gotta ask you, as the guy who wrote it.

684
00:34:11,840 --> 00:34:17,239
Speaker 1: And at the time, Tyler wasn't even Tyler, but he's

685
00:34:17,239 --> 00:34:21,400
Speaker 1: Tyler still not Blake and Blake. Don't you want Blake

686
00:34:21,480 --> 00:34:23,920
Speaker 1: to have this song? Because he's Blake Shelton and you know,

687
00:34:24,000 --> 00:34:25,520
Speaker 1: if he's going to build a record, it's going to

688
00:34:25,560 --> 00:34:27,120
Speaker 1: be a single and it's for sure going to be

689
00:34:27,160 --> 00:34:30,400
Speaker 1: a hit. I'm so glad that's not my job to

690
00:34:30,480 --> 00:34:32,319
Speaker 1: figure that out, and now I'm asking to figure out.

691
00:34:32,320 --> 00:34:34,359
Speaker 1: But didn't you human nature, I wouldn't want to Blake

692
00:34:34,360 --> 00:34:35,839
Speaker 1: to have it? Well, sure, I mean I have, I mean,

693
00:34:35,960 --> 00:34:37,560
Speaker 1: well I've had a Blake cut, but I'd love to

694
00:34:37,560 --> 00:34:42,040
Speaker 1: have a Blake single for sure. But again, hindsight so

695
00:34:42,120 --> 00:34:45,040
Speaker 1: much easier to look back, weren't you. You had to

696
00:34:45,160 --> 00:34:49,000
Speaker 1: humanly be like, oh, Tyler Farr, who was this dude?

697
00:34:49,040 --> 00:34:51,480
Speaker 1: Like well, I know, Tyler, do buddy about it, and

698
00:34:51,560 --> 00:34:55,000
Speaker 1: me too, like yeah, yeah, yeah, but it's a redneck

699
00:34:55,040 --> 00:34:57,520
Speaker 1: crazy is nothing. And then here's this you know, but

700
00:34:57,600 --> 00:35:02,120
Speaker 1: it's Blake. It's Blake, Like if he'm there are two racehorses, Yeah, yeah,

701
00:35:02,200 --> 00:35:04,480
Speaker 1: I'm putting my money on the Blake racehorse more than

702
00:35:04,480 --> 00:35:06,680
Speaker 1: in the Tyler racehorse. So a little say you have

703
00:35:06,760 --> 00:35:09,080
Speaker 1: to be like, oh man, no doubt. That happens all

704
00:35:09,120 --> 00:35:11,440
Speaker 1: the time. Why don't we just dance? I think Rascal

705
00:35:11,480 --> 00:35:14,600
Speaker 1: Flats had on had on hold to cut and it

706
00:35:14,680 --> 00:35:16,680
Speaker 1: sim it's like one's going in before the other one.

707
00:35:16,719 --> 00:35:19,680
Speaker 1: There's so many factors to that thing. So Flats have

708
00:35:19,840 --> 00:35:23,960
Speaker 1: it on hold. This Josh Turner who called? Who makes

709
00:35:24,000 --> 00:35:26,080
Speaker 1: that call? I can't even remember. You don't know that.

710
00:35:26,080 --> 00:35:29,440
Speaker 1: That's a publisher thing. So as songwriters, I'm always that

711
00:35:29,560 --> 00:35:32,040
Speaker 1: I love your deflections. It's always as long as they

712
00:35:32,600 --> 00:35:39,280
Speaker 1: hate me, it's fun. And that's a good thing. Because

713
00:35:39,680 --> 00:35:41,919
Speaker 1: now I'm at the plage of my producer or even

714
00:35:41,920 --> 00:35:44,799
Speaker 1: my manager, I'll be like, you know, what my manager, good,

715
00:35:44,800 --> 00:35:47,759
Speaker 1: talk to her. You got to you with the man.

716
00:35:47,960 --> 00:35:51,640
Speaker 1: We got fifty more years of them cutting our songs,

717
00:35:51,680 --> 00:35:54,640
Speaker 1: you know, so why don't we just dance? Tell me

718
00:35:54,640 --> 00:35:58,160
Speaker 1: by this? Who'd you write this one? With Jim Beavers

719
00:35:58,200 --> 00:36:01,759
Speaker 1: and Darryl Brown? It's so weird, I bet, because you

720
00:36:01,840 --> 00:36:04,160
Speaker 1: do a thousand rights and you have to remember who

721
00:36:04,160 --> 00:36:05,920
Speaker 1: you wrote with. I know that's got to be impossible.

722
00:36:05,920 --> 00:36:07,799
Speaker 1: And I'm like dory man, I don't remember what I

723
00:36:07,840 --> 00:36:10,879
Speaker 1: did today, like the songs like I don't, I can

724
00:36:10,960 --> 00:36:14,000
Speaker 1: forget them and I can walk away and then when

725
00:36:14,080 --> 00:36:16,839
Speaker 1: they get cut, if I can listen to him, I said,

726
00:36:16,840 --> 00:36:18,520
Speaker 1: oh yeah, I love that song. It's a great song.

727
00:36:19,080 --> 00:36:23,879
Speaker 1: Uh flats holds it, flats holes, you're excited they hold Yeah.

728
00:36:23,920 --> 00:36:27,840
Speaker 1: I was super excited. And then I forget who called

729
00:36:27,840 --> 00:36:33,279
Speaker 1: who and how that happened that object Now I think

730
00:36:33,360 --> 00:36:35,520
Speaker 1: Josh was cutting first. I think that's what happened. So

731
00:36:35,560 --> 00:36:37,520
Speaker 1: Frank Rogers was doing that record and they kind of

732
00:36:37,520 --> 00:36:40,560
Speaker 1: worked it out, and I think on that when they

733
00:36:40,600 --> 00:36:44,120
Speaker 1: said if you go in and cut it on this

734
00:36:44,200 --> 00:36:46,680
Speaker 1: next match, So he's got a day that he's going

735
00:36:46,719 --> 00:36:48,560
Speaker 1: in to cut and said, if you cut it in

736
00:36:48,560 --> 00:36:50,879
Speaker 1: this next batch, you can have it. And he did

737
00:36:51,200 --> 00:36:53,919
Speaker 1: and uh and it and it it did. It turned

738
00:36:53,920 --> 00:36:55,520
Speaker 1: out great, But it would have turned out great with

739
00:36:55,640 --> 00:36:58,080
Speaker 1: Flats too. I mean, these are all great problems. Right,

740
00:36:59,480 --> 00:37:01,880
Speaker 1: they're trying to it because it's a really great song,

741
00:37:03,239 --> 00:37:10,160
Speaker 1: that's what you're saying. I would have done it number one, right.

742
00:37:10,160 --> 00:37:12,319
Speaker 1: They're not great until they go number one. Man. Yeah,

743
00:37:12,600 --> 00:37:14,680
Speaker 1: most of the time, I would agree with that. There's

744
00:37:14,719 --> 00:37:16,759
Speaker 1: some songs that even I am on the radio, I'm like,

745
00:37:16,760 --> 00:37:20,759
Speaker 1: I like, we're failing, Like the industry's failing because these

746
00:37:20,760 --> 00:37:24,319
Speaker 1: there are some great songs that for some reason, some

747
00:37:24,400 --> 00:37:27,600
Speaker 1: people somewhere are not playing enough and it'll lose its

748
00:37:27,760 --> 00:37:30,399
Speaker 1: arrow and all of a sudden it's just gone, no

749
00:37:30,440 --> 00:37:32,640
Speaker 1: doubt about it. Um. Yeah. I talk about Eric pass

750
00:37:32,800 --> 00:37:34,279
Speaker 1: like She Don't Love You. The fact that wasn't a

751
00:37:34,360 --> 00:37:37,120
Speaker 1: number one song, to me is one of the biggest

752
00:37:37,200 --> 00:37:41,399
Speaker 1: disasters of this whole my or all of eric past

753
00:37:41,440 --> 00:37:44,960
Speaker 1: like songs it should have been. Yeah, they're like, how

754
00:37:45,120 --> 00:37:46,680
Speaker 1: that song. It's probably one of the best songs in

755
00:37:46,680 --> 00:37:49,080
Speaker 1: the past five years. And I think it peaked like

756
00:37:49,080 --> 00:37:51,399
Speaker 1: twelve or something like that, and then he still got

757
00:37:51,400 --> 00:37:53,879
Speaker 1: a nomination for Song of the Year, and I was like, man,

758
00:37:53,880 --> 00:37:56,600
Speaker 1: that's that's what you know what I'm talking about? Um

759
00:37:56,640 --> 00:37:58,759
Speaker 1: all right, how but where's that coming from? What's it?

760
00:37:59,400 --> 00:38:03,080
Speaker 1: Do you have a sign on that? Because I'm so

761
00:38:03,480 --> 00:38:06,279
Speaker 1: people like to blame me for everything because on the

762
00:38:06,320 --> 00:38:11,640
Speaker 1: face okay, like I literally have the biggest show and

763
00:38:11,640 --> 00:38:14,000
Speaker 1: and and this is gonna sound really pretentious, but just

764
00:38:14,320 --> 00:38:15,960
Speaker 1: looking at it, number of lives, they have the biggest

765
00:38:16,000 --> 00:38:18,560
Speaker 1: show in the history of the format. Okay, because there

766
00:38:18,600 --> 00:38:21,360
Speaker 1: really wasn't a large syndicated country show until the last

767
00:38:21,360 --> 00:38:24,759
Speaker 1: five years. Okay, so syndicated how many, I'm only over

768
00:38:24,880 --> 00:38:28,120
Speaker 1: hundred cities, and so I have five million listeners, So

769
00:38:28,200 --> 00:38:30,480
Speaker 1: that counts for us a hundred times if you play

770
00:38:30,520 --> 00:38:33,560
Speaker 1: at once. Um no, because some stations that I'm on

771
00:38:33,600 --> 00:38:36,719
Speaker 1: aren't big enough to register a lot of so I

772
00:38:36,719 --> 00:38:41,279
Speaker 1: have like to decease the Bostons, the Sacramentos, Austin's, the

773
00:38:41,320 --> 00:38:45,080
Speaker 1: markets that spending media base. Those get registered and I

774
00:38:45,160 --> 00:38:49,239
Speaker 1: have forty or fifty of those, and then it is

775
00:38:49,239 --> 00:38:54,160
Speaker 1: a big total. And so what will happen though, is

776
00:38:54,160 --> 00:38:56,359
Speaker 1: two I get in trouble because I'll play something because

777
00:38:56,400 --> 00:38:58,120
Speaker 1: I love it, because I just won't play songs I

778
00:38:58,200 --> 00:39:00,440
Speaker 1: like regardless, And they used to get me in trouble

779
00:39:00,440 --> 00:39:02,359
Speaker 1: and now they kind of let me do my thing

780
00:39:02,400 --> 00:39:04,080
Speaker 1: because I've had a little bit of success and just

781
00:39:04,719 --> 00:39:07,880
Speaker 1: having a fair ear. But what happens. I'll play it

782
00:39:07,920 --> 00:39:10,360
Speaker 1: and it'll it's like a huge jump up chart, but

783
00:39:10,400 --> 00:39:11,880
Speaker 1: then if I don't play again the next week, it

784
00:39:11,920 --> 00:39:15,360
Speaker 1: falls back down. So it's hard for me to expose

785
00:39:15,440 --> 00:39:18,200
Speaker 1: music sometimes because you would have to keep it. I'd

786
00:39:18,239 --> 00:39:20,360
Speaker 1: have to keep going with so we can keep the bullet.

787
00:39:20,680 --> 00:39:24,279
Speaker 1: So I have to have to let everybody know you're

788
00:39:24,320 --> 00:39:28,200
Speaker 1: gonna fall a week, and if I'm gonna play music,

789
00:39:28,280 --> 00:39:30,600
Speaker 1: but you're going to follow a week, So it's exposure

790
00:39:30,719 --> 00:39:34,200
Speaker 1: versus and it's a I had an honest come up

791
00:39:34,200 --> 00:39:37,200
Speaker 1: to me once and um, she was drunk, so I

792
00:39:37,520 --> 00:39:39,600
Speaker 1: I do kind of hold I give. I give her

793
00:39:39,640 --> 00:39:42,000
Speaker 1: that about I played one of herselfs. I was fantastic.

794
00:39:42,040 --> 00:39:46,320
Speaker 1: You know, I'm gonna say it was okay, let me

795
00:39:46,520 --> 00:39:47,960
Speaker 1: let me tell a story. Then you you tell me

796
00:39:47,960 --> 00:39:51,840
Speaker 1: how you feel about it. Because I love I love

797
00:39:52,200 --> 00:39:55,200
Speaker 1: freaking music and I love exposing music. I don't care

798
00:39:55,200 --> 00:39:57,319
Speaker 1: if I record deal or not, if I hear a song,

799
00:39:58,120 --> 00:39:59,320
Speaker 1: and I think it's good, I'll just throw it on

800
00:39:59,360 --> 00:40:01,920
Speaker 1: the radio on five million people to hear. And I've

801
00:40:01,920 --> 00:40:04,920
Speaker 1: been lucky enough to break some artists and actually create careers.

802
00:40:04,920 --> 00:40:07,360
Speaker 1: And I love that fact. But I don't listen to

803
00:40:07,400 --> 00:40:09,600
Speaker 1: music early, like I don't take music early from artists.

804
00:40:09,880 --> 00:40:11,480
Speaker 1: I listened on the day it comes out if it's

805
00:40:11,480 --> 00:40:14,760
Speaker 1: a record. Um. But I'll find a song on YouTube,

806
00:40:14,800 --> 00:40:16,840
Speaker 1: or I'll find a song you know, on Spotify or

807
00:40:16,880 --> 00:40:19,839
Speaker 1: wherever and go. How is this? A good example would

808
00:40:19,840 --> 00:40:22,839
Speaker 1: be Gwin Sebastian Catallite. Okay, I played it like two

809
00:40:22,920 --> 00:40:25,279
Speaker 1: days ago and I just found it. I found it.

810
00:40:25,320 --> 00:40:27,239
Speaker 1: I was on YouTube and I was like, poly crap.

811
00:40:27,239 --> 00:40:28,880
Speaker 1: I don't know Randy Cole right, I don't know anything.

812
00:40:28,880 --> 00:40:30,080
Speaker 1: I just heard it and played it on the air.

813
00:40:31,000 --> 00:40:35,160
Speaker 1: And so I did this with X artists, this certain

814
00:40:35,239 --> 00:40:39,400
Speaker 1: artists with a song and I played it and she

815
00:40:39,440 --> 00:40:41,400
Speaker 1: came up to me like three weeks later and she

816
00:40:41,480 --> 00:40:43,160
Speaker 1: was like the fact that you played my song in

817
00:40:43,200 --> 00:40:45,640
Speaker 1: the air. I lost my bullet and they dropped a

818
00:40:45,680 --> 00:40:48,960
Speaker 1: song and I was like, you know what, And that

819
00:40:49,040 --> 00:40:51,480
Speaker 1: was the opening that was walked up to you and

820
00:40:51,520 --> 00:40:54,120
Speaker 1: said I really didn't know her that well I didn't

821
00:40:54,160 --> 00:40:56,880
Speaker 1: know her. Well you played my song on your thing

822
00:40:56,920 --> 00:40:59,799
Speaker 1: and the drop and I lost my bullet. If there

823
00:40:59,800 --> 00:41:05,200
Speaker 1: were words, it was like something like yes, wow. And

824
00:41:07,719 --> 00:41:09,959
Speaker 1: I felt weird about that because one I was like wow,

825
00:41:09,960 --> 00:41:11,719
Speaker 1: maybe I did. At the time, I did, because it

826
00:41:11,760 --> 00:41:13,400
Speaker 1: has been a few years ago. At the time, I

827
00:41:13,400 --> 00:41:16,400
Speaker 1: was like, wow, maybe I've run someone's career. But now

828
00:41:16,760 --> 00:41:20,320
Speaker 1: I get more irritated as time goes by, because people

829
00:41:20,360 --> 00:41:23,160
Speaker 1: are fighting for any sort of exposure at all period,

830
00:41:23,440 --> 00:41:25,759
Speaker 1: and they're probably gonn drop the record anyway. No one's

831
00:41:25,760 --> 00:41:29,840
Speaker 1: gonna drop it because I exposed it. They then have

832
00:41:29,880 --> 00:41:31,960
Speaker 1: a story to go to other radio stations to go, hey,

833
00:41:31,960 --> 00:41:35,400
Speaker 1: look at this. Do's not ahay, Bobby likes it? And

834
00:41:35,480 --> 00:41:38,480
Speaker 1: so how how would you feel? I know this story.

835
00:41:38,480 --> 00:41:40,799
Speaker 1: I mean, it happens, and it happened to me as

836
00:41:40,800 --> 00:41:43,719
Speaker 1: an artist. You know what happened to me was you

837
00:41:44,160 --> 00:41:48,040
Speaker 1: they book a radio show, and so they pump your

838
00:41:48,360 --> 00:41:51,080
Speaker 1: single building up to their show that you have and

839
00:41:52,040 --> 00:41:55,799
Speaker 1: Wisconsin wherever. So you're going up there and they play

840
00:41:55,840 --> 00:41:57,319
Speaker 1: you and play you and play you and play you,

841
00:41:57,360 --> 00:41:59,399
Speaker 1: and then the show goes. You can play the show

842
00:41:59,440 --> 00:42:02,040
Speaker 1: and it goes. They make money for whatever charity, whatever

843
00:42:02,040 --> 00:42:05,040
Speaker 1: they're doing, and then the next week they spins are gone,

844
00:42:05,480 --> 00:42:08,400
Speaker 1: so you've lost. And for a new artist to recover

845
00:42:08,520 --> 00:42:11,520
Speaker 1: from ten lost spins in a week is a big deal,

846
00:42:11,640 --> 00:42:14,680
Speaker 1: you know. Uh, But I don't think I ever would

847
00:42:14,680 --> 00:42:17,920
Speaker 1: have brought it up. I was appreciated those well while

848
00:42:17,960 --> 00:42:20,439
Speaker 1: they were playing them. It was the record company's job

849
00:42:20,520 --> 00:42:25,960
Speaker 1: too for them to continue playing and don't in your situation,

850
00:42:26,040 --> 00:42:28,879
Speaker 1: doesn't your record company. No, that's the game, like that's

851
00:42:28,880 --> 00:42:30,919
Speaker 1: going to happen, and they should have accounted for those

852
00:42:31,000 --> 00:42:33,279
Speaker 1: being there and figured out a way to Yeah. No,

853
00:42:33,400 --> 00:42:35,439
Speaker 1: I mean, and I played it one time, one time,

854
00:42:36,000 --> 00:42:39,040
Speaker 1: and I'm telling Sorr, I'll get pist off again, haven't

855
00:42:39,200 --> 00:42:41,319
Speaker 1: I haven't pissed off about it? This is probably a year.

856
00:42:41,760 --> 00:42:45,960
Speaker 1: But I'm getting mad again. She's still around. Yeah, okay,

857
00:42:46,440 --> 00:42:50,799
Speaker 1: well there you go. You didn't ruin her career. Manest

858
00:42:50,840 --> 00:42:55,359
Speaker 1: that too much? But she Yeah. But yeah, but you're right.

859
00:42:55,400 --> 00:42:58,000
Speaker 1: So if I have this weird thing where I don't

860
00:42:58,000 --> 00:43:00,040
Speaker 1: tell anybody and playing their songs either, I never you

861
00:43:00,040 --> 00:43:02,400
Speaker 1: have anybody heads up because I don't want anyone to go,

862
00:43:02,440 --> 00:43:04,800
Speaker 1: oh hey, Bobby, So I'll find something. I love it,

863
00:43:04,800 --> 00:43:07,520
Speaker 1: I'll play it and then I'm like, you're gonna suffer

864
00:43:07,600 --> 00:43:10,359
Speaker 1: next week. Hopefully you have a story. Hopefully you know

865
00:43:10,560 --> 00:43:12,799
Speaker 1: if Sometimes I don't have a deal, like Christiansen didn't

866
00:43:12,800 --> 00:43:14,799
Speaker 1: have a deal. He pop got a record deal. Um.

867
00:43:14,960 --> 00:43:17,040
Speaker 1: Sometimes they still stuff off the internet, like Marin I

868
00:43:17,080 --> 00:43:19,319
Speaker 1: just don't hate off the internet and played it and

869
00:43:19,640 --> 00:43:21,319
Speaker 1: it's not even a song she ever released or something

870
00:43:21,360 --> 00:43:24,000
Speaker 1: she wrote. But I'm lucky I get to do that.

871
00:43:24,000 --> 00:43:26,600
Speaker 1: That's awesome. But sometimes people yell at mean they're drunk

872
00:43:26,600 --> 00:43:28,880
Speaker 1: and they're like, you run my career. Well, that is

873
00:43:28,880 --> 00:43:30,600
Speaker 1: an odd place for you to be in if you

874
00:43:30,680 --> 00:43:32,879
Speaker 1: want to do that, and then trying to figure out

875
00:43:32,920 --> 00:43:36,080
Speaker 1: how to because you can't maintain that. It would be impossible.

876
00:43:36,200 --> 00:43:38,680
Speaker 1: I can't play something one way then every week because

877
00:43:38,680 --> 00:43:41,040
Speaker 1: that's all I've been doing, speaking all new and then

878
00:43:41,040 --> 00:43:44,279
Speaker 1: thinking about new. My show is that large where the

879
00:43:44,360 --> 00:43:46,200
Speaker 1: songs that I do play have to be such we

880
00:43:46,239 --> 00:43:47,839
Speaker 1: don't play that much music. We played three or four

881
00:43:47,920 --> 00:43:50,560
Speaker 1: songs in an hour, so they have to be monster hits.

882
00:43:51,239 --> 00:43:53,600
Speaker 1: And when later in the day, when you're playing twelve

883
00:43:53,640 --> 00:43:55,920
Speaker 1: songs an hour, you can sneak in some bees that

884
00:43:55,960 --> 00:43:58,239
Speaker 1: are growing into hits, but I have to play the

885
00:43:58,280 --> 00:44:00,120
Speaker 1: monster hits. I think I gotta fix for this. I've

886
00:44:00,120 --> 00:44:02,000
Speaker 1: been thinking about it as a songwriter. I like it.

887
00:44:02,160 --> 00:44:05,920
Speaker 1: So if I have Let's imagine I have Keith Urban's

888
00:44:05,960 --> 00:44:09,000
Speaker 1: new single and instead of me writing a second verse,

889
00:44:09,320 --> 00:44:12,160
Speaker 1: I just kind of leave that fifteen seconds for you

890
00:44:12,200 --> 00:44:14,360
Speaker 1: to do the sleep number thing in the middle of it.

891
00:44:14,360 --> 00:44:16,120
Speaker 1: How would you feel about that? I feel great about that,

892
00:44:16,120 --> 00:44:18,279
Speaker 1: and so like number. Oh yeah, so everybody but Keith

893
00:44:18,280 --> 00:44:21,080
Speaker 1: would like that, Like well, I would love to know

894
00:44:21,200 --> 00:44:23,279
Speaker 1: second verse. And then at his show, you know, he

895
00:44:23,280 --> 00:44:26,480
Speaker 1: could do some kind of like or something like that.

896
00:44:26,560 --> 00:44:29,200
Speaker 1: You know, whatever it is, just leave it empty for

897
00:44:29,200 --> 00:44:31,200
Speaker 1: a commercial every time thirty seconds he got the bag

898
00:44:31,239 --> 00:44:32,919
Speaker 1: that kind of comes down a little bit, and here

899
00:44:32,920 --> 00:44:35,440
Speaker 1: we go do the thing. I've been thinking about that

900
00:44:35,480 --> 00:44:40,359
Speaker 1: a lot here right man, while I'm writing second versus too.

901
00:44:40,920 --> 00:44:47,239
Speaker 1: How about this one here stool? I love that And

902
00:44:47,280 --> 00:44:57,040
Speaker 1: that's me and Mary Dean and Luke there. I guess

903
00:44:57,960 --> 00:45:03,839
Speaker 1: when do you feel like it's a longer shot? Absolutely,

904
00:45:03,920 --> 00:45:06,839
Speaker 1: we never expected that to get cut at all. We

905
00:45:06,840 --> 00:45:09,759
Speaker 1: were in the midst of fairy tales. The story a

906
00:45:09,760 --> 00:45:12,040
Speaker 1: whole lot better than I do, and he's got it

907
00:45:12,040 --> 00:45:14,440
Speaker 1: recorded on his computer. And I think he said, total

908
00:45:14,680 --> 00:45:17,120
Speaker 1: was an hour that we worked on that song because

909
00:45:17,160 --> 00:45:20,960
Speaker 1: we were working on some pop thing, some radio friendly,

910
00:45:21,160 --> 00:45:24,400
Speaker 1: some radio friendly songs, waiting for the new artists that

911
00:45:24,440 --> 00:45:27,200
Speaker 1: would that would come out and cut it. And we

912
00:45:27,320 --> 00:45:31,719
Speaker 1: ran across this idea doing making fun of country, old

913
00:45:31,760 --> 00:45:34,239
Speaker 1: country songs. You know, I think we were The song

914
00:45:34,320 --> 00:45:36,680
Speaker 1: was dirty of course that we were kind of writting,

915
00:45:36,760 --> 00:45:41,200
Speaker 1: and I think Luke, whatever dirty thing we were saying,

916
00:45:41,320 --> 00:45:44,200
Speaker 1: it rhymed with bar stools, so he said, in your

917
00:45:44,239 --> 00:45:47,040
Speaker 1: diamond rings and neural bosh. It was the main parents, Like, wow, man,

918
00:45:47,080 --> 00:45:50,560
Speaker 1: that's really cool. So we kind of did our little

919
00:45:51,200 --> 00:45:54,799
Speaker 1: artsy ballad thing with the and and got it out

920
00:45:54,840 --> 00:45:56,680
Speaker 1: of our system and we went back to the to

921
00:45:56,840 --> 00:45:59,880
Speaker 1: the pop thing that we were written, and somehow it

922
00:46:00,080 --> 00:46:03,320
Speaker 1: got I think it's bad. Yeah, it looks like the

923
00:46:03,719 --> 00:46:06,719
Speaker 1: wife that pitched it. And uh, and man, I mean

924
00:46:06,719 --> 00:46:09,640
Speaker 1: Tim mcgrawn was out. I think I had three things

925
00:46:09,680 --> 00:46:12,440
Speaker 1: on that record at that time, and so get Tim

926
00:46:12,480 --> 00:46:15,600
Speaker 1: mcgrawl kind of amazing to me. Man, I was I

927
00:46:15,680 --> 00:46:20,000
Speaker 1: was waited forever for that to happen. And uh, and

928
00:46:20,040 --> 00:46:22,000
Speaker 1: then it being a single was a big deal to me.

929
00:46:22,680 --> 00:46:25,800
Speaker 1: Was classy for a minute. Man, I've never been classy before.

930
00:46:25,920 --> 00:46:27,520
Speaker 1: It is very classy because I think it's Tim and

931
00:46:27,520 --> 00:46:30,080
Speaker 1: A Talk singing that one me too, Yeah, for sure,

932
00:46:30,200 --> 00:46:31,759
Speaker 1: I think it's Tim and A talks, even not singing.

933
00:46:31,800 --> 00:46:34,160
Speaker 1: Sometimes I just think it's Tim and A talks. Like

934
00:46:34,239 --> 00:46:36,040
Speaker 1: right now, I'm just thinking about Tim and the talks.

935
00:46:36,200 --> 00:46:38,320
Speaker 1: It's not a bad face, got that dress on, I

936
00:46:38,360 --> 00:46:40,600
Speaker 1: don't care. I'm just thinking to Tim and to talk. Yeah,

937
00:46:40,719 --> 00:46:44,279
Speaker 1: just working and just just doing cross fit and a talk,

938
00:46:44,440 --> 00:46:46,960
Speaker 1: jumping jumping rope, and it's tough. It's funny because I

939
00:46:47,000 --> 00:46:49,560
Speaker 1: have artist friends that will go out and do shows

940
00:46:49,560 --> 00:46:54,920
Speaker 1: with him and he helps. He's serious four hours and Tim.

941
00:46:55,080 --> 00:46:57,600
Speaker 1: Tim's had a lot of addiction problems, and I come

942
00:46:57,640 --> 00:46:59,760
Speaker 1: from a very like my mom died in her forties

943
00:46:59,760 --> 00:47:02,600
Speaker 1: from addiction. She drugs and alcohol. So and I'm a

944
00:47:03,320 --> 00:47:05,879
Speaker 1: I've never I've never drink alcohol, and I'm scared I'll

945
00:47:05,920 --> 00:47:08,279
Speaker 1: be that because I have a very addictive personality. I've

946
00:47:08,320 --> 00:47:11,120
Speaker 1: heard never a drink alcohol. Yeah, I would love to

947
00:47:11,120 --> 00:47:13,399
Speaker 1: have drinking alcohol, and I never I've not had one.

948
00:47:13,840 --> 00:47:17,200
Speaker 1: I want you, like right now, I want to I want,

949
00:47:17,280 --> 00:47:20,560
Speaker 1: I want to drink, but I've never had one because

950
00:47:20,600 --> 00:47:23,200
Speaker 1: I know, like I've seen it. That's crazy. Man, Well

951
00:47:23,200 --> 00:47:25,719
Speaker 1: good for you, that's awesome. No, no, it's not about me.

952
00:47:25,719 --> 00:47:30,120
Speaker 1: Wait a minute. So when McGraw I get I need

953
00:47:30,520 --> 00:47:34,239
Speaker 1: something to fill that space, and for him, it's working out.

954
00:47:34,880 --> 00:47:36,680
Speaker 1: So I'll do it for like four hours a day,

955
00:47:36,880 --> 00:47:39,680
Speaker 1: and artists to go out with him or like Tim

956
00:47:39,880 --> 00:47:42,640
Speaker 1: highly recommends, we work out with them. And when Tim

957
00:47:42,680 --> 00:47:45,480
Speaker 1: Holly recommends something, you better freaking do it, and the

958
00:47:45,640 --> 00:47:49,320
Speaker 1: like it sucks. Bet it does because he's going after

959
00:47:49,360 --> 00:47:52,600
Speaker 1: it hard. What are you gonna do? What are you

960
00:47:52,600 --> 00:47:54,200
Speaker 1: gonna do? And then you gotta go work out four

961
00:47:54,239 --> 00:47:59,680
Speaker 1: hours chugging beers on the side over there? Did you

962
00:47:59,719 --> 00:48:01,920
Speaker 1: make his band do? What? You think a lot of

963
00:48:01,920 --> 00:48:03,680
Speaker 1: them do? But I think a lot like some of that,

964
00:48:03,719 --> 00:48:05,359
Speaker 1: Like Dino, for example, I don't know if you play

965
00:48:05,360 --> 00:48:08,560
Speaker 1: fiddle form played fiddle Forum since him, So Dinas played

966
00:48:08,560 --> 00:48:11,440
Speaker 1: fiddle forums since uh when they were living in an

967
00:48:11,440 --> 00:48:15,120
Speaker 1: apartment together. That that long with him. Dino doesn't because

968
00:48:15,120 --> 00:48:16,680
Speaker 1: he's been with him that long. Where you be like,

969
00:48:16,719 --> 00:48:18,880
Speaker 1: you know what, Tim screw off? Like, what are you

970
00:48:18,880 --> 00:48:23,160
Speaker 1: gonna do? Get hooked on something else? Yeah, play get

971
00:48:23,160 --> 00:48:27,000
Speaker 1: hooked down video games because in I'm been. But okay,

972
00:48:27,040 --> 00:48:33,080
Speaker 1: So how about so I knew Andrew, So you wrote

973
00:48:33,200 --> 00:48:35,200
Speaker 1: you wrote this song? Here me and Andrew? Yeah, you

974
00:48:35,280 --> 00:48:37,200
Speaker 1: and Andrew. And Andrew passed away. Andrew and I used

975
00:48:37,239 --> 00:48:42,239
Speaker 1: to work out together, just at the gym, did the

976
00:48:42,280 --> 00:48:44,360
Speaker 1: we go, and so I got to know Andrew from that,

977
00:48:44,600 --> 00:48:48,360
Speaker 1: and I guess the new Andrew first for from writing

978
00:48:48,680 --> 00:48:51,400
Speaker 1: one big songs. One is a big song. Yeah, I

979
00:48:51,400 --> 00:48:54,839
Speaker 1: can't remember one. Maybe no, I wasn't wanted. I can't

980
00:48:54,840 --> 00:48:56,279
Speaker 1: remember what it. I don't either, but it was one

981
00:48:56,280 --> 00:48:57,640
Speaker 1: of his big songs. And so I got to know.

982
00:48:57,680 --> 00:49:01,120
Speaker 1: I got to Andrew pretty well. And then I'm sitting

983
00:49:01,360 --> 00:49:04,680
Speaker 1: in Austin. I placed there. So I texted me Dan

984
00:49:04,719 --> 00:49:07,400
Speaker 1: from Nance was like Judy Andrew like drowned and I

985
00:49:07,440 --> 00:49:12,879
Speaker 1: was like, what damn man, crazy crazy, just insane. Man.

986
00:49:13,120 --> 00:49:18,520
Speaker 1: He was on his was his forty birthday, tripped over

987
00:49:19,239 --> 00:49:23,839
Speaker 1: Christmas holidays and uh, I can't speculate me on what

988
00:49:24,040 --> 00:49:27,959
Speaker 1: you know. His pomps told me something happened and he

989
00:49:28,360 --> 00:49:31,799
Speaker 1: he drowned in the in the ocean. But man, what

990
00:49:31,880 --> 00:49:34,279
Speaker 1: a great great rider. Man. It was that's gonna be

991
00:49:34,320 --> 00:49:36,120
Speaker 1: a weird number one party though, because I know you've

992
00:49:36,239 --> 00:49:39,359
Speaker 1: just had it. Yeah, it was last week, and so

993
00:49:39,719 --> 00:49:45,640
Speaker 1: here you are celebrating a song yet celebrating a person,

994
00:49:45,680 --> 00:49:50,040
Speaker 1: but it's still sad. What's that amout? It was everybody

995
00:49:50,080 --> 00:49:52,359
Speaker 1: was real good about it, and those flat Skuys man,

996
00:49:52,600 --> 00:49:55,480
Speaker 1: they're such good dudes, and they made it seamless, and

997
00:49:55,600 --> 00:49:59,200
Speaker 1: there their version of of being an artist as far

998
00:49:59,239 --> 00:50:00,879
Speaker 1: as you know, talk and the people in the crowd

999
00:50:00,920 --> 00:50:03,960
Speaker 1: and stuff like that. It's just amazing. So they kind

1000
00:50:03,960 --> 00:50:06,919
Speaker 1: of made it okay. It wasn't said nobody made it sad.

1001
00:50:07,000 --> 00:50:09,600
Speaker 1: It was more a celebration of of of Andrew getting

1002
00:50:09,600 --> 00:50:12,000
Speaker 1: another number one. I think that was five that he's

1003
00:50:12,840 --> 00:50:16,719
Speaker 1: that he's had. But the worst part, I mean, we've

1004
00:50:16,760 --> 00:50:19,319
Speaker 1: been writing together forever to get a single, to get

1005
00:50:19,320 --> 00:50:22,160
Speaker 1: a number one, and that was the first one. So

1006
00:50:22,320 --> 00:50:26,279
Speaker 1: you know, as writers were we we we obviously think

1007
00:50:26,320 --> 00:50:28,400
Speaker 1: we're cooler than everybody else and we're not playing the

1008
00:50:28,440 --> 00:50:30,600
Speaker 1: same game that everybody else is. So we're tricking everybody

1009
00:50:30,600 --> 00:50:32,719
Speaker 1: when we get a number one. So we call each

1010
00:50:32,719 --> 00:50:34,480
Speaker 1: other as it's going up the charges, Oh we got

1011
00:50:34,560 --> 00:50:37,080
Speaker 1: him again, you know, it's it's going up and and

1012
00:50:37,120 --> 00:50:39,960
Speaker 1: that wasn't there on on that song. So it's just

1013
00:50:40,120 --> 00:50:43,279
Speaker 1: me at the number one party. So oh, that's got

1014
00:50:43,360 --> 00:50:45,759
Speaker 1: to be I didn't think about that, you know, just me. Uh,

1015
00:50:46,080 --> 00:50:48,359
Speaker 1: you know, his pops was there and brother was there

1016
00:50:48,520 --> 00:50:50,920
Speaker 1: and uh but you know, as far as you know,

1017
00:50:51,480 --> 00:50:53,359
Speaker 1: doing interviews and stuff like that, I just said, I'm

1018
00:50:53,400 --> 00:50:56,680
Speaker 1: not gonna do that, you know, because I didn't know

1019
00:50:56,680 --> 00:50:59,239
Speaker 1: what to say. I didn't, you know. And luckily the

1020
00:50:59,320 --> 00:51:02,680
Speaker 1: publishers and Mike Molnar's my postion and he's just great

1021
00:51:02,719 --> 00:51:06,040
Speaker 1: at that stuff and he made it. Yes, it has

1022
00:51:06,040 --> 00:51:08,360
Speaker 1: been a sweet, but let's talk about the sweet, you know,

1023
00:51:08,480 --> 00:51:11,399
Speaker 1: and we kind of moved home from there. Uh, that's

1024
00:51:11,440 --> 00:51:13,879
Speaker 1: been real tough, man. I mean, you know, also your

1025
00:51:14,040 --> 00:51:16,480
Speaker 1: immortality as a you know, it's a buddy that was

1026
00:51:16,520 --> 00:51:19,560
Speaker 1: a friend, you know, not to mention a writer that

1027
00:51:19,920 --> 00:51:22,359
Speaker 1: we're sitting the room and share stuff that people are

1028
00:51:22,400 --> 00:51:24,480
Speaker 1: not supposed to share them and we have to. We're

1029
00:51:24,520 --> 00:51:27,720
Speaker 1: talking about love, we're talking about death, we're talking about

1030
00:51:27,719 --> 00:51:29,920
Speaker 1: all this stuff, and you got to kind of shed

1031
00:51:29,960 --> 00:51:33,239
Speaker 1: that stuff off to to get to where you're going, uh,

1032
00:51:33,280 --> 00:51:36,839
Speaker 1: to get a song on the radio. So it's pretty awful, man.

1033
00:51:37,000 --> 00:51:40,680
Speaker 1: I mean the video was you know, kind of got

1034
00:51:40,719 --> 00:51:44,160
Speaker 1: me pretty good. Uh. I never thought about it. The

1035
00:51:44,200 --> 00:51:48,120
Speaker 1: thing about you being alone at the number one party. Yeah, well,

1036
00:51:48,160 --> 00:51:49,600
Speaker 1: I mean, you know, a Flatts and number there. But

1037
00:51:49,640 --> 00:51:51,640
Speaker 1: we're supposed to be we're supposed to be half five

1038
00:51:51,680 --> 00:51:55,040
Speaker 1: and we're supposed to be doing the thing and uh yeah.

1039
00:51:55,840 --> 00:51:58,080
Speaker 1: And then every time the song comes on, you're like, oh,

1040
00:51:58,120 --> 00:52:00,880
Speaker 1: there you go, man, another remind under the scratch of

1041
00:52:00,880 --> 00:52:04,120
Speaker 1: Scab again, you know, And dude, I love hearing it

1042
00:52:04,160 --> 00:52:07,359
Speaker 1: on the radio. It was great. Oh but yeah, it's

1043
00:52:07,400 --> 00:52:13,160
Speaker 1: tough those Flats guys there, and I'm I have good

1044
00:52:13,160 --> 00:52:16,320
Speaker 1: relationships with him now. Some artists that do something I

1045
00:52:16,360 --> 00:52:18,239
Speaker 1: don't have any relationships. Not bad, but I have a

1046
00:52:18,239 --> 00:52:22,319
Speaker 1: good relationship with Flats like them, great guys. I like that.

1047
00:52:22,520 --> 00:52:25,279
Speaker 1: And it's funny to talk to them now because they

1048
00:52:25,400 --> 00:52:29,359
Speaker 1: dropped off for a bit. Yeah they were. By the way,

1049
00:52:29,400 --> 00:52:34,120
Speaker 1: they're they're in the legendary status, no doubt it. And

1050
00:52:34,200 --> 00:52:37,040
Speaker 1: to go from legendary to dropping off, which is what

1051
00:52:37,120 --> 00:52:41,200
Speaker 1: happens normally, you achieve your peak and then you kind

1052
00:52:41,200 --> 00:52:42,840
Speaker 1: of don't move forward because if you move forward, you

1053
00:52:42,880 --> 00:52:44,920
Speaker 1: getting out of what your groove is, and then if

1054
00:52:44,920 --> 00:52:47,120
Speaker 1: you get out what your groove is, your probably odds

1055
00:52:47,160 --> 00:52:49,759
Speaker 1: are you're not gonna be able to so people stay.

1056
00:52:49,800 --> 00:52:52,720
Speaker 1: I was talking to Ross Cofferman last night, you know, Ross, Yeah,

1057
00:52:52,800 --> 00:52:58,080
Speaker 1: So we were talking. I was talking and we were

1058
00:52:58,120 --> 00:53:01,800
Speaker 1: talking about how art we're talking about, like a Matchbox

1059
00:53:01,840 --> 00:53:06,040
Speaker 1: twenty versus of Coldplay comes out relatively around the same

1060
00:53:06,080 --> 00:53:08,600
Speaker 1: time match present earlier. But how Matchbox twenty just kind

1061
00:53:08,600 --> 00:53:11,799
Speaker 1: of stopped and stayed in that sound. But Coultlay continues

1062
00:53:11,880 --> 00:53:17,040
Speaker 1: to push boundaries. And so with the flats, they had

1063
00:53:17,080 --> 00:53:19,879
Speaker 1: the Matchbox twenty and they kept making the same thing

1064
00:53:20,040 --> 00:53:23,680
Speaker 1: and the sound went past them, so they dropped off.

1065
00:53:23,719 --> 00:53:25,879
Speaker 1: They had to wear with all. Somebody had to wear

1066
00:53:25,920 --> 00:53:27,520
Speaker 1: with all. And actually it comes back to them because

1067
00:53:27,560 --> 00:53:29,160
Speaker 1: they got to be the ones to sing the songs

1068
00:53:29,160 --> 00:53:32,759
Speaker 1: and make their final yeses to go. We're gonna let

1069
00:53:32,800 --> 00:53:37,560
Speaker 1: younger riders write what we think that songs, Yeah, that

1070
00:53:37,760 --> 00:53:42,520
Speaker 1: fit what's gonna make the radio now, And that's a

1071
00:53:42,520 --> 00:53:51,000
Speaker 1: pretty smart thing to do. Still, still, I think I

1072
00:53:51,040 --> 00:53:53,319
Speaker 1: appreciate your welcome very much, very very much. So I

1073
00:53:53,320 --> 00:53:57,480
Speaker 1: think the existence of uh Shay as a demo singer

1074
00:53:58,600 --> 00:54:02,719
Speaker 1: was good because he sounds like Gary, Yeah, that's a thing.

1075
00:54:02,200 --> 00:54:06,520
Speaker 1: That's the real thing that I think helped both of them, yes,

1076
00:54:07,120 --> 00:54:09,440
Speaker 1: in their careers. So just talking about flats and how

1077
00:54:09,440 --> 00:54:12,080
Speaker 1: they were able to go, Okay, we hit the peak.

1078
00:54:12,120 --> 00:54:13,880
Speaker 1: They peak. They were the biggest thing. They were. I

1079
00:54:13,880 --> 00:54:18,359
Speaker 1: mean it was so big there, yeah, every the world.

1080
00:54:18,400 --> 00:54:20,080
Speaker 1: Told my little boy on the way over, I said,

1081
00:54:20,120 --> 00:54:22,279
Speaker 1: you know that Chors movie with the thing at the end.

1082
00:54:22,280 --> 00:54:23,719
Speaker 1: I was like, that's these guys And he was like

1083
00:54:24,000 --> 00:54:27,640
Speaker 1: he hadn't he didn't care at all. Oh, but my

1084
00:54:27,680 --> 00:54:29,160
Speaker 1: five year on the who it was. They were so

1085
00:54:29,200 --> 00:54:32,239
Speaker 1: big there was no way to maintain that saying. And

1086
00:54:32,280 --> 00:54:34,719
Speaker 1: they're so cool about it, and they felt and then

1087
00:54:34,760 --> 00:54:36,319
Speaker 1: they got two number ones in a row and another

1088
00:54:36,360 --> 00:54:39,879
Speaker 1: one and here they're they're back. Now they're relevant. It's

1089
00:54:39,920 --> 00:54:42,600
Speaker 1: really hard to be relevant. It's really easy to not

1090
00:54:42,600 --> 00:54:46,520
Speaker 1: be relevant. It's almost impossible to be rerelevant, no doubt

1091
00:54:46,520 --> 00:54:48,400
Speaker 1: about it. And they've done it. And that's what I

1092
00:54:48,440 --> 00:54:50,120
Speaker 1: and I told him and I was like, hey, by

1093
00:54:50,120 --> 00:54:52,160
Speaker 1: the way, this is this might be an insult, but

1094
00:54:52,560 --> 00:54:54,279
Speaker 1: you guys fell off. And when you fell off and

1095
00:54:54,320 --> 00:54:56,640
Speaker 1: came back, that's like the hardest thing that's harder than

1096
00:54:56,680 --> 00:54:59,000
Speaker 1: just making it. So what was that gap in there?

1097
00:54:59,040 --> 00:55:01,319
Speaker 1: A couple of years? So where was the last song?

1098
00:55:01,440 --> 00:55:03,000
Speaker 1: What was the big So I'm not going to have

1099
00:55:03,200 --> 00:55:06,040
Speaker 1: the last one because they had a couple that just

1100
00:55:06,080 --> 00:55:10,440
Speaker 1: did okay and but there there Rascal Flat. They shouldn't

1101
00:55:10,440 --> 00:55:12,000
Speaker 1: have an okay song. That'd be like Blake, I have

1102
00:55:12,040 --> 00:55:15,560
Speaker 1: a song peak at seventeen. That doesn't happen to Blake

1103
00:55:15,640 --> 00:55:18,239
Speaker 1: or Luke right now. Yeah, if they don't have a

1104
00:55:18,320 --> 00:55:21,479
Speaker 1: number one, that's a failure. Like Blake's had one song

1105
00:55:21,520 --> 00:55:23,560
Speaker 1: that's not number one, and like the last twenty five

1106
00:55:23,600 --> 00:55:26,319
Speaker 1: songs and it was that Got Away with Words that

1107
00:55:26,440 --> 00:55:29,640
Speaker 1: was the only one that didn't go number one. That's impressive.

1108
00:55:29,800 --> 00:55:33,200
Speaker 1: And so yeah, those flats either there that that to me,

1109
00:55:33,239 --> 00:55:37,440
Speaker 1: it's like somebody's smart in that group. It's probably not Jay,

1110
00:55:38,600 --> 00:55:42,239
Speaker 1: I'm kidding, I know it is. J J is the

1111
00:55:42,280 --> 00:55:47,080
Speaker 1: producer of That's killing He's killing his bottom. His studio

1112
00:55:47,239 --> 00:55:50,160
Speaker 1: is fantastic over there, and he's so good at it.

1113
00:55:50,200 --> 00:55:55,080
Speaker 1: And he just did that h Ronnie Dunn record too.

1114
00:55:55,239 --> 00:55:59,160
Speaker 1: It was great. Man. Yeah, he is so like people

1115
00:55:59,200 --> 00:56:00,480
Speaker 1: don't even know because they just know him as a

1116
00:56:00,560 --> 00:56:04,640
Speaker 1: Rascal flat but as a producer and yeah, as if

1117
00:56:04,640 --> 00:56:08,400
Speaker 1: a guy who hears things and later like he's so fantastic.

1118
00:56:08,440 --> 00:56:12,520
Speaker 1: He could just be a producer. He could be when

1119
00:56:12,520 --> 00:56:14,759
Speaker 1: you what was this song that you cut? First thing

1120
00:56:14,840 --> 00:56:17,840
Speaker 1: you heard and you're like, holy crap, like that, I

1121
00:56:17,880 --> 00:56:20,839
Speaker 1: can't believe this artist cut my song? And maybe it

1122
00:56:20,920 --> 00:56:24,880
Speaker 1: was Gary Allen, but maybe like when when what artists

1123
00:56:24,880 --> 00:56:26,480
Speaker 1: cut your song? I was like this, okay, no, this

1124
00:56:26,520 --> 00:56:28,440
Speaker 1: is a different level of cool. Maybe it wasn't even

1125
00:56:28,440 --> 00:56:30,680
Speaker 1: a big song, but such and touch as voice is

1126
00:56:30,719 --> 00:56:34,680
Speaker 1: on something that you your brain put words on. I mean,

1127
00:56:34,719 --> 00:56:37,719
Speaker 1: I don't I don't know if I was impressed by

1128
00:56:38,320 --> 00:56:41,160
Speaker 1: a certain artist. I was super super proud of that

1129
00:56:41,280 --> 00:56:44,879
Speaker 1: David new things that were happening because they were so

1130
00:56:45,000 --> 00:56:48,719
Speaker 1: different when they came out, and and I thought we

1131
00:56:48,719 --> 00:56:51,239
Speaker 1: were kind of taking a step forward, uh in in

1132
00:56:51,920 --> 00:56:54,320
Speaker 1: country music and doing something a little different. And frankly,

1133
00:56:54,400 --> 00:56:57,880
Speaker 1: they'll made those records sound so good and and and

1134
00:56:58,000 --> 00:57:00,320
Speaker 1: David's voice, I thought it was something different for country.

1135
00:57:02,000 --> 00:57:04,000
Speaker 1: I was I've always been super proud of those things

1136
00:57:04,000 --> 00:57:06,040
Speaker 1: because they are kind of rocky kind of things that

1137
00:57:06,120 --> 00:57:08,320
Speaker 1: are that are going on in those in those teams

1138
00:57:08,480 --> 00:57:13,480
Speaker 1: like Nights on Fire, like before Let It Rain, Let

1139
00:57:13,480 --> 00:57:18,959
Speaker 1: It Rain was probably favorite thing, Like I can sing

1140
00:57:19,160 --> 00:57:31,760
Speaker 1: his face off, down down, It's it's it's like an

1141
00:57:31,760 --> 00:57:34,600
Speaker 1: investing game with you guys. I'm lucky enough to get

1142
00:57:34,600 --> 00:57:36,360
Speaker 1: to talk to a lot of songwriters. It's like long

1143
00:57:36,480 --> 00:57:38,920
Speaker 1: term investing. Yeah, you get in and and and kind

1144
00:57:38,920 --> 00:57:41,280
Speaker 1: of lay the groundwork and then I hope that you

1145
00:57:41,320 --> 00:57:43,880
Speaker 1: get front of everything. You're just freaking weight. Yeah, I

1146
00:57:43,920 --> 00:57:46,200
Speaker 1: don't want to call you like, you write a song

1147
00:57:46,880 --> 00:57:49,880
Speaker 1: and maybe in five months it is going to be something, maybe,

1148
00:57:50,000 --> 00:57:53,080
Speaker 1: but probably it's not. Probably not. Yeah, chances are not.

1149
00:57:53,720 --> 00:57:56,760
Speaker 1: Like a major league ball player, you're bout three hundred,

1150
00:57:57,440 --> 00:57:59,960
Speaker 1: that's a Hall of Famer, right, we're just hitting how many?

1151
00:58:00,480 --> 00:58:03,680
Speaker 1: So you're going you're going three ten? Yeah, we don't

1152
00:58:03,720 --> 00:58:07,080
Speaker 1: do that. So I'm gonna ask you the question for you,

1153
00:58:07,560 --> 00:58:09,560
Speaker 1: how many songs to get a cut? We want to

1154
00:58:09,560 --> 00:58:12,600
Speaker 1: say a single, how you're write how many songs? Let's

1155
00:58:12,840 --> 00:58:15,040
Speaker 1: play a little math game to get a cut. What's

1156
00:58:15,120 --> 00:58:17,520
Speaker 1: what's just? I just sold a little catalog and they

1157
00:58:17,520 --> 00:58:20,720
Speaker 1: were seven hundred something songs and there so that's over.

1158
00:58:21,000 --> 00:58:24,320
Speaker 1: You know, ten years of of of riding and I

1159
00:58:24,400 --> 00:58:29,880
Speaker 1: probably got singles. H Well, I mean I got six

1160
00:58:29,960 --> 00:58:33,480
Speaker 1: number ones to number two's if we're counting the ones

1161
00:58:33,520 --> 00:58:36,320
Speaker 1: I made money only. I mean, if that's all you're counting,

1162
00:58:36,400 --> 00:58:39,360
Speaker 1: so that is seven hundred, so a little more than

1163
00:58:39,400 --> 00:58:44,080
Speaker 1: one percent. Yeah, one, not even one. That's not even

1164
00:58:44,080 --> 00:58:47,240
Speaker 1: one hundred. That's not what's it's barely ten. Like you're

1165
00:58:47,280 --> 00:58:51,720
Speaker 1: batting about ten. Wow, And that point is and that's

1166
00:58:51,960 --> 00:58:55,200
Speaker 1: I'm not making. You're a very successful songwriter, but that's

1167
00:58:55,280 --> 00:58:57,680
Speaker 1: the fail. You failed. You have to be able to

1168
00:58:57,720 --> 00:59:00,560
Speaker 1: fail absolutely like you have to be over. And I

1169
00:59:00,560 --> 00:59:02,560
Speaker 1: think that's that's my thing of letting the songs go.

1170
00:59:02,880 --> 00:59:04,480
Speaker 1: You know, if I hold them and I and I

1171
00:59:04,520 --> 00:59:06,280
Speaker 1: created them and I rock them to sleep at night,

1172
00:59:06,280 --> 00:59:07,680
Speaker 1: and I go and I go, man, why is this

1173
00:59:07,760 --> 00:59:09,320
Speaker 1: not a hit? How how are we not making this

1174
00:59:09,400 --> 00:59:11,920
Speaker 1: a hit? Then I can get my feelings hurt about it.

1175
00:59:12,680 --> 00:59:15,000
Speaker 1: But I don't. And I usually when I hear and

1176
00:59:15,040 --> 00:59:17,240
Speaker 1: they call and say, hey, so and so it's got

1177
00:59:17,240 --> 00:59:18,920
Speaker 1: this song on hold, I go, which one is that?

1178
00:59:19,920 --> 00:59:21,320
Speaker 1: And when they play it, I go, oh, yeah, I

1179
00:59:21,320 --> 00:59:23,960
Speaker 1: know that. Uh, but yeah, you forget about them. I

1180
00:59:24,040 --> 00:59:27,520
Speaker 1: totally forget about it consciously, like I think consciously. Yeah,

1181
00:59:27,600 --> 00:59:30,680
Speaker 1: because I do kind of track stuff too. So I'll

1182
00:59:30,680 --> 00:59:32,760
Speaker 1: write the song. I don't do it in the room,

1183
00:59:32,800 --> 00:59:34,600
Speaker 1: but I'll write the song and usually i'll cut a

1184
00:59:34,600 --> 00:59:36,920
Speaker 1: demo of it, and then I'm done. I can walk away,

1185
00:59:37,480 --> 00:59:41,480
Speaker 1: uh and let everybody else do their things. Do women exactly, No,

1186
00:59:41,600 --> 00:59:45,360
Speaker 1: it's not I get no women. Yeah, yeah, I just

1187
00:59:45,440 --> 00:59:46,840
Speaker 1: like to say that. I thought it's not cool, but

1188
00:59:46,920 --> 00:59:49,760
Speaker 1: yeah I can. I can forget, man, I can easily forget.

1189
00:59:49,880 --> 00:59:52,280
Speaker 1: And uh so I don't. I don't kind of create

1190
00:59:52,400 --> 00:59:54,480
Speaker 1: them and hold it seems like a healthy thing. It's

1191
00:59:54,520 --> 00:59:56,080
Speaker 1: gotta I mean, that's the only way I know how

1192
00:59:56,160 --> 00:59:59,160
Speaker 1: to do it. Oh but when they get on the radio,

1193
00:59:59,240 --> 01:00:01,080
Speaker 1: I mean I watched the thing I get, I get

1194
01:00:01,080 --> 01:00:03,120
Speaker 1: super excited. Yeah, I can see what the anxiety would

1195
01:00:03,120 --> 01:00:05,120
Speaker 1: come when you're getting closer. It's almost like Christmas, Like

1196
01:00:05,120 --> 01:00:08,360
Speaker 1: I don't think about Christmas one as March exactly. Yeah.

1197
01:00:09,240 --> 01:00:11,520
Speaker 1: That's a long time now, you know. I mean it's

1198
01:00:11,640 --> 01:00:14,800
Speaker 1: you can go nine I mean nine months would be

1199
01:00:14,840 --> 01:00:17,280
Speaker 1: generally a short period of time. You would go twelve

1200
01:00:17,320 --> 01:00:19,600
Speaker 1: months and go a year, and unless it's a Blake

1201
01:00:19,800 --> 01:00:22,880
Speaker 1: or Luke or you can go twenty weeks, thirty weeks.

1202
01:00:22,920 --> 01:00:27,920
Speaker 1: I mean, I remember Craick Campbellton fifty four. What was

1203
01:00:27,960 --> 01:00:31,400
Speaker 1: the long Libri Libris did one that was was the longest.

1204
01:00:31,440 --> 01:00:33,400
Speaker 1: It was like fifty eight weeks or something, I think

1205
01:00:34,520 --> 01:00:36,720
Speaker 1: was it. Red Light was fifty two weeks, and Lee

1206
01:00:36,800 --> 01:00:39,720
Speaker 1: beat him with the fifty That that means that's this

1207
01:00:39,880 --> 01:00:43,720
Speaker 1: artist single for an entire year. One song, one song,

1208
01:00:43,840 --> 01:00:46,280
Speaker 1: and they're grinding it on the radio tour and in

1209
01:00:46,320 --> 01:00:50,440
Speaker 1: that and they're playing there every in every office across

1210
01:00:50,440 --> 01:00:53,800
Speaker 1: the United States, over and over and over again. You

1211
01:00:53,880 --> 01:00:57,640
Speaker 1: don't want to do that, no way, dude. Tell me

1212
01:00:57,680 --> 01:01:02,560
Speaker 1: about the Luke home stuff. Yeah, man, Uh, Luke's awesome. Man,

1213
01:01:02,680 --> 01:01:05,720
Speaker 1: what a great artist. Expect for the format too. And now,

1214
01:01:05,920 --> 01:01:09,160
Speaker 1: So I was at I do all those whiskey jam

1215
01:01:09,240 --> 01:01:11,360
Speaker 1: and and I don't play that much anymore, but I

1216
01:01:11,400 --> 01:01:13,960
Speaker 1: played the first whiskey jam, so Ward makes me do

1217
01:01:14,040 --> 01:01:16,600
Speaker 1: the anniversary every year, and then the ten roof revival.

1218
01:01:16,680 --> 01:01:18,840
Speaker 1: I played the first, so I I just to go

1219
01:01:18,920 --> 01:01:21,400
Speaker 1: do that every year. So I was playing one more night,

1220
01:01:21,560 --> 01:01:24,240
Speaker 1: me and Randy Montana played, I think Eric Dillon played,

1221
01:01:24,240 --> 01:01:27,800
Speaker 1: and Luke played, uh super early that night. He was

1222
01:01:27,880 --> 01:01:29,920
Speaker 1: kind of new in town. This is a year and

1223
01:01:30,400 --> 01:01:33,600
Speaker 1: maybe three four months ago, uh that all this is

1224
01:01:33,640 --> 01:01:37,400
Speaker 1: going on because they just had another anniversary. And so

1225
01:01:37,480 --> 01:01:40,120
Speaker 1: me and Randy is standing the back talking and we

1226
01:01:40,240 --> 01:01:43,200
Speaker 1: hear this guy start playing. She's got kind of man

1227
01:01:43,560 --> 01:01:45,880
Speaker 1: this dude, you know what's going on here? So we

1228
01:01:46,000 --> 01:01:48,000
Speaker 1: kind of make our way. We kind of jogged, We

1229
01:01:48,120 --> 01:01:50,320
Speaker 1: kind of jogged back there, and so when we get

1230
01:01:50,360 --> 01:01:51,880
Speaker 1: back there, by the time we get there, he's in

1231
01:01:51,920 --> 01:01:56,080
Speaker 1: the middle of hurricane and everybody singing the song. So

1232
01:01:56,120 --> 01:01:58,560
Speaker 1: we're on our phones like, jeez, man, is this guy?

1233
01:01:58,600 --> 01:02:02,000
Speaker 1: So you're looking it up iTunes And it was so

1234
01:02:02,080 --> 01:02:05,160
Speaker 1: weird to me that as music industry people, we had

1235
01:02:05,240 --> 01:02:07,960
Speaker 1: no idea and he was killing this Spotify kind of

1236
01:02:08,040 --> 01:02:12,120
Speaker 1: weird of social media thing that was happening. And so

1237
01:02:12,160 --> 01:02:15,400
Speaker 1: I talked to him that night. Luckily he was, you know,

1238
01:02:15,560 --> 01:02:18,000
Speaker 1: a hunter and uh, and I had some stuff in

1239
01:02:18,040 --> 01:02:21,080
Speaker 1: common with him and took him. Randy took him, uh,

1240
01:02:21,280 --> 01:02:23,640
Speaker 1: turkey hunting. I took him deer hunting, and we kind

1241
01:02:23,640 --> 01:02:25,480
Speaker 1: of made friends and we wrote something a little bit

1242
01:02:25,560 --> 01:02:30,000
Speaker 1: and and I literally text him one day and said, hey, man,

1243
01:02:30,040 --> 01:02:31,840
Speaker 1: what would you think about doing a co venture with

1244
01:02:31,920 --> 01:02:34,480
Speaker 1: me and the big Machine. He said, dude, I'm in

1245
01:02:34,840 --> 01:02:38,760
Speaker 1: And that was kind of it. But maybe a month

1246
01:02:38,840 --> 01:02:41,240
Speaker 1: or two before he got his record deal, and by

1247
01:02:41,320 --> 01:02:45,000
Speaker 1: that time he was was twelve million spins on on

1248
01:02:45,120 --> 01:02:47,240
Speaker 1: some Spotify thing that had been on there for two

1249
01:02:47,280 --> 01:02:51,800
Speaker 1: much and it kind of blew up sore. So a coventure.

1250
01:02:51,880 --> 01:02:54,120
Speaker 1: So I write for a big machine and Scott buchett

1251
01:02:54,200 --> 01:02:58,320
Speaker 1: is publishing company, Mike moan On runs it. So, uh,

1252
01:02:58,760 --> 01:03:01,479
Speaker 1: me kind of being in town for a little while,

1253
01:03:01,560 --> 01:03:05,000
Speaker 1: so I'm you know, ten years in so uh, I

1254
01:03:05,040 --> 01:03:07,840
Speaker 1: can kind of get access to some guys that they

1255
01:03:07,880 --> 01:03:11,760
Speaker 1: can't really get access to. And so my job and

1256
01:03:11,800 --> 01:03:14,320
Speaker 1: so it's a literal co venture in that we are

1257
01:03:14,360 --> 01:03:21,320
Speaker 1: co publishing Luke. So you own a path or a

1258
01:03:21,360 --> 01:03:24,880
Speaker 1: part of a part of of Luke. Yeah, I get fifteen.

1259
01:03:25,160 --> 01:03:28,400
Speaker 1: So I also get his lunches on the road too.

1260
01:03:28,480 --> 01:03:31,520
Speaker 1: So he has to give me whatever portion, it doesn't

1261
01:03:31,560 --> 01:03:34,479
Speaker 1: matter it call anything that he owns at this point

1262
01:03:37,040 --> 01:03:39,600
Speaker 1: that before he does off the top. So I get

1263
01:03:39,600 --> 01:03:42,520
Speaker 1: the whip cream. No, but so yeah, we're just we're

1264
01:03:42,560 --> 01:03:45,720
Speaker 1: splitting it down the middle, and uh, you know those

1265
01:03:45,720 --> 01:03:48,720
Speaker 1: guys I've been down the artist thing I've done the

1266
01:03:48,760 --> 01:03:52,040
Speaker 1: writer thing, and I'm not trying to I'm not gonna

1267
01:03:52,360 --> 01:03:54,439
Speaker 1: I'm not trying to super play the game. And I'm

1268
01:03:54,440 --> 01:03:57,800
Speaker 1: obviously not slick, but I do know when somebody's trying

1269
01:03:57,840 --> 01:04:00,440
Speaker 1: to get you. And I think my thing was just

1270
01:04:01,000 --> 01:04:03,240
Speaker 1: you know, hey, man, I'll make sure nobody gets you

1271
01:04:03,280 --> 01:04:04,960
Speaker 1: to try to get you some cuts and you know,

1272
01:04:05,000 --> 01:04:08,440
Speaker 1: we can admin this these these songs and stuff. And

1273
01:04:08,480 --> 01:04:11,200
Speaker 1: he was super down for man, and we've become really

1274
01:04:11,240 --> 01:04:14,480
Speaker 1: really close friends, and and uh, I'm super proud of that.

1275
01:04:14,440 --> 01:04:16,800
Speaker 1: That's my first number Hurricanes, my first number one as

1276
01:04:16,800 --> 01:04:24,920
Speaker 1: a publisher. So like the Sun and the Rain was

1277
01:04:25,080 --> 01:04:29,160
Speaker 1: driving thunder, laughing, you're wrecking? What kind of money is that?

1278
01:04:29,240 --> 01:04:31,080
Speaker 1: If you're getting it in one of the publisher versu

1279
01:04:31,080 --> 01:04:33,680
Speaker 1: as a writer. A good question. You don't know yet,

1280
01:04:33,720 --> 01:04:36,480
Speaker 1: it's not it's not. It's nothing slow, yeah, super Sun,

1281
01:04:36,520 --> 01:04:45,160
Speaker 1: it's all slow, like I like my women. Yeah. And

1282
01:04:45,200 --> 01:04:47,160
Speaker 1: I think you know, he had this record done. He

1283
01:04:47,200 --> 01:04:49,480
Speaker 1: had he had done this. He've been playing the same

1284
01:04:49,520 --> 01:04:53,560
Speaker 1: record out for two years, you know. Oh, so they

1285
01:04:53,600 --> 01:04:56,120
Speaker 1: had kind of been slow building this whole thing before

1286
01:04:56,120 --> 01:04:58,120
Speaker 1: he got to just Son. He took his record that

1287
01:04:58,160 --> 01:05:00,400
Speaker 1: he had and just put it out. So, I mean,

1288
01:05:00,400 --> 01:05:02,080
Speaker 1: I didn't write any of those songs with him. We

1289
01:05:02,160 --> 01:05:04,040
Speaker 1: just kind of add me in that stuff, plus a

1290
01:05:04,040 --> 01:05:06,959
Speaker 1: little bit of of his publishing. So I mean, my

1291
01:05:06,960 --> 01:05:08,960
Speaker 1: my game is betting on him down the road. And

1292
01:05:09,040 --> 01:05:10,680
Speaker 1: I'm so glad I did. Man. I was like, I mean,

1293
01:05:10,720 --> 01:05:13,520
Speaker 1: we kind of just closed their eyes and swung and

1294
01:05:13,800 --> 01:05:16,200
Speaker 1: hit a home run. I mean, there's nobody expected. I

1295
01:05:16,240 --> 01:05:18,439
Speaker 1: don't think. I don't think Luke expected it. I don't

1296
01:05:18,440 --> 01:05:20,880
Speaker 1: think anybody expected him to do what he's doing right now.

1297
01:05:21,640 --> 01:05:23,640
Speaker 1: I think it says so much for country music because

1298
01:05:23,640 --> 01:05:25,080
Speaker 1: the guy. I mean, I think you can look at

1299
01:05:25,080 --> 01:05:27,280
Speaker 1: the guy and go, he's obviously a good dude. I

1300
01:05:27,320 --> 01:05:29,720
Speaker 1: think it that comes across in his music and his

1301
01:05:29,800 --> 01:05:33,440
Speaker 1: live performance. Uh. And I think that's gonna go a

1302
01:05:33,440 --> 01:05:36,720
Speaker 1: long way. And I hope these guys are gonna do

1303
01:05:36,840 --> 01:05:39,479
Speaker 1: more stuff and in country music. That's that's the guys

1304
01:05:39,520 --> 01:05:47,600
Speaker 1: I want to write songs for, you know, writer, artist, publisher.

1305
01:05:49,640 --> 01:05:54,400
Speaker 1: I'm trying real hard. I have other clubs. I'm just

1306
01:05:54,480 --> 01:05:56,680
Speaker 1: kind of I like to end on a high note.

1307
01:05:56,760 --> 01:06:02,600
Speaker 1: I don't think we've hit one yet. Uh, you know,

1308
01:06:03,600 --> 01:06:06,920
Speaker 1: you know, I'll say this real quick, just because I

1309
01:06:07,800 --> 01:06:12,000
Speaker 1: produced Tucker about third I did, yeah some of that stuff. Yeah,

1310
01:06:12,040 --> 01:06:15,040
Speaker 1: what you produce from Tucker that one. Now none of

1311
01:06:15,040 --> 01:06:17,600
Speaker 1: the stuff that was that has been out. So I

1312
01:06:17,680 --> 01:06:20,800
Speaker 1: just did three songs and then me and Dan Huff

1313
01:06:20,840 --> 01:06:23,760
Speaker 1: did another batch of two, and then I think Dan

1314
01:06:23,840 --> 01:06:26,360
Speaker 1: went and cut another one. So why do I have

1315
01:06:26,440 --> 01:06:28,919
Speaker 1: fight like hell up here? Why don't have that up here?

1316
01:06:29,120 --> 01:06:34,600
Speaker 1: Is that on his that? So that's my demo that

1317
01:06:34,720 --> 01:06:37,760
Speaker 1: I did. And then so that's just me and Tucker

1318
01:06:37,800 --> 01:06:43,280
Speaker 1: playing everything that I think he released on Spotify or something. Yeah,

1319
01:06:43,560 --> 01:06:46,080
Speaker 1: he released there. I'm a big Tucker fan. I love

1320
01:06:46,160 --> 01:06:53,080
Speaker 1: Tucker's trouble he yeah, And I got to like, I'm

1321
01:06:53,160 --> 01:06:56,920
Speaker 1: hung around with Tucker in social settings and I like

1322
01:06:57,000 --> 01:06:59,680
Speaker 1: talking a lot because I was honest and that all

1323
01:06:59,720 --> 01:07:02,720
Speaker 1: I want with people as consistency. If I can just get,

1324
01:07:03,520 --> 01:07:05,000
Speaker 1: I don't care who you are, just if you're just

1325
01:07:05,080 --> 01:07:08,200
Speaker 1: honest and consistent. I am down. Like we're going and

1326
01:07:08,280 --> 01:07:09,960
Speaker 1: like I'm not trouble on the opposite of trouble, Like

1327
01:07:10,000 --> 01:07:12,520
Speaker 1: I'm a big one, right, So we we wouldn't really

1328
01:07:12,640 --> 01:07:14,720
Speaker 1: we don't hang out because Tucker goes harder, he goes hard,

1329
01:07:14,800 --> 01:07:18,760
Speaker 1: but I like Tucker a lot. He's great man, and dude,

1330
01:07:18,800 --> 01:07:24,280
Speaker 1: his music this is if. And you know it's polarizing, yes,

1331
01:07:24,440 --> 01:07:27,960
Speaker 1: but if you're if, if we're complaining about everybody's been

1332
01:07:28,000 --> 01:07:31,400
Speaker 1: asking for something different, something different, something different, and this

1333
01:07:31,480 --> 01:07:35,040
Speaker 1: is different. There's no doubt about that. And and you

1334
01:07:35,080 --> 01:07:37,920
Speaker 1: can't complain about it when it gets here if you

1335
01:07:37,600 --> 01:07:39,880
Speaker 1: you put your skin in the game, if you don't

1336
01:07:39,880 --> 01:07:42,680
Speaker 1: want it to be that, but it's different, man, and

1337
01:07:42,760 --> 01:07:46,160
Speaker 1: Tucker's I mean, give anything for it to be to

1338
01:07:46,280 --> 01:07:48,960
Speaker 1: do that all the time, and he's so excited about it,

1339
01:07:49,000 --> 01:07:51,920
Speaker 1: and it rocks and it feels good. And oddly the

1340
01:07:51,960 --> 01:07:54,400
Speaker 1: songs have a great message most of the time, which

1341
01:07:54,480 --> 01:07:57,520
Speaker 1: is insane for such a young kid. I hate the

1342
01:07:57,560 --> 01:08:00,400
Speaker 1: mom and she just didn't hit. I love that song.

1343
01:08:00,760 --> 01:08:06,800
Speaker 1: I thought it was. That was brilliant, Thanks man, thank you.

1344
01:08:06,960 --> 01:08:12,680
Speaker 1: I love that because Tucker. Tucker was one of those

1345
01:08:12,680 --> 01:08:14,280
Speaker 1: I found online and brought in. They weren't ready to

1346
01:08:14,320 --> 01:08:16,680
Speaker 1: put him on radio. I remember that. Yeah, Yeah, they

1347
01:08:16,680 --> 01:08:19,439
Speaker 1: were like, holy crap. Because Tucker called me. He said,

1348
01:08:19,600 --> 01:08:21,760
Speaker 1: was that your show? He's to play a cover song? Yeah,

1349
01:08:21,760 --> 01:08:24,639
Speaker 1: because I I don't know any covers any He first

1350
01:08:24,640 --> 01:08:28,200
Speaker 1: of all he called, So I play, um, Tucker's hit.

1351
01:08:28,640 --> 01:08:31,479
Speaker 1: I went to number two? Um was what was the

1352
01:08:31,520 --> 01:08:35,880
Speaker 1: Tucker's Day hit? Rock on rock? So I hear it online.

1353
01:08:35,880 --> 01:08:38,000
Speaker 1: I was do a EP, you know, and I'm like,

1354
01:08:38,200 --> 01:08:39,920
Speaker 1: this song is freaking awesome. So I just played on

1355
01:08:39,960 --> 01:08:41,800
Speaker 1: the radio one day. They weren't ready for ready, they

1356
01:08:41,800 --> 01:08:44,679
Speaker 1: didn't have pictures they press pictures yet, and I'm like, who,

1357
01:08:45,040 --> 01:08:47,479
Speaker 1: big machine. You gotta get Tucker on the studio. They

1358
01:08:47,479 --> 01:08:49,920
Speaker 1: bring him up. He's then the company like wow. So

1359
01:08:50,400 --> 01:08:52,080
Speaker 1: he's then the on the verge artist. So it's a

1360
01:08:52,520 --> 01:08:57,200
Speaker 1: flying up the chart, right, and so Tucker's inn and

1361
01:08:57,439 --> 01:08:58,920
Speaker 1: you know, I get to know Tucker a bit, and

1362
01:08:59,000 --> 01:09:00,760
Speaker 1: I don't even wasn't a point of the story, do

1363
01:09:00,760 --> 01:09:03,000
Speaker 1: you remember? Because I had a good point whatever it was.

1364
01:09:03,040 --> 01:09:07,160
Speaker 1: Imagine there was a good point rock on his EP. Yeah,

1365
01:09:07,200 --> 01:09:09,200
Speaker 1: they weren't ready yet. They weren't ready. I don't know.

1366
01:09:09,200 --> 01:09:11,880
Speaker 1: It's probably something like I did something awesome. Oh, so

1367
01:09:12,000 --> 01:09:14,920
Speaker 1: tell me about the cover song. Is that what it was? Yeah?

1368
01:09:15,400 --> 01:09:17,040
Speaker 1: I think that's what sidetracked me and run the story.

1369
01:09:17,040 --> 01:09:19,519
Speaker 1: When he said yeah, but they don't know how it

1370
01:09:19,760 --> 01:09:21,519
Speaker 1: is supposed to go. He came in and he played

1371
01:09:21,560 --> 01:09:23,160
Speaker 1: Mom and Jesus the first time too. He just played

1372
01:09:23,160 --> 01:09:26,080
Speaker 1: as a song before the single, and I was like, Oh,

1373
01:09:26,120 --> 01:09:27,720
Speaker 1: this dude is like the real deal, Like this is

1374
01:09:27,720 --> 01:09:30,000
Speaker 1: not even a kind of deal or a kid can

1375
01:09:30,040 --> 01:09:34,040
Speaker 1: sing like Tucker is the real deal. And it's just

1376
01:09:34,439 --> 01:09:36,760
Speaker 1: what Tucker. It's a matter of time. Yes, I think

1377
01:09:36,800 --> 01:09:38,519
Speaker 1: so too. There are a few people like Tucker, like

1378
01:09:38,560 --> 01:09:41,280
Speaker 1: the Aubrey sellers, the people that are on just on

1379
01:09:41,320 --> 01:09:44,479
Speaker 1: the fringes doing what people are saying, weird different things.

1380
01:09:44,920 --> 01:09:47,519
Speaker 1: That that's gonna be the main thing. It's just a

1381
01:09:47,560 --> 01:09:49,600
Speaker 1: matter of time when does it fall and be the

1382
01:09:49,600 --> 01:09:52,640
Speaker 1: main thing. So yeah, that the Tuckers thing is going

1383
01:09:52,680 --> 01:09:54,280
Speaker 1: to get a hell to get there. He's such a

1384
01:09:54,280 --> 01:09:56,720
Speaker 1: great if he hadn't seen him live and that, it's

1385
01:09:56,800 --> 01:10:00,200
Speaker 1: just it's fantastic. Well, we've done over our I just

1386
01:10:00,240 --> 01:10:02,120
Speaker 1: don't do this a long with people. But I get

1387
01:10:02,160 --> 01:10:05,320
Speaker 1: I've enjoyed talking, man, I've had fun. I'm pretty good.

1388
01:10:05,400 --> 01:10:11,560
Speaker 1: Huh you're crazy, Yes, yeah, well I don't. We're no

1389
01:10:11,680 --> 01:10:14,400
Speaker 1: more we have any more bed commercials or anything. We're

1390
01:10:14,439 --> 01:10:17,360
Speaker 1: good there. Man, you're supposed to do the blue ribbon

1391
01:10:17,400 --> 01:10:23,439
Speaker 1: thing man and blue Apron Blue ribbon. We'll try to

1392
01:10:23,439 --> 01:10:26,519
Speaker 1: get them on that. That's the dance club down the

1393
01:10:26,560 --> 01:10:32,040
Speaker 1: street path Flue. All right, Jonathan Singleton, I appreciate it.

1394
01:10:32,040 --> 01:10:34,160
Speaker 1: I I really had a good time. I don't even

1395
01:10:34,160 --> 01:10:35,720
Speaker 1: feel like I was an interview and you feel like

1396
01:10:35,760 --> 01:10:38,360
Speaker 1: we were just hanging out. All just wasn't recorded. Oh

1397
01:10:38,439 --> 01:10:39,880
Speaker 1: we gotta start the whole show. Now you did the

1398
01:10:39,920 --> 01:10:42,120
Speaker 1: real one, so you do the thing. Yeah, I was

1399
01:10:42,200 --> 01:10:46,519
Speaker 1: warming pre interview, pre interview. Yeah, alright, episode seventy six.

1400
01:10:46,560 --> 01:10:50,000
Speaker 1: Thanks to sleeping Number, Jonathan Singleton, you can follow hi

1401
01:10:50,040 --> 01:10:53,720
Speaker 1: him um in his truck. Yeah, just get behind me. Yeah,

1402
01:10:53,720 --> 01:10:57,479
Speaker 1: it just turns behind Thank you very much for coming

1403
01:10:57,479 --> 01:10:59,639
Speaker 1: in man. All right, well, well we'll see you next time.