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Speaker 1: All. Welcome to episode sixty one The Bobby Cast with

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Speaker 1: Nicole Galleon, who, by the way, we're gonna tell you

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Speaker 1: before we walked on, everybody's has super nice things about you.

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Speaker 1: And in this town, that's what that's happened with everybody.

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Speaker 1: It's such a like everybody's like, God, I have an

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Speaker 1: opinion on that person. Everybody's had super nice things about you.

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Speaker 1: Get any dirt. We don't search for dirt, but we're like, hey, Mike,

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Speaker 1: wouldn't you agree? Like everybody we talked to was like, oh,

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Speaker 1: you will love her. First person universally we've ever had

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Speaker 1: someone said you'll everybody said you love no pressure, no

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Speaker 1: pressure at all. Um. You know who was up here

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Speaker 1: and was fantastic as Natalie Himby and she loves you

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Speaker 1: love her. And if anybody notally loves somebody, pretty cool,

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Speaker 1: we'll let you know. She doesn't. Yeah, I just lets

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Speaker 1: you know real quick too. So let's see. I want

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Speaker 1: to tell you how because I want to run through

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Speaker 1: your resume real quick, and then we'll come back to

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Speaker 1: it because I like people to know who we're talking

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Speaker 1: to it first. So just some songs that Nicole has

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Speaker 1: written here, I which I actually wrote this jingle for

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Speaker 1: our show. This is a really amazing tune. You can

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Speaker 1: um no like for example automatic by the way you

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Speaker 1: do it with today. That's what Frank Lidel. We were

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Speaker 1: sitting at a table for like three hours. I'm assuming

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Speaker 1: he produced yeah, um, because he produces, you know, random stuff.

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Speaker 1: We set for about three hours at a table today

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Speaker 1: and talked about the future of the business and and

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Speaker 1: at a at a seminar of his brutal and I

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Speaker 1: like Frank and we were both like, I'm over it,

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Speaker 1: but yeah, Frank produced that. Let's see we were Keith,

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Speaker 1: you pumped your fist on that one. We're gonna come

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Speaker 1: back to that line things like and I have a

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Speaker 1: whole opinion and we can get to this and I'll

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Speaker 1: rant a bit, but love Triangle from Raylan Lantic Forever

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Speaker 1: Heart and the Long Swabs and then a lot of

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Speaker 1: other stuff. But I want to tell you how it

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Speaker 1: was introduced to you because I am the biggest Walker

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Speaker 1: Hayes fan and like that's my friend too, and I

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Speaker 1: took him on tour. We just finished our last show together.

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Speaker 1: We did January through May, and he opened from my

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Speaker 1: stand up comedy tour and months ago. I mean before

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Speaker 1: he even had I was just like, dude, this stuff

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Speaker 1: is next level. Like when this Volume one came out,

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Speaker 1: I was playing it on the radio and I was like,

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Speaker 1: I love it. I love everybody of it. This Halloween

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Speaker 1: song and you sing it and you wrote it with them,

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Speaker 1: and I'm hearing this song and it was just before

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Speaker 1: I play I remember hearing it and kind of listening

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Speaker 1: to the message, and it was, you know, Halloween ended

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Speaker 1: and all the things I pretended to be, Like, you

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Speaker 1: met somebody and you don't have to dress up and

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Speaker 1: be this character anymore. You can just be yourself. And

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Speaker 1: I was like, I don't know where this came from,

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Speaker 1: but this is like next level stuff. And not only

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Speaker 1: did you write it with him, you sang it with them.

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Speaker 1: So I'm gonna play it and then we're gonna talk

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Speaker 1: to you. I'm done with my whole spill up front

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Speaker 1: Halloween to look at all these talents. I love this song, man,

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Speaker 1: I love this song Halloween. Hell. I don't know why.

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Speaker 1: I'm like as a dam like I was so good,

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Speaker 1: he's so good, he's so good, like and when he

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Speaker 1: finally I've saved tweets, I'm like a year ago, and

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Speaker 1: I'm like, everybody's gonna be sorry they didn't sign walking

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Speaker 1: Y's because he's that good and I've been written with

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Speaker 1: him and he does a different level. He's he's so wordy,

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Speaker 1: but like in this amazingly like precise way. So enough enough,

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Speaker 1: enough of me rambling. We'll come back to that, Okay,

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Speaker 1: I'll come back about you. So where did you grow

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Speaker 1: up and how did you get here? I grew up

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Speaker 1: in Kansas the Middle. I grew up in a little

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Speaker 1: farm town of like two thousand people where West Town,

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Speaker 1: then Ton. Okay, well I guess if we went to town,

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Speaker 1: we went to a another smallest town called Hutchinson. I know. Yeah, so, um,

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Speaker 1: that's where we would go to the Target or the

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Speaker 1: Applebee's for or for a date or something like that. Um,

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Speaker 1: but that was probably thirty miles away. So how long

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Speaker 1: ago did you move to Nashville. I moved here in

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Speaker 1: two thousand two, right when I graduated from high school.

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Speaker 1: So this is my fifteen year Nashville versary. Um. I

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Speaker 1: came here and went to Belmont. At that time, I

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Speaker 1: had never sung I go you know, I actually got

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Speaker 1: into the business backwards because I came here wanting to

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Speaker 1: be a manager. Really, I had never written a song.

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Speaker 1: I had never sung in front of anybody. When I

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Speaker 1: moved here, I you know, I was like the anti

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Speaker 1: girl moving to Nashville who had grown up singing at

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Speaker 1: every county fair, wanting to be in the music business.

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Speaker 1: You know, I just wanted to be on the business side.

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Speaker 1: What made you want to be a manager? Like growing

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Speaker 1: up in a small town of Kansas, I wouldn't again

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Speaker 1: if I'm a tight toown in Arkansas. I never even

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Speaker 1: knew managers were a thing. Well, I was just obsessed

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Speaker 1: with the music. I was just obsessed with country music.

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Speaker 1: And so for me, I was like I I was

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Speaker 1: raised real blue collar, like my dad and his brother's

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Speaker 1: all poor concrete that's still what they do. And so

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Speaker 1: for me it was like I was very business minded

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Speaker 1: and how can I how can I work and be

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Speaker 1: in the music business. I never had that. I mean,

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Speaker 1: I grew up playing classical piano hardcore like one competitions.

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Speaker 1: It was like my thing, But that mean hard course

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Speaker 1: did you start training at a young age, like like

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Speaker 1: at three? And then I was like play in these

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Speaker 1: like symphony orchestra things when I was in high school,

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Speaker 1: I was very disciplined, but like, I never saw a

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Speaker 1: way for that to connect with my passion, which was

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Speaker 1: country music. I mean, my mom and I went to

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Speaker 1: every concert. We were like, you know, we were those fans,

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Speaker 1: you know, but playing classical piano and loving the Dixie Chicks.

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Speaker 1: How do you where's the middle ground between those two?

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Speaker 1: And so for me, I was I'm actually I actually

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Speaker 1: thought that I was a manager because of the way

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Speaker 1: that I'm made. I'm not made like a creative like

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Speaker 1: most of the people who write songs. I'm type A.

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Speaker 1: I'm very like like I could be really happy in

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Speaker 1: a suit and tie job. Like I thought that, And

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Speaker 1: that's actually the way that I operate in process and

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Speaker 1: wire and I'm wired and stuff. So I was like, well,

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Speaker 1: that makes sense. You're passionist country music and your type

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Speaker 1: A and you're wired like this, you must be something

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Speaker 1: behind the scenes. So that's what got me here. You're

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Speaker 1: going to manage artists. I moved here. I went to

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Speaker 1: Belmont thinking that I was going to get this degree

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Speaker 1: and manage artists and got here and just started meeting

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Speaker 1: songwriters and literally the first time I sat in someone's

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Speaker 1: living room and saw guitar pool. I thought I can

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Speaker 1: do that, and it wasn't like it wasn't pride, and

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Speaker 1: it wasn't. I didn't I had never written a song,

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Speaker 1: but I just knew myself and knew that I could

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Speaker 1: do that. And so I was like a closeted songwriter

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Speaker 1: for many years. Even as you're playing piano. All those years,

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Speaker 1: you never wrote a song. So what did you do play?

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Speaker 1: I dropped off. Yes, I played Beethoven. I played like

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Speaker 1: study because that's what was available in the country. Was

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Speaker 1: like choral mute. Like if I sang, I sang in

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Speaker 1: a quiet choral music because that's what you do in

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Speaker 1: a small town. That was no band. There was no

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Speaker 1: one learning guitar, no one. It was you know. It

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Speaker 1: wasn't until I got here that I figured out that

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Speaker 1: I could put all that stuff together. Did you sing

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Speaker 1: solos in your choir? If you have to think about it,

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Speaker 1: there there are no distinct memories of you just rocking

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Speaker 1: in a solo. I think they made me. My choir

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Speaker 1: director made me do one like my senior year, and

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Speaker 1: it was kind of a joke, and it wasn't. I mean,

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Speaker 1: I don't have like a great choral voice. I don't

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Speaker 1: think of myself as a singer still. Um So, I

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Speaker 1: definitely didn't think of myself as a singer when I

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Speaker 1: was seventeen, as I thought a singer was Martin McBride.

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Speaker 1: That was the only way you could sing and be

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Speaker 1: a good singer. And then I got here and met

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Speaker 1: songwriters and I'm like, oh, you're all artists in your

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Speaker 1: own way, and you don't sound like Martin McBride or

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Speaker 1: Faith Fell, you know, the people that had these huge voices,

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Speaker 1: and I don't have that voice. So I never considered

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Speaker 1: myself a singer. At what point did it turn for you?

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Speaker 1: And you go, Okay, maybe I don't want to manage.

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Speaker 1: I want to be someone who creates. Um well, probably

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Speaker 1: you kind of have to note kind of what was

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Speaker 1: going on on this side too. I worked for a

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Speaker 1: booking agent at William Morris all through college as I

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Speaker 1: was like his assistant for four years, and part of

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Speaker 1: my job was helping him throw parties. So we would

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Speaker 1: throw these parties at his house with all these people

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Speaker 1: in the music business, and then everyone would be drunk

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Speaker 1: and at the end of the party, he knew I

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Speaker 1: was writing songs because he was kind of he kind

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Speaker 1: of became family to me, and he'd be like, Nick,

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Speaker 1: get up there and play a song, and he would

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Speaker 1: always put me on this spot, and I would always

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Speaker 1: be so scared. But something in me just loved songwriting

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Speaker 1: enough that I was like, if you can't do this,

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Speaker 1: you're never going to be a songwriter. So could you

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Speaker 1: start playing guitar when you moved here? I just read

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Speaker 1: on piano, So you don't play guitar now? And I

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Speaker 1: still don't play Wow, so you right on piano. So

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Speaker 1: Walker just back to walking. Walker writes and plays piano.

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Speaker 1: So on YouTube it said, like the doling it's like

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Speaker 1: Billy Joel and Elton John, I want to that concerts

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Speaker 1: like doing pianos. He oh, I don't. I don't. I

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Speaker 1: rarely play in the room anymore. And that's the weird thing.

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Speaker 1: Like the first I got a publishing deal in two

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Speaker 1: thousand seven, and I pretty much wrote at the piano.

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Speaker 1: I was the girl. I was like the country Sarah borellis,

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Speaker 1: I guess, for lack of a better, the description when

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Speaker 1: I first had a publishing deal and and I was

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Speaker 1: just given that when you write, when the coolst she

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Speaker 1: writes on the piano. And then this whole track. Guy.

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Speaker 1: Revolution happened with songwriting where all these guys were incredible.

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Speaker 1: You know, they've had these incredible tracks. So then I

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Speaker 1: started walking in and I became more of a top liner.

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Speaker 1: Basically top line. The top line is pretty much anything

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Speaker 1: you would sing in karaoke, So lyric, melody, whatever the

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Speaker 1: singer does in karaoke is what top lining is. And

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Speaker 1: that's more of like an l A pop way of

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Speaker 1: talking about writing. We don't say that as much here

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Speaker 1: in Nashville because everyone just kind of is chameleon and

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Speaker 1: everyone does everything in the room. But when I got

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Speaker 1: rid of my piano, which is ultimately what got me

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Speaker 1: into writing in the first place. That so when I

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Speaker 1: really started to blossom. That sounds so dumb. Blossom he

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Speaker 1: says that. But do you write with piano now? Maybe

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Speaker 1: like a handful of times a year? Wow? Really do

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Speaker 1: you play it for? Fine? Still a little bit? Yeah?

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Speaker 1: I mean, are you burnt at all from it? I'm

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Speaker 1: I got to the point on a writing front where

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Speaker 1: I was um uninspired by everything I was playing because

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Speaker 1: I was just playing everything and writing for the country market.

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Speaker 1: There's a lot of kinds of songs that I wanted

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Speaker 1: to write that just don't pay off in the room

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Speaker 1: on piano, Like I can't write a song to pitch

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Speaker 1: to Luke Brian most of the time. Writing on piano,

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Speaker 1: you can't write a lot of the same fields. It

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Speaker 1: would just sound like bad Billy Joel you know, it

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Speaker 1: would just sound like terrible Elton John. You know. I

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Speaker 1: just didn't sound like anything anyone would ever cut, and

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Speaker 1: it wasn't inspiring. So I just kind of gave that up.

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Speaker 1: So you got your first publishing girls, which means they

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Speaker 1: start paying you'd write songs. Yeah, So what was your

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Speaker 1: first bit of success, meaning who was the first one

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Speaker 1: to ever put a song on hold and go oh,

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Speaker 1: even if you didn't get it where you kind of

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Speaker 1: got a little bit excited. I don't remember the like

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Speaker 1: a substantial hold, but I remember. Are you familiar with

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Speaker 1: Josh Kelly Charles Brother not country but kind of Americana acoustic. Yeah,

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Speaker 1: And at the time all I knew of him was

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Speaker 1: that he had been a pop artist and was coming

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Speaker 1: to Nashville and um was making a country record and

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Speaker 1: he I wrote a song with him that was going

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Speaker 1: to be his first single, and it was going to

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Speaker 1: be my first time to hear something that I had

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Speaker 1: written on the radio, and the last minute they changed

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Speaker 1: their mind and went with another song, and it kind

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Speaker 1: of struggled, and then I think they kind of like

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Speaker 1: used all their bullets per se on that song, and

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Speaker 1: then then they put ours out and it just like

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Speaker 1: died at fifty, which is such a rite of passage

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Speaker 1: for every songwriter. Do you all dream of getting, you know,

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Speaker 1: your first single, because in your mind you think if

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Speaker 1: I get a single, I get a hit. Well those

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Speaker 1: two very different things. So you get the single and

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Speaker 1: then it fails, and then you go, okay, now my

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Speaker 1: new goal is to have a hit. So you get

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Speaker 1: a song with Josh Kelly. Yes, no real success, but

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Speaker 1: it is at least a song. You probably heard it

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Speaker 1: on the radio a couple times. It's gonna be cool, right, Yeah,

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Speaker 1: that was cool? Okay, So then what was your first

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Speaker 1: song where you finally got to actually be okay, this

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Speaker 1: thing has a shot. Was we were us, Wow, that's

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Speaker 1: a that was a monster, Like that was your first

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Speaker 1: real one and it was that big. I had a

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Speaker 1: song on the song that always feels like my career

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Speaker 1: kind of like it happened after this. Go ahead, you

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Speaker 1: can talk I keep it low so we can talk

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Speaker 1: over what was this song the Lady Annabelle Um cut

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Speaker 1: of mine called it Ain't Pretty? I had that one

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Speaker 1: right here here, so you thought this one myself fall

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Speaker 1: it ain't pretty. It ain't pretty a heartbreak. So this

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Speaker 1: was a cut before we were us. This was a

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Speaker 1: cut before we rest. This was a song that It's

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Speaker 1: funny because, like my publisher always says, you know, songsid

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Speaker 1: different purposes, Nicole, and we all as writers, all we

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Speaker 1: think is songs need to be hits or else we're

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Speaker 1: not gonna have a job. But this song had a

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Speaker 1: different purpose, which was to just make other people aware

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Speaker 1: of me as a writer. And a lot of people

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Speaker 1: wrote with me because they were like, who wrote that?

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Speaker 1: I wrote this with Eric Pasley, one of my one

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Speaker 1: of my best friends in the whole world. Everyone knew Eric,

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Speaker 1: but then they were like, this is a female song.

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Speaker 1: Who's the missing who's the new variable in this song?

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Speaker 1: And so that that's that's how Shane mcinally became aware

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Speaker 1: of me was he heard me play this at a

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Speaker 1: Lady in a Bellum event and was like, you don't

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Speaker 1: know me, but I can't believe that song. And so

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Speaker 1: now we're like great friends. So so this was the

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Speaker 1: first cut you It wasn't the first cut, but it

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Speaker 1: was like the first legit thing like this night record

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Speaker 1: was that on Golden So just god. So people hear

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Speaker 1: this and start to go, hey, listen to the record,

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Speaker 1: love that song? Who wrote it? And that's how they

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Speaker 1: started track down like the new new sound songwriters. I mean,

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Speaker 1: I guess at least within our writing community, it was, Oh,

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Speaker 1: it's so funny because it's like getting a cut like

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Speaker 1: that is like when one artist validates you and says

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Speaker 1: your song is worthy of my project, so many other

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Speaker 1: artists feel more confident in cutting your songs. And I think,

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Speaker 1: and you know, I just did an event with Lady

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Speaker 1: a couple of weeks ago and I played that song

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Speaker 1: and I was like, no one ever heard this song,

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Speaker 1: But this song actually changed everything for me, um because

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Speaker 1: it made other artists go, oh, what else are you writing?

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Speaker 1: And you know, you have to see the long game.

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Speaker 1: When you do what we do, you can't get can't

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Speaker 1: put put all your eggs in any song's basket. You know,

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Speaker 1: it just has to be like, well, if that was

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Speaker 1: what that song's purpose was, then I have peace with

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Speaker 1: that and write another one. I was wondering because I

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Speaker 1: have a lot of songwriter friends and there you write

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Speaker 1: a song and it takes forever for for it to

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Speaker 1: come to fruition. So when you write the song, you

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Speaker 1: don't go, well, we'll see that one next week or

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Speaker 1: in a month. You kind of just write a bunch

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Speaker 1: of songs and then just let them go about their day.

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Speaker 1: You can almost forget about them, and you just keep writing.

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Speaker 1: And then eventually after time somebody go come back and go, oh,

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Speaker 1: over that song you wrote three months ago. This one's

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Speaker 1: kind of been play. Is that somewhat right? Yeah, I mean,

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Speaker 1: I think about it. My husband is used to be

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Speaker 1: a farmer. He's a writer too, but I always use

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Speaker 1: like the farming metaphor of like every day we just

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Speaker 1: plant seeds and like then you look back and you

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Speaker 1: like have this whole field of songs, and some of

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Speaker 1: them grow and some of them don't, and you know,

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Speaker 1: some of them you really have to like work hard

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Speaker 1: for another. You know, they just kind of do their

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Speaker 1: own thing. They have this they have a whole life

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Speaker 1: of their own beyond what happens in the room. And

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Speaker 1: that's like the most intriguing part of the business to

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Speaker 1: me is like how certain songs go all the way

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Speaker 1: around the world to get cut. You know, it's really humbling, honestly,

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Speaker 1: because you go, I could have never orchestrated that. I

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Speaker 1: could have never been smart enough or made that happen

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Speaker 1: on a business front. That just happened on its own.

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Speaker 1: That's really cool to watch. Talking about wag Walker for

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Speaker 1: just a second, I love my dog. My dog is

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Speaker 1: in the room right now as we do the Bobby

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Speaker 1: Cast buddy. So for me, I love wag Walker. I

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Speaker 1: just started using wag Walker about three weeks ago. For me,

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Speaker 1: my dog is part of my family, my dog and

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Speaker 1: best friend. My dogs fourteen years old, and so wag

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Speaker 1: Walker is awesome. I think you should trust wag I

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Speaker 1: trust wag If you listen to me at all, you

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00:16:42,120 --> 00:16:44,240
Speaker 1: know that I love my dog like more than anything.

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00:16:44,600 --> 00:16:48,000
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337
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Speaker 1: not talking about this yet, Mike. Mike has given me

345
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Speaker 1: a time. This I'm telling you just WAG Walkers is awesome.

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349
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350
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352
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353
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Speaker 1: today again. Downloaded Wag search for WAG walking. I know

354
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Speaker 1: one over time, but it's really great. Okay, so how

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Speaker 1: about this. Let's talk about we were Us. This was

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Speaker 1: a monster. I mean, I don't think of songs in

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Speaker 1: the past five years this, I mean, this is one

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Speaker 1: of the bigger ones. So was it written as a duet?

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Speaker 1: It was? There was another artist that we um had.

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Speaker 1: I don't know. I never feel right saying who it is.

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Speaker 1: Everybody always says you don't have to, but everybody always says,

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Speaker 1: don't feel like you have to. There was another artist

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Speaker 1: that there was just like a rumor that they were

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Speaker 1: looking for a feature. It was a female artist and

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Speaker 1: looking for a feature. And it was, to be quite honest,

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Speaker 1: not as massive like not as you know at the time,

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Speaker 1: that artist didn't have you know, hadn't had a song

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Speaker 1: on the radio and years. Not a feature. What what

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Speaker 1: do you mean? Not a feature? So Keith had the

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Speaker 1: song already and they wanted to know it was written

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Speaker 1: as a female song to feature a guy it and

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Speaker 1: then um one of the one of my co I

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Speaker 1: wrote this song with Jimmy Robins and John Knight, and

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Speaker 1: one of my co writers, Jimmy Robbins his he was

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Speaker 1: actually published by Keith, so Keith was getting to hear

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Speaker 1: what he was writing before, but before anyone else ever

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Speaker 1: heard it. So he heard it and then it never

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Speaker 1: really actually made it to that other artist. So Keith

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Speaker 1: was like, I'll take it. Actually, that's not true. He said,

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Speaker 1: oh my god, I have to have that song. In

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Speaker 1: the meantime, we had already sent it off to the

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Speaker 1: other artists camp and they came back and we're freaking

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Speaker 1: out like, oh my gosh, we have to have this song,

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Speaker 1: and we're like, I'm so sorry you can't now because

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Speaker 1: Keith wants it. And that's always like a really that's

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Speaker 1: what you dream of those situations as a writer, but it,

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Speaker 1: you know, it kind of stunk. Did you have to

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Speaker 1: have the conversation? Did you know the other artist well

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Speaker 1: enough for I did eventually, Like I don't think I was.

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Speaker 1: All of us were connected to this, to this girl,

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Speaker 1: and we all love her and adore her. Um, but

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Speaker 1: how could we tell Keith no it was his? He

393
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Speaker 1: had technically owned the song, and are you kidding me? Like,

394
00:19:51,480 --> 00:19:55,080
Speaker 1: are you freaking kidding me? Why would we ever tell him? No? Ever,

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Speaker 1: Keith wants the song, gets the song, and then how

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Speaker 1: does Miranda get on it? I don't remember. I feel like,

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Speaker 1: there for a minute, there were other possibly like and

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00:20:06,320 --> 00:20:08,359
Speaker 1: he might remember I mean, he would obviously remember this

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Speaker 1: better than I would because and I'm even hesitant to say,

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Speaker 1: because all the information we get as songwriters is so third, fourth,

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00:20:15,080 --> 00:20:18,000
Speaker 1: fifth hand that who even knows? I mean, but I

402
00:20:18,040 --> 00:20:20,040
Speaker 1: know there were other names that were thrown out in

403
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Speaker 1: the process that we were told. Now whether they were

404
00:20:22,320 --> 00:20:24,560
Speaker 1: like every legit in the running. I don't know, but

405
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Speaker 1: I actually, um, I actually remember writing the day that

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Speaker 1: we wrote Automatic with Miranda. She was like, I sang

407
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Speaker 1: the vocal on that song? What's going on with that song?

408
00:20:36,800 --> 00:20:38,600
Speaker 1: And I was like, I don't know, you know, we

409
00:20:38,640 --> 00:20:40,480
Speaker 1: don't know anything. We're just is that the first time

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Speaker 1: you heard that she had sang the vocal on it?

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Speaker 1: What she told you that? Um? I think she I

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Speaker 1: knew that she had done the vocal, but it had

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Speaker 1: been a minute, And in my mind, I'm like, like,

414
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Speaker 1: no news is not always good news. You know, you

415
00:20:51,840 --> 00:20:54,280
Speaker 1: want momentum, you want excitement, you want feedback, and I

416
00:20:54,320 --> 00:20:58,040
Speaker 1: hadn't heard anything, and so I was like, oh, maybe

417
00:20:58,040 --> 00:21:00,960
Speaker 1: it didn't work. I don't know. Even Randon didn't know.

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00:21:01,000 --> 00:21:03,240
Speaker 1: It sounds like like I sang the vocal. What's happening

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Speaker 1: with that? So she didn't even know at that point.

420
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Speaker 1: Because and I can tell you like, I'm I'm pretty

421
00:21:09,520 --> 00:21:12,359
Speaker 1: close to Keith and like, I know things he's cut

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Speaker 1: right now with the other arts, and I know the

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Speaker 1: other artists. I'm like, you know what, I don't know

424
00:21:16,480 --> 00:21:18,359
Speaker 1: where It's kind of the same weird thing you would

425
00:21:18,359 --> 00:21:21,160
Speaker 1: think everybody would be in on it, but it's really

426
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Speaker 1: everybody really not well. I think it's I think it's

427
00:21:24,040 --> 00:21:25,680
Speaker 1: cool because they are like you're I mean, I would

428
00:21:25,680 --> 00:21:27,760
Speaker 1: think I'm not an artist per se, but I would

429
00:21:27,760 --> 00:21:30,200
Speaker 1: think that you would want to be precious because information

430
00:21:30,359 --> 00:21:34,240
Speaker 1: is I would say, like as songwriter is like information

431
00:21:34,320 --> 00:21:38,040
Speaker 1: is currency, you know, like knowing all the songs that

432
00:21:38,119 --> 00:21:40,800
Speaker 1: everyone's cut for their project, that you know that or

433
00:21:40,840 --> 00:21:44,600
Speaker 1: who's looking for water. I mean, you'd be surprised just

434
00:21:44,960 --> 00:21:47,960
Speaker 1: being close in proximity to an artist. What a heads

435
00:21:48,000 --> 00:21:49,879
Speaker 1: up for you know, what a cut in line, I

436
00:21:49,920 --> 00:21:53,159
Speaker 1: would say that is and getting cuts because you just

437
00:21:53,200 --> 00:21:56,080
Speaker 1: take for granted that knowing the other things that are

438
00:21:56,080 --> 00:21:57,960
Speaker 1: involved in the project really helps you. And so I

439
00:21:57,960 --> 00:22:00,959
Speaker 1: think artists are they're smart, and that they're protectv of

440
00:22:01,000 --> 00:22:03,239
Speaker 1: the information that surrounds their projects so that they can

441
00:22:03,320 --> 00:22:06,280
Speaker 1: keep them precious. So tell me. Then you hear the song,

442
00:22:06,440 --> 00:22:11,080
Speaker 1: it's Keith, it's Miranda, you know now it's Miranda and

443
00:22:11,280 --> 00:22:13,880
Speaker 1: Carrie and then everybody else. So you get the biggest

444
00:22:14,840 --> 00:22:17,280
Speaker 1: I mean, you got Keith Urban and the basically the

445
00:22:17,280 --> 00:22:20,399
Speaker 1: biggest female country artist on the same song that you wrote.

446
00:22:20,840 --> 00:22:23,280
Speaker 1: I mean, are you like okay, this is it? Like, yeah,

447
00:22:23,600 --> 00:22:26,000
Speaker 1: that's in my mind. How could it not be right? No,

448
00:22:26,160 --> 00:22:28,760
Speaker 1: I did, and I and I I would think that

449
00:22:28,840 --> 00:22:30,840
Speaker 1: just by who was singing it. But then when I

450
00:22:30,840 --> 00:22:32,880
Speaker 1: heard it, I was so blown away by the production

451
00:22:32,920 --> 00:22:35,520
Speaker 1: on it, and they suppose sing their butts off. I

452
00:22:35,600 --> 00:22:39,080
Speaker 1: was like, Wow, that sounds amazing. I still when it

453
00:22:39,119 --> 00:22:41,600
Speaker 1: comes on I still, I'm like, oh my god, that

454
00:22:41,640 --> 00:22:44,119
Speaker 1: sounds so good. When do you get to hear it

455
00:22:44,160 --> 00:22:45,920
Speaker 1: for the first time after it's all the way down

456
00:22:45,920 --> 00:22:49,240
Speaker 1: in master sometimes like when it gets released iTunes, I

457
00:22:49,240 --> 00:22:52,439
Speaker 1: mean wow. That to me, certain artists will have like

458
00:22:52,480 --> 00:22:56,199
Speaker 1: a listening party or like um, hey, come out to

459
00:22:56,240 --> 00:22:58,840
Speaker 1: my house and or come to come by a studio

460
00:22:58,920 --> 00:23:00,720
Speaker 1: and we'll listen to the record. All the writers get

461
00:23:00,760 --> 00:23:03,000
Speaker 1: to come, but you know, or if you're friends with

462
00:23:03,000 --> 00:23:05,920
Speaker 1: the artists, they'll play something for you. But a lot

463
00:23:05,960 --> 00:23:07,439
Speaker 1: of times it's not until it comes out of ice.

464
00:23:07,880 --> 00:23:10,120
Speaker 1: That's crazy to me. We don't find out a lot

465
00:23:10,119 --> 00:23:12,760
Speaker 1: of times if our song even made the record until

466
00:23:12,800 --> 00:23:15,840
Speaker 1: the track listing goes up on iTunes. You know, we're

467
00:23:15,840 --> 00:23:18,320
Speaker 1: just sitting there going, well, I got three cuts, but

468
00:23:18,400 --> 00:23:21,159
Speaker 1: I have they recorded three of my songs. But I

469
00:23:21,160 --> 00:23:22,880
Speaker 1: don't even know if I should tell my mom. She'll

470
00:23:22,880 --> 00:23:25,560
Speaker 1: start asking me about it every day, and I don't

471
00:23:25,560 --> 00:23:27,159
Speaker 1: want to let her down if they don't make it,

472
00:23:27,240 --> 00:23:30,400
Speaker 1: or I don't want you know, I don't know. So

473
00:23:30,400 --> 00:23:33,800
Speaker 1: so when what single was this off that record? It

474
00:23:33,880 --> 00:23:36,919
Speaker 1: was second? I think, did you know it wasn't going

475
00:23:36,960 --> 00:23:38,679
Speaker 1: to be the first single because it was a duet?

476
00:23:38,680 --> 00:23:40,000
Speaker 1: Maybe it's it's kind of weird to release to do

477
00:23:40,080 --> 00:23:43,440
Speaker 1: it as the first single. Well, we I feel like

478
00:23:43,760 --> 00:23:46,720
Speaker 1: you're always told you have the first single. It always

479
00:23:46,720 --> 00:23:49,359
Speaker 1: feels like when people get excited about a song of course,

480
00:23:50,119 --> 00:23:53,119
Speaker 1: and our or you know, artists, I feel like someone

481
00:23:53,160 --> 00:23:55,520
Speaker 1: along and maybe it's just a co writer wishfully thinking,

482
00:23:55,640 --> 00:23:57,200
Speaker 1: but like I think this could be the first single.

483
00:23:57,200 --> 00:24:00,080
Speaker 1: But I know those words I said that the and

484
00:24:00,119 --> 00:24:02,920
Speaker 1: around I don't remember. That was like two babies ago,

485
00:24:04,720 --> 00:24:10,520
Speaker 1: literally literally, so we were us hits. It's a smash

486
00:24:10,560 --> 00:24:13,359
Speaker 1: and that changed the whole game for you, right, like

487
00:24:13,440 --> 00:24:17,520
Speaker 1: even lifestyle like you can buy more food now. Well,

488
00:24:18,359 --> 00:24:19,720
Speaker 1: I don't know if you know this about me, but

489
00:24:19,760 --> 00:24:23,800
Speaker 1: I'm married to another songwriter who has much more success

490
00:24:23,840 --> 00:24:26,640
Speaker 1: than I've ever dreamed about having. Well, I dream about

491
00:24:26,680 --> 00:24:28,280
Speaker 1: having it now, but you can say I know who

492
00:24:28,280 --> 00:24:31,439
Speaker 1: it is. Well, I'm married to Rodney Clawson, um, and

493
00:24:31,840 --> 00:24:34,960
Speaker 1: so technically i'm Nicole Clawson, but I'm Nicole guy In

494
00:24:35,040 --> 00:24:40,280
Speaker 1: by day, and and so my motivation for you know,

495
00:24:40,320 --> 00:24:43,760
Speaker 1: I'm not technically the breadwinner in the house as a writer,

496
00:24:43,960 --> 00:24:46,600
Speaker 1: which is honestly such a gift as a creative because

497
00:24:46,640 --> 00:24:50,280
Speaker 1: I feel like, like not, I don't have to. I

498
00:24:50,320 --> 00:24:52,160
Speaker 1: can create out of a more pure place. I can

499
00:24:52,160 --> 00:24:54,000
Speaker 1: write what I love, I can write what I would

500
00:24:54,000 --> 00:24:56,920
Speaker 1: want to hear. And I'm I can actually strike out

501
00:24:56,920 --> 00:24:59,720
Speaker 1: more times and swing for the fences because I'm not trying.

502
00:25:00,080 --> 00:25:03,040
Speaker 1: It's not a utility bill to me. It's a passion.

503
00:25:03,080 --> 00:25:05,320
Speaker 1: And I want to tell stories and I want to

504
00:25:05,320 --> 00:25:07,199
Speaker 1: make sure that the art is right and that the

505
00:25:07,320 --> 00:25:09,400
Speaker 1: artist gets to say what they want to say. And

506
00:25:09,920 --> 00:25:12,719
Speaker 1: it's so free to get them, very very blessed and

507
00:25:12,800 --> 00:25:15,439
Speaker 1: lucky to be in that position. So not for me,

508
00:25:15,480 --> 00:25:18,720
Speaker 1: it wasn't ever about the money. I don't think that,

509
00:25:18,960 --> 00:25:21,920
Speaker 1: do you. What's the dynamic with you and your husband

510
00:25:21,960 --> 00:25:24,520
Speaker 1: when you write? Did you ever write together? So this

511
00:25:24,600 --> 00:25:29,439
Speaker 1: year we've been married ten years? Wow? Um, we when

512
00:25:29,520 --> 00:25:33,200
Speaker 1: we got engaged, we made a very very deliberate decision

513
00:25:33,200 --> 00:25:36,480
Speaker 1: to not write together. Um. We had written, we tried

514
00:25:36,520 --> 00:25:39,760
Speaker 1: to write a couple of times, UM, and it just

515
00:25:40,680 --> 00:25:44,000
Speaker 1: it wasn't like we don't fight, but when we wrote,

516
00:25:44,280 --> 00:25:46,160
Speaker 1: it was like the most tints that we ever were

517
00:25:46,200 --> 00:25:48,240
Speaker 1: with each other. And the things that we wrote were

518
00:25:48,280 --> 00:25:51,720
Speaker 1: not special. So we were like, we don't need to

519
00:25:51,760 --> 00:25:54,479
Speaker 1: do that and on. And also he was very sweet

520
00:25:54,480 --> 00:25:56,320
Speaker 1: and saying, I don't want anybody to think that you

521
00:25:56,359 --> 00:25:59,720
Speaker 1: need me, because I know you don't. I know that

522
00:25:59,760 --> 00:26:02,320
Speaker 1: you're awesome writer. And I had just signed a publishing

523
00:26:02,400 --> 00:26:05,280
Speaker 1: dope not too long before that. So he's like, I

524
00:26:05,320 --> 00:26:07,320
Speaker 1: just want to give you the gift of your own lane,

525
00:26:07,680 --> 00:26:09,840
Speaker 1: and I wanted. I'm very independent, and I was like,

526
00:26:09,880 --> 00:26:11,800
Speaker 1: I want my own lane. And so we didn't write

527
00:26:11,840 --> 00:26:15,680
Speaker 1: for nine and a half years and we just started

528
00:26:15,680 --> 00:26:18,960
Speaker 1: writing about six months ago and we wrote two songs.

529
00:26:19,400 --> 00:26:21,399
Speaker 1: Are you nervous the first time you going to write together?

530
00:26:21,480 --> 00:26:24,240
Speaker 1: I was nervous. Um. I had felt it like a

531
00:26:24,280 --> 00:26:26,159
Speaker 1: stirring for about a year, like I think we're going

532
00:26:26,240 --> 00:26:29,159
Speaker 1: to do something together and I don't. And I was

533
00:26:29,200 --> 00:26:33,480
Speaker 1: actually booked to write with them, with Ross Copperman and

534
00:26:33,920 --> 00:26:36,960
Speaker 1: whoever the third person was like, had just like bailed

535
00:26:37,000 --> 00:26:39,080
Speaker 1: on us, and Ross had been saying for a year,

536
00:26:39,160 --> 00:26:41,080
Speaker 1: I want to be the first one to write with

537
00:26:41,119 --> 00:26:44,160
Speaker 1: you and Rodney, and I think he I think it's

538
00:26:44,200 --> 00:26:46,920
Speaker 1: a literal impression of Ross, by the way, I want

539
00:26:46,920 --> 00:26:49,800
Speaker 1: to be the first one. Oh my gosh. And so

540
00:26:50,200 --> 00:26:52,760
Speaker 1: I was like he was like Rodney and I was like, well,

541
00:26:52,760 --> 00:26:55,639
Speaker 1: I'll see and like and he showed up and the

542
00:26:55,680 --> 00:26:59,080
Speaker 1: song actually got cut yeah, by a big artist, like

543
00:26:59,080 --> 00:27:01,800
Speaker 1: I'm freaking out about. Okay, So it's still not out yet,

544
00:27:01,840 --> 00:27:06,240
Speaker 1: it's not out, um, but it's it's like an artist

545
00:27:06,320 --> 00:27:11,320
Speaker 1: that I could have never dreamed to have Blake No,

546
00:27:12,119 --> 00:27:17,719
Speaker 1: mm hmm, Prince, No, it's in our mar but anyway,

547
00:27:18,119 --> 00:27:21,399
Speaker 1: So yeah, so we're we're starting to join forces a

548
00:27:21,400 --> 00:27:23,960
Speaker 1: little bit now. So let's talk about this one here

549
00:27:24,119 --> 00:27:26,480
Speaker 1: and you can tell me if this urban legend is

550
00:27:26,480 --> 00:27:33,919
Speaker 1: true or not. So you wrote automatic here even bigger,

551
00:27:34,400 --> 00:27:40,240
Speaker 1: even bigger than than we were up. He wrote this

552
00:27:41,200 --> 00:27:47,359
Speaker 1: with Natalie right Natalie him anybody and right now? And

553
00:27:47,760 --> 00:27:51,280
Speaker 1: did you and Natalie meet on an airplane? So the

554
00:27:51,320 --> 00:27:55,320
Speaker 1: story is dead? Who is were you scared to fly?

555
00:27:55,520 --> 00:27:58,679
Speaker 1: Was she scared? Scared? Natalie scared to fly, and so

556
00:27:58,800 --> 00:28:01,080
Speaker 1: you sat beside her and comfort did her. Well, I

557
00:28:01,119 --> 00:28:03,320
Speaker 1: had just met her. I was just meeting her basically

558
00:28:03,320 --> 00:28:05,320
Speaker 1: for the first time. I didn't even know. I had

559
00:28:05,320 --> 00:28:07,639
Speaker 1: never heard her sing, had never heard a song she

560
00:28:07,720 --> 00:28:09,480
Speaker 1: had written when we met. So I was she was

561
00:28:09,520 --> 00:28:12,840
Speaker 1: just a girl on a plane to me. And did

562
00:28:12,880 --> 00:28:16,000
Speaker 1: you know she was a songwriter? Though? Yeah, Actually Rodney

563
00:28:16,040 --> 00:28:19,240
Speaker 1: had told me she's she used to like be in

564
00:28:19,320 --> 00:28:20,520
Speaker 1: town and then she went to l A and now

565
00:28:20,560 --> 00:28:22,880
Speaker 1: she's back. She's an incredible writer. And I was like, oh, cool,

566
00:28:22,960 --> 00:28:25,000
Speaker 1: you know, really cool. I don't know what she's doing now.

567
00:28:25,040 --> 00:28:28,679
Speaker 1: But so we just started talking and we just became

568
00:28:28,760 --> 00:28:32,960
Speaker 1: fast friends. But we didn't we were friends first, um,

569
00:28:33,040 --> 00:28:36,080
Speaker 1: and you know, and she had success like shortly thereafter

570
00:28:36,160 --> 00:28:38,800
Speaker 1: she had some Miranda songs and and I didn't, and

571
00:28:39,280 --> 00:28:41,400
Speaker 1: we just kind of didn't write for a really really

572
00:28:41,440 --> 00:28:45,600
Speaker 1: long time. And then, um, just a few years. I

573
00:28:45,600 --> 00:28:49,800
Speaker 1: guess it's probably like four years ago we were we Um.

574
00:28:49,840 --> 00:28:51,760
Speaker 1: I had met ray Lynn and said I didn't have

575
00:28:51,840 --> 00:28:53,760
Speaker 1: this girl that I think that you would really appreciate,

576
00:28:54,680 --> 00:28:57,040
Speaker 1: and so we wrote. I was like, well, you write

577
00:28:57,040 --> 00:29:00,400
Speaker 1: with her, and and so the three of me Natalie

578
00:29:00,440 --> 00:29:03,920
Speaker 1: wrote a song called Golden Girls with Raylan, and we

579
00:29:04,000 --> 00:29:06,000
Speaker 1: came out of that right and Natalie and I were like,

580
00:29:06,640 --> 00:29:09,560
Speaker 1: oh my god, we have to write more. Like there's

581
00:29:09,560 --> 00:29:12,640
Speaker 1: something that's happening. Obviously Raylan and I have our thing,

582
00:29:12,680 --> 00:29:14,400
Speaker 1: but like me and Natalie were like, oh my god,

583
00:29:14,560 --> 00:29:17,120
Speaker 1: we have to write more. We went on to write

584
00:29:17,120 --> 00:29:19,760
Speaker 1: five songs that you're total together, and all five of

585
00:29:19,800 --> 00:29:23,479
Speaker 1: them were on Miranda's record. Yeah. So there was like

586
00:29:23,520 --> 00:29:26,520
Speaker 1: this little magic, this lightning in a bottle moment for

587
00:29:26,640 --> 00:29:29,800
Speaker 1: us as friends and co writers that year. But even

588
00:29:29,840 --> 00:29:34,000
Speaker 1: since then, I mean, that's just somebody that like we'll

589
00:29:34,000 --> 00:29:36,120
Speaker 1: be We'll be there when the other one dies, you know.

590
00:29:36,320 --> 00:29:41,480
Speaker 1: So tell me about this song, Automatic like, where were you? Well? I, Um,

591
00:29:41,720 --> 00:29:49,760
Speaker 1: I think i'd were we when we wrote it? So, um,

592
00:29:49,960 --> 00:29:54,840
Speaker 1: we wrote this song in Miranda's at the time, Random

593
00:29:54,880 --> 00:29:59,280
Speaker 1: Blake's condo in Nashville. Um. I had never written with

594
00:29:59,320 --> 00:30:01,760
Speaker 1: Miranda before the only way that she knew of me

595
00:30:01,880 --> 00:30:05,120
Speaker 1: was because um, of songs that I was writing with

596
00:30:05,200 --> 00:30:09,120
Speaker 1: ray and Raylan was playing them from Miranda. Miranda is like, well,

597
00:30:09,120 --> 00:30:10,680
Speaker 1: I know that you're kind of a new songwriter. Who

598
00:30:10,680 --> 00:30:12,840
Speaker 1: are you writing these with? And so that's how she

599
00:30:12,960 --> 00:30:15,800
Speaker 1: became kind of prippy to what I was doing. And

600
00:30:15,800 --> 00:30:18,280
Speaker 1: then Natalie, I had our thing kind of going already,

601
00:30:18,360 --> 00:30:22,600
Speaker 1: so I got pulled into write literally like a month

602
00:30:22,640 --> 00:30:25,680
Speaker 1: after I just had a baby and I wasn't writing,

603
00:30:25,720 --> 00:30:27,360
Speaker 1: like I swore I was going to take all this

604
00:30:27,440 --> 00:30:29,800
Speaker 1: time off, and we were us hadn't come out on

605
00:30:29,800 --> 00:30:33,120
Speaker 1: the radio yet, so I hadn't had a hit, and

606
00:30:33,160 --> 00:30:35,920
Speaker 1: I was getting the opportunity to write with Miranda Lambert,

607
00:30:36,320 --> 00:30:40,400
Speaker 1: which is any songwriters like a list of co writes,

608
00:30:40,520 --> 00:30:43,520
Speaker 1: but especially for a female writer, because there's just things

609
00:30:43,520 --> 00:30:46,120
Speaker 1: that you can say with Miranda that you for a

610
00:30:46,120 --> 00:30:48,480
Speaker 1: Miranda project, that you could say nowhere else in town,

611
00:30:48,720 --> 00:30:50,520
Speaker 1: especially at the time. You know, now we have other

612
00:30:50,560 --> 00:30:54,120
Speaker 1: females that have really like gone there in their own way,

613
00:30:54,160 --> 00:30:56,479
Speaker 1: but at the time, she was just she was like

614
00:30:57,160 --> 00:30:59,880
Speaker 1: the dream co write. So I was obviously nervous and

615
00:31:00,040 --> 00:31:02,160
Speaker 1: hired and had any born baby, and we walked in

616
00:31:02,200 --> 00:31:05,360
Speaker 1: and we started talking about girls moving to Nashville wanting

617
00:31:05,360 --> 00:31:08,360
Speaker 1: to get record deals. They've lived here for six minutes

618
00:31:08,400 --> 00:31:09,760
Speaker 1: and they're like, why don't have a record deal yet?

619
00:31:09,760 --> 00:31:11,800
Speaker 1: We don't have a record do it yet? And and

620
00:31:11,840 --> 00:31:13,560
Speaker 1: you know, Miranda was kind of pouring her heart out,

621
00:31:13,600 --> 00:31:16,000
Speaker 1: like don't they understand, like I've played a hundred and

622
00:31:16,000 --> 00:31:18,280
Speaker 1: fifty shows in the back of a van with a

623
00:31:18,280 --> 00:31:21,320
Speaker 1: bunch of smelling guys for this many years before anything

624
00:31:21,360 --> 00:31:23,280
Speaker 1: ever happened from me. And then we kind of started

625
00:31:23,320 --> 00:31:26,720
Speaker 1: sharing our stories and that's kind of where the this

626
00:31:26,880 --> 00:31:31,040
Speaker 1: song started to get written. But the night before, Natalie

627
00:31:31,080 --> 00:31:34,479
Speaker 1: and I see like for a rite like that, Natalie

628
00:31:34,520 --> 00:31:37,240
Speaker 1: and I would like, that's like a really big day,

629
00:31:37,240 --> 00:31:39,800
Speaker 1: and Miranda's time still precious, Like we would have normally

630
00:31:39,840 --> 00:31:42,840
Speaker 1: sat down and started three or four choruses or just

631
00:31:42,920 --> 00:31:45,920
Speaker 1: something to just to come in really prepared, because these

632
00:31:46,000 --> 00:31:47,840
Speaker 1: artists don't have very much time, you know, they have

633
00:31:47,960 --> 00:31:49,840
Speaker 1: like a couple of hours and you gotta just like

634
00:31:50,080 --> 00:31:52,320
Speaker 1: make the most of it and be ready. But her

635
00:31:52,480 --> 00:31:55,200
Speaker 1: I just had a newborn baby, and she her daughter

636
00:31:55,240 --> 00:31:57,120
Speaker 1: got sick or something, and so we were like on

637
00:31:57,160 --> 00:31:59,280
Speaker 1: the phone at midnight the night before just like throwing

638
00:31:59,280 --> 00:32:03,520
Speaker 1: out titles and concepts and um, we had the title automatic,

639
00:32:03,560 --> 00:32:05,720
Speaker 1: but it was going to be a love song, like

640
00:32:05,840 --> 00:32:09,680
Speaker 1: nothing about us and our love like came automatic, Like

641
00:32:09,760 --> 00:32:12,400
Speaker 1: we've had to work for whatever it is. That we

642
00:32:12,640 --> 00:32:16,240
Speaker 1: this love that we have, and when that conversation started happening,

643
00:32:16,360 --> 00:32:20,920
Speaker 1: the whole thing shifted to then a story that Miranda

644
00:32:20,960 --> 00:32:24,600
Speaker 1: told about Patty Loveless telling her about all these artists

645
00:32:24,640 --> 00:32:27,600
Speaker 1: in the nineties taking like quarters in the bag when

646
00:32:27,600 --> 00:32:29,160
Speaker 1: they were on their tour bus when they were on

647
00:32:29,200 --> 00:32:31,160
Speaker 1: tour because they would pull the tour bus over and

648
00:32:31,200 --> 00:32:33,800
Speaker 1: have to do all their radio phoners from payphones, and

649
00:32:33,800 --> 00:32:36,640
Speaker 1: they always had all these quarters with them, which is

650
00:32:36,680 --> 00:32:39,000
Speaker 1: something I would never even think happened, but of course

651
00:32:39,000 --> 00:32:42,280
Speaker 1: it had happened that way, and so that's where recorder

652
00:32:42,320 --> 00:32:44,240
Speaker 1: and payphone came from, which is the first line of

653
00:32:44,240 --> 00:32:47,200
Speaker 1: the song, and then it just kind of wrote itself

654
00:32:47,360 --> 00:32:51,760
Speaker 1: from there. The night before you write with Miranda, let's

655
00:32:52,320 --> 00:32:55,280
Speaker 1: aside from you talking to Natalie even the week before.

656
00:32:55,480 --> 00:32:57,680
Speaker 1: Is it like, I mean, I'm I'm a little nervous

657
00:32:57,680 --> 00:32:59,720
Speaker 1: about this. It's crazy, it's freaking ran the Lambert like

658
00:32:59,760 --> 00:33:00,760
Speaker 1: you do. You don't want to go on to look

659
00:33:00,800 --> 00:33:03,840
Speaker 1: at a chomp Like is there that added pressure? Oh?

660
00:33:03,880 --> 00:33:07,440
Speaker 1: For sure, I mean I would feel nervous going to

661
00:33:07,440 --> 00:33:10,360
Speaker 1: write with Miranda tomorrow. I would feel pressure tomorrow. And

662
00:33:10,440 --> 00:33:13,240
Speaker 1: this is like four or five years after that word.

663
00:33:13,280 --> 00:33:15,440
Speaker 1: Now I've had I get to write with all the

664
00:33:15,560 --> 00:33:18,000
Speaker 1: artists that I could ever dream of now, you know,

665
00:33:18,560 --> 00:33:22,360
Speaker 1: but at that time that that was like a once

666
00:33:22,400 --> 00:33:24,160
Speaker 1: in a lifetime for me. I'm like, this is like,

667
00:33:24,360 --> 00:33:26,840
Speaker 1: we either get a good song or she's never written

668
00:33:26,840 --> 00:33:29,080
Speaker 1: with me again. That's what I think. Now I'm not

669
00:33:29,080 --> 00:33:31,520
Speaker 1: saying she's like that, but that's what how I take it.

670
00:33:31,920 --> 00:33:36,080
Speaker 1: I gotta like deliver something, and so this song cleaned up.

671
00:33:36,720 --> 00:33:41,560
Speaker 1: This is the biggest song that's not for me. That's

672
00:33:41,720 --> 00:33:45,520
Speaker 1: one of the biggest songs. Again, you have two anthems here,

673
00:33:46,080 --> 00:33:52,640
Speaker 1: but oddly ones we all have Rando in them. Yeah,

674
00:33:52,920 --> 00:33:54,760
Speaker 1: is it still fun to hear? Like? Is it cool

675
00:33:54,840 --> 00:33:57,400
Speaker 1: to hear? Like? Still? Like it still makes you feel

676
00:33:57,480 --> 00:33:59,320
Speaker 1: something and it's not numb because you've heard it so

677
00:33:59,320 --> 00:34:02,959
Speaker 1: many times? No, I am A lot of songwriters are

678
00:34:03,000 --> 00:34:04,880
Speaker 1: really jaded, and a lot of them like they can

679
00:34:04,920 --> 00:34:07,640
Speaker 1: never they get caught up and then what's the next

680
00:34:07,640 --> 00:34:09,160
Speaker 1: thing I'm going to do all the time and they

681
00:34:09,160 --> 00:34:11,680
Speaker 1: can't even enjoy where they are. Like, I'm actually one

682
00:34:11,680 --> 00:34:14,560
Speaker 1: of the most nostalgic people that I know, and I

683
00:34:14,760 --> 00:34:17,440
Speaker 1: like it's fun. No, it's and I don't think it's

684
00:34:17,480 --> 00:34:19,960
Speaker 1: like a coincidence that both of those songs are looking

685
00:34:20,000 --> 00:34:24,320
Speaker 1: back songs, because that's like my heart and anytime something awesome,

686
00:34:24,520 --> 00:34:27,239
Speaker 1: like when I hear that I'm seventeen and I'm like,

687
00:34:27,360 --> 00:34:30,279
Speaker 1: oh my god, like a girl in my hometown is

688
00:34:30,320 --> 00:34:32,160
Speaker 1: listening to this song right now, I can't. Just like

689
00:34:32,200 --> 00:34:36,719
Speaker 1: that's how I process it. I mean, I I don't know.

690
00:34:36,760 --> 00:34:39,359
Speaker 1: I still feel like I'm seventeen. I don't know how

691
00:34:39,400 --> 00:34:41,960
Speaker 1: I got here. That's how that's my perspective. It doesn't

692
00:34:41,960 --> 00:34:44,200
Speaker 1: matter how old I get or how many opportunities I get.

693
00:34:44,239 --> 00:34:48,200
Speaker 1: I'm just like, how did this happen to me? You know?

694
00:34:48,400 --> 00:34:50,920
Speaker 1: And I'm not like the biggest songwriter in town by

695
00:34:50,960 --> 00:34:53,719
Speaker 1: any stretch of the imagination, but I just can't. I'm

696
00:34:53,760 --> 00:34:56,680
Speaker 1: always in awe every time it comes on. So I

697
00:34:56,680 --> 00:35:02,160
Speaker 1: want to play this one here. I played this one

698
00:35:02,200 --> 00:35:07,600
Speaker 1: Where's Raylan Love Triangle, And I've said something here. I

699
00:35:07,680 --> 00:35:09,759
Speaker 1: felt like this song got jobs. I feel like this

700
00:35:09,960 --> 00:35:12,560
Speaker 1: song got and if it had been a dude singing it,

701
00:35:12,560 --> 00:35:14,400
Speaker 1: it's a number one song, Like really, I there'd have

702
00:35:14,440 --> 00:35:16,080
Speaker 1: been this has been a dude singing this song, it's

703
00:35:16,080 --> 00:35:17,880
Speaker 1: a number one Sonny, I've never even thought about it

704
00:35:17,880 --> 00:35:21,160
Speaker 1: as a never considered that as a guy like that

705
00:35:21,160 --> 00:35:25,359
Speaker 1: that would even be an option. Two things. One, it's

706
00:35:25,960 --> 00:35:30,520
Speaker 1: it's tougher for women right now because labels stopped building

707
00:35:30,520 --> 00:35:32,400
Speaker 1: the farm system first of all, when it was all

708
00:35:32,520 --> 00:35:35,520
Speaker 1: dudes all the time. They stop even cultivating from the

709
00:35:35,520 --> 00:35:39,279
Speaker 1: bottom of building females to even get to radio. So

710
00:35:39,840 --> 00:35:43,040
Speaker 1: radio is kind of waiting on the minor leagues to

711
00:35:43,160 --> 00:35:45,360
Speaker 1: give us these artists. But record I was just stopped

712
00:35:45,360 --> 00:35:49,520
Speaker 1: making females a priority. So here we are again and

713
00:35:49,640 --> 00:35:53,680
Speaker 1: radio struggling to find these females to put on, and

714
00:35:54,640 --> 00:35:56,960
Speaker 1: it's harder and harder to find them. And ballads are

715
00:35:57,000 --> 00:35:58,680
Speaker 1: hard because everybody so a d D and if something

716
00:35:58,719 --> 00:36:01,560
Speaker 1: slow on the radio, like you research goes. If something slow, boom,

717
00:36:01,600 --> 00:36:05,200
Speaker 1: they change it because it's like again, it's a female

718
00:36:05,560 --> 00:36:07,960
Speaker 1: and it's a Baladi song. If it had been a male,

719
00:36:08,560 --> 00:36:10,919
Speaker 1: it would have been it had been a hit because

720
00:36:10,960 --> 00:36:14,480
Speaker 1: it's such a good song. And that's not even a

721
00:36:14,520 --> 00:36:16,319
Speaker 1: dig at ray Ln. It's the opposite. Raylan can sing

722
00:36:16,320 --> 00:36:20,239
Speaker 1: her brains out and she sings it wonderfully, and I

723
00:36:20,320 --> 00:36:22,000
Speaker 1: just felt like it was such a good song and

724
00:36:22,040 --> 00:36:25,280
Speaker 1: I saw a couple weeks ago, whenever they stopped promoting,

725
00:36:25,320 --> 00:36:28,920
Speaker 1: I was like, Oh, that sucks, because any other scenario

726
00:36:29,000 --> 00:36:32,360
Speaker 1: you give it to a dude, and that's probably man.

727
00:36:32,160 --> 00:36:34,920
Speaker 1: I've never even thought, I guess I've just been so

728
00:36:35,000 --> 00:36:37,200
Speaker 1: wrapped up in that as her that's her story, that

729
00:36:37,239 --> 00:36:39,239
Speaker 1: I never thought of it as a song that from

730
00:36:39,280 --> 00:36:42,399
Speaker 1: even a pitching standpoint of who could sing it and

731
00:36:42,400 --> 00:36:44,360
Speaker 1: and what would it be if someone else did it?

732
00:36:44,480 --> 00:36:45,880
Speaker 1: And to me, it wasn't even a pitching thing. It

733
00:36:45,960 --> 00:36:49,160
Speaker 1: was just that so good. I think that people and

734
00:36:49,280 --> 00:36:51,319
Speaker 1: I get I'm on the radio, but I'm still so

735
00:36:51,400 --> 00:36:54,880
Speaker 1: anti the establishment of radio that I think you have

736
00:36:54,920 --> 00:36:56,880
Speaker 1: a lot of program directors that are like, well, it's

737
00:36:56,920 --> 00:36:59,720
Speaker 1: slow and it's female. It's got two strikes against it already,

738
00:36:59,840 --> 00:37:01,560
Speaker 1: so as soon as there's a bomb, we're gonna go

739
00:37:01,560 --> 00:37:03,560
Speaker 1: ahead and pull out of it. What's so crazy, though,

740
00:37:03,640 --> 00:37:06,279
Speaker 1: is like those are the songs that, when they do

741
00:37:06,360 --> 00:37:08,840
Speaker 1: get through, they are song of the year. They're the

742
00:37:08,920 --> 00:37:12,480
Speaker 1: songs that are industry puts on a pedestal in such

743
00:37:12,520 --> 00:37:14,839
Speaker 1: a highway. So it's it's like you've got to swing

744
00:37:14,920 --> 00:37:18,040
Speaker 1: for the fences occasionally, noting like not every day, am

745
00:37:18,080 --> 00:37:21,279
Speaker 1: I gonna be willing to write. I'm not gonna write

746
00:37:21,320 --> 00:37:24,040
Speaker 1: a hundred songs a year about divorce and ballads for girls,

747
00:37:24,120 --> 00:37:27,319
Speaker 1: you know. But when the song presents itself, you owe

748
00:37:27,360 --> 00:37:29,839
Speaker 1: it to the idea, and you owe it to the

749
00:37:30,040 --> 00:37:32,759
Speaker 1: artist and the to to make it the best that

750
00:37:32,840 --> 00:37:34,560
Speaker 1: it can be, even if it doesn't make sense, for

751
00:37:34,840 --> 00:37:37,560
Speaker 1: even if radio doesn't understand. Well, I just want to

752
00:37:37,560 --> 00:37:39,200
Speaker 1: say I love the song. I always love the song.

753
00:37:39,239 --> 00:37:40,400
Speaker 1: I loved it from the first time I heard. I

754
00:37:40,440 --> 00:37:42,240
Speaker 1: was like, holy cow, that song like speaks to people,

755
00:37:42,760 --> 00:37:45,480
Speaker 1: you know, and I think a lot of people understand it,

756
00:37:45,600 --> 00:37:49,000
Speaker 1: and I just felt happy for it whenever they quit

757
00:37:49,080 --> 00:37:51,120
Speaker 1: on it. And it wasn't even their fault for quitting

758
00:37:51,160 --> 00:37:53,000
Speaker 1: on it, because it was people wouldn't they weren't playing it,

759
00:37:53,000 --> 00:37:55,239
Speaker 1: and it two strikes again, one strike could be in

760
00:37:55,280 --> 00:37:57,080
Speaker 1: a ballot. I think it would have made it. The

761
00:37:57,080 --> 00:37:59,560
Speaker 1: feedback that I had heard kind of through label people

762
00:37:59,640 --> 00:38:02,040
Speaker 1: and was interesting, was like certain markets. It was like

763
00:38:02,080 --> 00:38:04,600
Speaker 1: one of the highest researching in Nashville. It was testing

764
00:38:04,680 --> 00:38:06,520
Speaker 1: like great, like I can tell you here because I

765
00:38:06,520 --> 00:38:08,759
Speaker 1: see I see all the research, right, I'm lucky enough

766
00:38:08,800 --> 00:38:11,480
Speaker 1: to see national research in Nashville, it was one of

767
00:38:11,480 --> 00:38:14,040
Speaker 1: the best songs that we had like to play, and

768
00:38:14,040 --> 00:38:16,319
Speaker 1: then in other markets it was like the worst one

769
00:38:16,360 --> 00:38:18,680
Speaker 1: of the at the bottom of in the research. And

770
00:38:19,400 --> 00:38:22,080
Speaker 1: I just that's always so like it makes my brain

771
00:38:22,120 --> 00:38:25,560
Speaker 1: turn of like, what culturally is different between Nashville and

772
00:38:26,120 --> 00:38:28,520
Speaker 1: San Diego? You know what I mean? Is it the

773
00:38:28,600 --> 00:38:33,040
Speaker 1: real answer? At least my We all have different perspectives.

774
00:38:33,080 --> 00:38:36,000
Speaker 1: And again, I have a radio show. I'm not in

775
00:38:36,040 --> 00:38:39,440
Speaker 1: the programming of picking songs, but I'm involved and I

776
00:38:39,440 --> 00:38:40,719
Speaker 1: get to see a lot of stuff and I get

777
00:38:40,760 --> 00:38:42,440
Speaker 1: a champion artist, which is a fun thing for me.

778
00:38:43,000 --> 00:38:45,520
Speaker 1: But a lot of it is just the timing and

779
00:38:45,680 --> 00:38:48,520
Speaker 1: what lucky group you get to do the research, Like really,

780
00:38:48,920 --> 00:38:51,480
Speaker 1: that's it. There are songs. I give you an example

781
00:38:51,480 --> 00:38:53,879
Speaker 1: either probably kill We were talking about this. My church

782
00:38:53,960 --> 00:38:57,120
Speaker 1: tested terribly forever for many more terribly. We had to

783
00:38:57,160 --> 00:39:00,480
Speaker 1: sit on it and continue to play, play, played, play,

784
00:39:00,560 --> 00:39:04,080
Speaker 1: play as it tested horribly, just because we knew that

785
00:39:04,520 --> 00:39:07,040
Speaker 1: you couldn't listen to that song and go this is

786
00:39:07,080 --> 00:39:10,240
Speaker 1: an amazing song. I remember sitting in a meeting because

787
00:39:10,880 --> 00:39:12,920
Speaker 1: I have a wall here and and this is just

788
00:39:12,960 --> 00:39:15,400
Speaker 1: a wall of people that I've been really close to everybody,

789
00:39:15,400 --> 00:39:17,120
Speaker 1: from Eric who is one of my closest friends, to

790
00:39:17,200 --> 00:39:19,360
Speaker 1: Keith to man. It's people that I would bring in

791
00:39:19,400 --> 00:39:23,799
Speaker 1: before they've been record deals. And I was so I

792
00:39:23,840 --> 00:39:27,799
Speaker 1: say this with full like the truth that like I

793
00:39:27,880 --> 00:39:30,799
Speaker 1: was a huge Marin fan. So I wanted to succeed

794
00:39:30,960 --> 00:39:34,040
Speaker 1: as well, just personally and selfishly because I thought, and

795
00:39:34,080 --> 00:39:37,400
Speaker 1: I think Marion is awesome, but I would this song

796
00:39:37,480 --> 00:39:40,239
Speaker 1: was selling like crazy one and two. It was just

797
00:39:40,280 --> 00:39:44,200
Speaker 1: an awesome song. And so sometimes ears are over brain

798
00:39:44,400 --> 00:39:46,520
Speaker 1: whenever you're just seeing data and we just hung. I

799
00:39:46,520 --> 00:39:48,560
Speaker 1: wish people would have just hung with this song. We

800
00:39:48,600 --> 00:39:50,840
Speaker 1: just couldn't get enough people to hang because there was

801
00:39:50,880 --> 00:39:52,440
Speaker 1: a fight. There really was a fight, Like this is

802
00:39:52,480 --> 00:39:56,560
Speaker 1: a song. We just couldn't get enough old middle aged

803
00:39:56,600 --> 00:40:00,600
Speaker 1: white men to go. Let's keep playing it, okay, all

804
00:40:00,680 --> 00:40:04,040
Speaker 1: the music, yeah, a k A. Every program to write.

805
00:40:04,560 --> 00:40:06,040
Speaker 1: Some of them were some of them were fight But

806
00:40:06,080 --> 00:40:07,440
Speaker 1: I just wanted you to know that because I'm on

807
00:40:07,480 --> 00:40:11,560
Speaker 1: the inside A fantastic thank you. I appreciate that information

808
00:40:11,560 --> 00:40:14,239
Speaker 1: because I you know, I think that song like really

809
00:40:14,239 --> 00:40:17,319
Speaker 1: helped um show the evolution, you know, like as I

810
00:40:17,320 --> 00:40:20,759
Speaker 1: said earlier, like the purposes of songs that helps rebrand her,

811
00:40:21,160 --> 00:40:24,160
Speaker 1: you know, and show her evolve into something new, and

812
00:40:24,200 --> 00:40:27,160
Speaker 1: hopefully that will just be, if nothing else, a gateway

813
00:40:27,160 --> 00:40:29,680
Speaker 1: into who she is now. You know, you wrote a

814
00:40:29,680 --> 00:40:33,680
Speaker 1: lot with her on her last record, which is Wild Horse,

815
00:40:34,520 --> 00:40:38,120
Speaker 1: Wild Horsey. Um, how many songs did? I had eight

816
00:40:38,120 --> 00:40:40,319
Speaker 1: songs on there? So you guys just sat and wrote

817
00:40:40,320 --> 00:40:43,680
Speaker 1: Did you write purposely to write a record with her? No,

818
00:40:43,920 --> 00:40:46,200
Speaker 1: it just happened. But it happened like three or four

819
00:40:46,280 --> 00:40:49,160
Speaker 1: years ago. It happened around the time that I told you,

820
00:40:49,200 --> 00:40:51,359
Speaker 1: like Miranda started hearing songs I was writing. We wrote

821
00:40:51,400 --> 00:40:53,520
Speaker 1: all those songs I love Triangle. Those songs are four

822
00:40:53,560 --> 00:40:57,400
Speaker 1: years old. We wrote like probably eight of her record,

823
00:40:57,440 --> 00:41:02,560
Speaker 1: me and Jimmy Robbins and and Ray like and probably

824
00:41:02,600 --> 00:41:04,960
Speaker 1: a nine month period. We just kind of had that.

825
00:41:05,840 --> 00:41:07,600
Speaker 1: There was like a season where we all just kind

826
00:41:07,600 --> 00:41:10,239
Speaker 1: of clicked and and I think it started to feel

827
00:41:10,239 --> 00:41:12,239
Speaker 1: like an album to us then. But we didn't know

828
00:41:12,280 --> 00:41:14,719
Speaker 1: that it would be three or four years before she

829
00:41:14,719 --> 00:41:16,759
Speaker 1: would get a real shot and and really get to

830
00:41:16,760 --> 00:41:18,279
Speaker 1: put it out as is. And then we ended up

831
00:41:18,280 --> 00:41:19,879
Speaker 1: co producing it. I don't know if you know that,

832
00:41:20,480 --> 00:41:22,759
Speaker 1: but I actually got to co produce the record, which

833
00:41:22,840 --> 00:41:24,880
Speaker 1: when was the last time a female ever got to

834
00:41:24,920 --> 00:41:29,839
Speaker 1: co produce anything. So I'm super proud of a lot

835
00:41:29,880 --> 00:41:33,640
Speaker 1: of things beyond radio success with that with that project.

836
00:41:33,680 --> 00:41:36,480
Speaker 1: For me, from my standpoint, how did you guys become friends?

837
00:41:37,080 --> 00:41:41,839
Speaker 1: Because I was on the voice with her the same year? Really? Yeah?

838
00:41:42,280 --> 00:41:50,239
Speaker 1: Just what season was that? Season? Two? Yeah? And well

839
00:41:50,280 --> 00:41:51,759
Speaker 1: I left addle. There's a there are a lot of

840
00:41:51,760 --> 00:41:55,920
Speaker 1: gaps in the story, which you know, which we've jumped around,

841
00:41:55,960 --> 00:41:58,279
Speaker 1: but like if you heard it all chronologically, it would

842
00:41:58,280 --> 00:42:00,000
Speaker 1: make sense. But you know, I had had a publish

843
00:42:00,200 --> 00:42:02,799
Speaker 1: deal for probably three or four or five years at

844
00:42:02,800 --> 00:42:05,200
Speaker 1: that point, was having any success, and I kept getting

845
00:42:05,200 --> 00:42:07,439
Speaker 1: feedback from like A and R at labels when they'd

846
00:42:07,440 --> 00:42:09,000
Speaker 1: pitched my songs, they'd be like, Oh, that's in a

847
00:42:09,040 --> 00:42:11,040
Speaker 1: cool song. That's in a cool song. And I was

848
00:42:11,080 --> 00:42:13,200
Speaker 1: getting to be a better singer because I was singing

849
00:42:13,200 --> 00:42:15,719
Speaker 1: every day and I had gotten the bravery to do it,

850
00:42:15,880 --> 00:42:18,520
Speaker 1: you know, and and I was recording and this like

851
00:42:19,320 --> 00:42:20,759
Speaker 1: I got I was so late to the game. All

852
00:42:20,800 --> 00:42:23,000
Speaker 1: these girls grew up making demos in the studio when

853
00:42:23,000 --> 00:42:25,319
Speaker 1: they're twelve, and I was like learning it like twenty three.

854
00:42:25,400 --> 00:42:28,399
Speaker 1: How to do this, and um, so I was kind

855
00:42:28,400 --> 00:42:30,800
Speaker 1: of like, well, screw it, I'm not getting nobody's cutting

856
00:42:30,840 --> 00:42:33,719
Speaker 1: my songs. Maybe I'm supposed to make a record and

857
00:42:33,840 --> 00:42:35,640
Speaker 1: because and it. But it was never like I want

858
00:42:35,640 --> 00:42:38,160
Speaker 1: to perform. I want to sing. I told my songs

859
00:42:38,200 --> 00:42:40,520
Speaker 1: out there. So I kind of was working with a

860
00:42:40,560 --> 00:42:42,080
Speaker 1: manager for a minute, trying to get my house in

861
00:42:42,160 --> 00:42:44,840
Speaker 1: order to approach labels, and then this manager sits me

862
00:42:44,920 --> 00:42:48,080
Speaker 1: down and it's like, you're not an artist. You're never

863
00:42:48,120 --> 00:42:49,480
Speaker 1: going to be an artist. You're going to be a

864
00:42:49,480 --> 00:42:53,160
Speaker 1: successful songwriter, but you're not an artist. But through that process,

865
00:42:53,239 --> 00:42:55,239
Speaker 1: people had started to brand me more as like a

866
00:42:55,280 --> 00:42:57,000
Speaker 1: girl that wanted a record deal. And so I got

867
00:42:57,000 --> 00:43:00,520
Speaker 1: referred to try out for the voice and the ringer

868
00:43:01,239 --> 00:43:03,560
Speaker 1: kind of that friends that have been ringers on this show.

869
00:43:03,680 --> 00:43:04,840
Speaker 1: I have a bunch of friends that have been like

870
00:43:04,880 --> 00:43:07,840
Speaker 1: they recruit said ringer. Yeah, well it was so early

871
00:43:07,880 --> 00:43:10,840
Speaker 1: on it wasn't quite as strategic as it probably is

872
00:43:10,920 --> 00:43:14,040
Speaker 1: now because it was so fresh the show that season

873
00:43:14,120 --> 00:43:15,960
Speaker 1: was kind of just ending and they were like, well,

874
00:43:16,000 --> 00:43:17,719
Speaker 1: the show is blowing up, like would you want to

875
00:43:17,719 --> 00:43:19,520
Speaker 1: do this? And it was it was like the perfect

876
00:43:19,600 --> 00:43:21,680
Speaker 1: time to get to do it, you know. But I

877
00:43:21,719 --> 00:43:23,600
Speaker 1: didn't make it very far. I didn't. I was only

878
00:43:23,640 --> 00:43:26,239
Speaker 1: on a couple episodes. But I had actually written with

879
00:43:26,360 --> 00:43:30,000
Speaker 1: ray this girl Rachel Woodward at the time two days

880
00:43:30,000 --> 00:43:33,080
Speaker 1: before that audition, not the one that you see on TV,

881
00:43:33,200 --> 00:43:36,000
Speaker 1: but like the audition to like to sing here in Nashville,

882
00:43:36,120 --> 00:43:39,640
Speaker 1: like the preferred kind of thing. And and I met

883
00:43:39,640 --> 00:43:41,960
Speaker 1: her and I was like, are you in town this week?

884
00:43:42,000 --> 00:43:43,920
Speaker 1: Because at the time, she's like sixteen, And I was like,

885
00:43:43,960 --> 00:43:45,759
Speaker 1: are you in town by chance? Because you're trying out

886
00:43:45,760 --> 00:43:47,560
Speaker 1: for the voice? And she's like no, And I was like,

887
00:43:47,719 --> 00:43:50,200
Speaker 1: you have to do it. You are made for TV. Wait,

888
00:43:50,360 --> 00:43:53,799
Speaker 1: so you convinced raight Lynn to the voice? And I

889
00:43:53,880 --> 00:43:56,880
Speaker 1: met her before she was ray Lynn and told her

890
00:43:56,920 --> 00:43:58,960
Speaker 1: to try it for the voice. We both ended up

891
00:43:59,000 --> 00:44:02,920
Speaker 1: trying out and made it it. And then I was

892
00:44:03,000 --> 00:44:06,480
Speaker 1: kind of like like while we were on the show, um,

893
00:44:06,560 --> 00:44:08,520
Speaker 1: she was a minor, and so like during production, like

894
00:44:08,560 --> 00:44:10,239
Speaker 1: she always had to have a parent with her, and

895
00:44:10,280 --> 00:44:11,960
Speaker 1: so like there would be days that like her mom

896
00:44:11,960 --> 00:44:13,479
Speaker 1: flew out in the morning and then her dad didn't

897
00:44:13,480 --> 00:44:15,520
Speaker 1: get there until the night. So production would call and say, hey,

898
00:44:15,560 --> 00:44:17,759
Speaker 1: ray wants to go to the mall. We can't leave.

899
00:44:17,800 --> 00:44:20,120
Speaker 1: What could she hang with you today? I was like

900
00:44:20,160 --> 00:44:23,719
Speaker 1: her big sister slash mom, and so you know, and

901
00:44:23,760 --> 00:44:26,880
Speaker 1: we just I don't know. I just um to be honest,

902
00:44:26,880 --> 00:44:30,359
Speaker 1: I think I was becoming like a mother. I think

903
00:44:30,360 --> 00:44:32,000
Speaker 1: I was kind of getting the bug to be a

904
00:44:32,080 --> 00:44:34,319
Speaker 1: mom myself. And she was like a little kid and

905
00:44:34,360 --> 00:44:37,279
Speaker 1: so cuddly and just she just has this childlike thing

906
00:44:37,320 --> 00:44:39,520
Speaker 1: about her. And I was like, I took her under

907
00:44:39,600 --> 00:44:41,640
Speaker 1: my wing and we just had this bond. So when

908
00:44:41,640 --> 00:44:44,880
Speaker 1: we came back from filming the show before it before

909
00:44:44,880 --> 00:44:47,000
Speaker 1: it started airing on TV, I knew that she was

910
00:44:47,000 --> 00:44:48,719
Speaker 1: like a front runner, and I knew that Blake and

911
00:44:48,719 --> 00:44:51,319
Speaker 1: Miranda had basically adopted her. And I was like, we

912
00:44:51,360 --> 00:44:53,040
Speaker 1: need to write, Like you need to be writing right

913
00:44:53,040 --> 00:44:55,560
Speaker 1: now because you need to have songs before you get

914
00:44:55,560 --> 00:44:57,359
Speaker 1: a record deal and before like when you walk in

915
00:44:57,520 --> 00:44:59,399
Speaker 1: you need to have as much to say before they

916
00:44:59,440 --> 00:45:01,759
Speaker 1: tell you what say. So I was just writing with her,

917
00:45:01,800 --> 00:45:04,000
Speaker 1: and that's where I was like, Hey, Natalie, I got

918
00:45:04,040 --> 00:45:06,880
Speaker 1: this girl. So if you go back into my story,

919
00:45:07,920 --> 00:45:10,319
Speaker 1: you take out the voice, everything is different from me.

920
00:45:10,560 --> 00:45:13,960
Speaker 1: I'm not saying I wouldn't have found some success eventually,

921
00:45:14,200 --> 00:45:16,640
Speaker 1: but the voice has nothing to do with songwriting, and

922
00:45:16,640 --> 00:45:19,759
Speaker 1: it literally is one of the most crucial parts of

923
00:45:19,800 --> 00:45:23,520
Speaker 1: my story. It's still insane to me because the ray,

924
00:45:23,760 --> 00:45:27,200
Speaker 1: because of Natalie, because of morn that Domino all the

925
00:45:27,239 --> 00:45:30,320
Speaker 1: way through. Very odd because the voice was the butterfly

926
00:45:30,320 --> 00:45:32,640
Speaker 1: in your butterfly effect. It was when I came back

927
00:45:32,640 --> 00:45:35,319
Speaker 1: from that show, everything started clicking, even outside of the

928
00:45:35,320 --> 00:45:37,640
Speaker 1: stuff that we've talked about, Like, I was like a

929
00:45:37,680 --> 00:45:40,600
Speaker 1: different writer. It's so weird. How far did you get?

930
00:45:41,320 --> 00:45:43,320
Speaker 1: I had lost in the battle rounds? Do you have

931
00:45:43,360 --> 00:45:45,279
Speaker 1: to get in the boxing ring and saying it's somebody, Yeah,

932
00:45:45,320 --> 00:45:49,520
Speaker 1: that's the battle round thing. I don't. I don't have

933
00:45:49,600 --> 00:45:52,200
Speaker 1: seen a bunch of the voice, but I have friends

934
00:45:52,320 --> 00:45:55,080
Speaker 1: that this is a funny side voice, that side side

935
00:45:55,080 --> 00:45:57,160
Speaker 1: thing on the voice that had their own part of

936
00:45:57,160 --> 00:45:59,279
Speaker 1: the show, right, and they were they were like, hey,

937
00:46:00,080 --> 00:46:02,600
Speaker 1: and I won't say who it is, but um they said.

938
00:46:02,920 --> 00:46:06,239
Speaker 1: They were given the option of do you want to

939
00:46:06,320 --> 00:46:08,439
Speaker 1: own part of the TV show or do you want

940
00:46:08,719 --> 00:46:12,400
Speaker 1: to own the contracts of the artists that come after

941
00:46:12,440 --> 00:46:15,280
Speaker 1: the show as they go and uh, you know, pursue

942
00:46:15,360 --> 00:46:19,640
Speaker 1: music careers, And they chose the artists. Man, I know,

943
00:46:19,920 --> 00:46:21,480
Speaker 1: that's the same thing they did. They were like, what

944
00:46:21,560 --> 00:46:24,200
Speaker 1: a terrible decision. They were like, we made the worst

945
00:46:24,200 --> 00:46:26,920
Speaker 1: decision ever. They said, we could have taken the chairs,

946
00:46:26,960 --> 00:46:29,440
Speaker 1: and this is no slight ca Cassidy or or Ray

947
00:46:29,520 --> 00:46:32,520
Speaker 1: or any of these girls who later It took a minute,

948
00:46:32,600 --> 00:46:34,759
Speaker 1: but they were like, we could toward the chairs, and

949
00:46:34,760 --> 00:46:37,600
Speaker 1: they would have toward better because even I don't because

950
00:46:37,600 --> 00:46:39,720
Speaker 1: even Idol was losing their star power. It was becoming

951
00:46:39,719 --> 00:46:41,760
Speaker 1: more of a TV show than it was let's produce

952
00:46:42,239 --> 00:46:44,960
Speaker 1: somebody that America is going to consume. It's more of

953
00:46:45,000 --> 00:46:49,520
Speaker 1: a TV show. So um, they don't have the infrastructure

954
00:46:49,560 --> 00:46:52,480
Speaker 1: and they never have on that show to do to

955
00:46:52,560 --> 00:46:54,960
Speaker 1: work with artists. They've never had a label involved, like

956
00:46:55,200 --> 00:46:57,799
Speaker 1: you know, like they have had labels involved, but it

957
00:46:57,840 --> 00:47:01,040
Speaker 1: hasn't been in house like the infrastructure on Idol is there.

958
00:47:01,520 --> 00:47:04,520
Speaker 1: They it's like a similar line. They know what to do,

959
00:47:04,719 --> 00:47:08,360
Speaker 1: you know. There the voice feels so much more TV,

960
00:47:08,840 --> 00:47:11,840
Speaker 1: but yet it also feels a lot more from my taste,

961
00:47:11,840 --> 00:47:15,120
Speaker 1: a lot more authentic to an artist than maybe being

962
00:47:15,160 --> 00:47:17,440
Speaker 1: on an Idol. Maybe I'm going to hate myself for

963
00:47:17,480 --> 00:47:20,640
Speaker 1: saying that tomorrow, but I have friends have been on both,

964
00:47:20,680 --> 00:47:22,480
Speaker 1: and I think the two of them and they I

965
00:47:22,480 --> 00:47:25,239
Speaker 1: think they both say the same thing. I can only

966
00:47:25,280 --> 00:47:28,760
Speaker 1: say that from experience the short time that I was there,

967
00:47:28,760 --> 00:47:30,960
Speaker 1: where I felt like I was treated like an artist,

968
00:47:31,520 --> 00:47:34,279
Speaker 1: not a contestant on a game show, whereas I think

969
00:47:34,320 --> 00:47:36,400
Speaker 1: a lot of people that are on reality TV shows

970
00:47:36,440 --> 00:47:38,439
Speaker 1: sometimes come away feeling like I'm not even a person,

971
00:47:38,520 --> 00:47:41,520
Speaker 1: I'm just like a casting here. They lock you away

972
00:47:41,520 --> 00:47:44,440
Speaker 1: for a long time. No, no, oh, they do now,

973
00:47:44,920 --> 00:47:46,680
Speaker 1: they lock you away for a long time. Well, maybe

974
00:47:46,680 --> 00:47:48,960
Speaker 1: they do if you win, but I was like, free

975
00:47:49,000 --> 00:47:51,719
Speaker 1: and clear. They lock you away now, like I have

976
00:47:51,760 --> 00:47:54,040
Speaker 1: a buddy, even if you don't do well, and they

977
00:47:54,080 --> 00:47:56,000
Speaker 1: lock away before the traven starts if you're one of

978
00:47:56,000 --> 00:47:58,839
Speaker 1: the select. Because I have a friend, a guy friend

979
00:47:58,880 --> 00:48:01,080
Speaker 1: who ended up being in the top fine like being

980
00:48:01,280 --> 00:48:03,040
Speaker 1: and even before he went on the show, they put

981
00:48:03,080 --> 00:48:05,760
Speaker 1: him a hotel for months before the show even started.

982
00:48:06,880 --> 00:48:09,200
Speaker 1: And so but again, it's become bigger, it's become more

983
00:48:09,200 --> 00:48:11,719
Speaker 1: of a thing. Who knows she's a one two? Season three?

984
00:48:11,760 --> 00:48:14,160
Speaker 1: If it's really going to become a thing, who did

985
00:48:14,200 --> 00:48:15,720
Speaker 1: you lose to in the battle on do you remember

986
00:48:15,760 --> 00:48:18,160
Speaker 1: this girl? Named this really sweet girl who was in

987
00:48:18,320 --> 00:48:22,080
Speaker 1: She was the nursing student from such and such Mattai.

988
00:48:22,520 --> 00:48:25,040
Speaker 1: Her name was Mattie and she was precious. And what

989
00:48:25,120 --> 00:48:28,080
Speaker 1: do you sing? We sang um Sarah Barella's love song,

990
00:48:28,400 --> 00:48:30,680
Speaker 1: which when I was given that song because I was

991
00:48:30,719 --> 00:48:34,399
Speaker 1: on team Adam, Um, why did you? I didn't choose

992
00:48:34,400 --> 00:48:36,040
Speaker 1: he chose me and he was the only person that

993
00:48:36,120 --> 00:48:38,680
Speaker 1: his chair is only one that turned for you? Adam was, yeah,

994
00:48:38,719 --> 00:48:41,200
Speaker 1: were you disappointed that Blake's chair didn't turn? Or were

995
00:48:41,200 --> 00:48:45,279
Speaker 1: you just looking for any chair to turn? I can

996
00:48:45,320 --> 00:48:47,880
Speaker 1: you cuss on the ship? I was so scared shitless

997
00:48:47,960 --> 00:48:51,720
Speaker 1: to do it that I was like, I was doing

998
00:48:51,760 --> 00:48:54,799
Speaker 1: that just I said yes, I would go to this

999
00:48:54,880 --> 00:48:57,640
Speaker 1: first tryout so that I could have peace that I

1000
00:48:57,719 --> 00:48:59,640
Speaker 1: wasn't supposed to do it, because that's how I am.

1001
00:48:59,680 --> 00:49:03,160
Speaker 1: I'm could just just say yes, and it's worked for

1002
00:49:03,239 --> 00:49:05,240
Speaker 1: me long term. When I really look back, I'm willing

1003
00:49:05,280 --> 00:49:07,320
Speaker 1: to go fail at a bunch of things. It's okay,

1004
00:49:07,360 --> 00:49:09,600
Speaker 1: that doesn't affect me. So I was willing to go

1005
00:49:09,640 --> 00:49:12,319
Speaker 1: try this thing that scared me so much, but I

1006
00:49:12,400 --> 00:49:15,759
Speaker 1: kept making it and they made me like so I

1007
00:49:15,800 --> 00:49:18,960
Speaker 1: was like, oh God, now I'm singing for Oh God,

1008
00:49:18,960 --> 00:49:21,400
Speaker 1: now I'm singing for Carson. Oh I'm getting really close.

1009
00:49:21,440 --> 00:49:23,920
Speaker 1: Now I gotta really do this. Now, I've like signed paperwork.

1010
00:49:24,280 --> 00:49:26,120
Speaker 1: So when I went out, I was like, I just

1011
00:49:26,160 --> 00:49:29,000
Speaker 1: have to get through it. That was my thing. I

1012
00:49:29,040 --> 00:49:32,520
Speaker 1: can't cry, like like honestly, I was so scared. I

1013
00:49:32,560 --> 00:49:35,239
Speaker 1: hate performing. That's another reason I'm never going to be

1014
00:49:35,320 --> 00:49:39,520
Speaker 1: an artist, or was never gonna be. And I don't

1015
00:49:39,600 --> 00:49:42,160
Speaker 1: think that I'm a great live singer. I think that, yeah,

1016
00:49:42,160 --> 00:49:44,440
Speaker 1: And I had just come off that manager telling me

1017
00:49:44,480 --> 00:49:46,400
Speaker 1: I wasn't gonna be an artist, and probably for that

1018
00:49:46,440 --> 00:49:49,320
Speaker 1: reason because I'm not good at performing live with a

1019
00:49:49,400 --> 00:49:52,759
Speaker 1: band and stuff. So having to go out on live

1020
00:49:52,800 --> 00:49:55,560
Speaker 1: TV in my mind and my weird sick minds like, well,

1021
00:49:55,600 --> 00:49:57,520
Speaker 1: that's no better way to figure out if you got

1022
00:49:57,560 --> 00:50:00,000
Speaker 1: what it takes, and I go do it on national television.

1023
00:50:00,400 --> 00:50:02,160
Speaker 1: But I never thought I would make it. I still

1024
00:50:02,200 --> 00:50:04,239
Speaker 1: never thought i'd do it. I mean, so when he

1025
00:50:04,320 --> 00:50:07,239
Speaker 1: hit the button, I think I came back from that

1026
00:50:07,320 --> 00:50:11,839
Speaker 1: whole experience because he hit the button as like, oh

1027
00:50:11,880 --> 00:50:15,120
Speaker 1: my god, if that can happen, anything can happen. That

1028
00:50:15,280 --> 00:50:17,279
Speaker 1: goes to show how little faith I had that I

1029
00:50:17,280 --> 00:50:20,080
Speaker 1: would actually make the show. So when I made the show,

1030
00:50:20,120 --> 00:50:24,839
Speaker 1: I was like, I can totally write songs. It's while

1031
00:50:24,920 --> 00:50:27,239
Speaker 1: that that turned into writing automatic, because can we look

1032
00:50:27,239 --> 00:50:28,520
Speaker 1: back at a lot of things in our life and

1033
00:50:28,520 --> 00:50:32,279
Speaker 1: how we got here, like you going okay and then

1034
00:50:32,360 --> 00:50:33,920
Speaker 1: telling her she should go on the show, and then

1035
00:50:33,960 --> 00:50:37,040
Speaker 1: you two writing together, and then the next thing, you

1036
00:50:37,040 --> 00:50:45,520
Speaker 1: know this, that's such a magical, such a magical chapter

1037
00:50:45,600 --> 00:50:49,799
Speaker 1: in my life. When I looked back on it, it's

1038
00:50:49,840 --> 00:50:52,879
Speaker 1: really humbling. Because do you think that any anybody's smart

1039
00:50:52,960 --> 00:50:54,759
Speaker 1: enough to try to write their own story like that?

1040
00:50:55,760 --> 00:50:58,200
Speaker 1: I think it's kind of impossible to do to write

1041
00:50:58,239 --> 00:51:01,560
Speaker 1: your own story. Okay, okay, let me talk about this

1042
00:51:01,600 --> 00:51:03,600
Speaker 1: because I think you're on the verge of another one here,

1043
00:51:04,080 --> 00:51:07,560
Speaker 1: this song that you wrote for Lee Bryce Boy, So

1044
00:51:07,640 --> 00:51:09,520
Speaker 1: tell me about soon. Did you write this with? I

1045
00:51:09,560 --> 00:51:11,600
Speaker 1: wrote this with John Knight, who also write We Arrest

1046
00:51:11,680 --> 00:51:18,040
Speaker 1: with just You're gonna dry the kids parts rob way

1047
00:51:18,160 --> 00:51:22,880
Speaker 1: too fast. You're gonna drop the ball, get the all

1048
00:51:22,920 --> 00:51:28,160
Speaker 1: and pring some hard to that class. I know you will. Did.

1049
00:51:28,239 --> 00:51:32,440
Speaker 1: You're a part of me and a part of you

1050
00:51:34,080 --> 00:51:40,360
Speaker 1: who will always be boy. So tell me about this

1051
00:51:40,360 --> 00:51:42,239
Speaker 1: one here? Because it's this right now, this is a

1052
00:51:42,280 --> 00:51:45,600
Speaker 1: big buy song. It's like, yeah, it is, well it

1053
00:51:45,680 --> 00:51:47,480
Speaker 1: is in my world, but that's just because I'm my

1054
00:51:47,520 --> 00:51:50,160
Speaker 1: cousins are calling me about it. I mean I don't know.

1055
00:51:50,719 --> 00:51:54,960
Speaker 1: Um uh. Last song I wrote before I had my son,

1056
00:51:56,200 --> 00:51:57,839
Speaker 1: when did you know it was going to be a son?

1057
00:51:58,000 --> 00:51:59,840
Speaker 1: So I knew I was having a boy. Um, And

1058
00:52:00,000 --> 00:52:01,680
Speaker 1: I was writing with John Night that day is my

1059
00:52:01,760 --> 00:52:03,600
Speaker 1: last day on the books. I was not thirty nine

1060
00:52:03,600 --> 00:52:07,200
Speaker 1: weeks pregnant. I was huge, and I had like I

1061
00:52:07,360 --> 00:52:09,680
Speaker 1: kept throwing out ideas and John was like, no, that's

1062
00:52:09,680 --> 00:52:11,359
Speaker 1: not I don't like that at no, no, no, and

1063
00:52:11,400 --> 00:52:13,440
Speaker 1: he was like, you know what, I think. He was

1064
00:52:13,520 --> 00:52:16,640
Speaker 1: kind of like, Nicole doesn't really have any good ideas today.

1065
00:52:17,080 --> 00:52:18,960
Speaker 1: You know what, we should just do no pressure. We

1066
00:52:18,960 --> 00:52:21,759
Speaker 1: should just write a song for your son, like because

1067
00:52:21,840 --> 00:52:23,239
Speaker 1: John has a son at the time, he had a

1068
00:52:23,239 --> 00:52:27,840
Speaker 1: two year old son, and and so we just wrote that.

1069
00:52:27,960 --> 00:52:31,360
Speaker 1: I mean we both were bawling. And then the craziest

1070
00:52:31,400 --> 00:52:34,479
Speaker 1: part of the whole thing to me, but that song

1071
00:52:34,600 --> 00:52:36,360
Speaker 1: is two weeks later the A c M s were on.

1072
00:52:37,920 --> 00:52:40,279
Speaker 1: I had my son like a week later, ten days later,

1073
00:52:40,840 --> 00:52:42,920
Speaker 1: four days after I had my son. We win Song

1074
00:52:43,000 --> 00:52:44,080
Speaker 1: of the Year at the a c M S for

1075
00:52:44,080 --> 00:52:47,759
Speaker 1: Automatic and I can't be there to win Song of

1076
00:52:47,800 --> 00:52:51,600
Speaker 1: the Year because I had just had this boy, and

1077
00:52:51,640 --> 00:52:54,000
Speaker 1: so now it's like I hate to even say it

1078
00:52:54,000 --> 00:52:56,719
Speaker 1: out loud, but everyone's like texting me going like, so yeah,

1079
00:52:56,719 --> 00:52:59,560
Speaker 1: a song of your material and I'm like, how I'm

1080
00:52:59,560 --> 00:53:01,040
Speaker 1: only going to say because I want to put it

1081
00:53:01,040 --> 00:53:03,120
Speaker 1: out in the universe, but like, how amazing would it

1082
00:53:03,120 --> 00:53:04,880
Speaker 1: be to be nominated for Song of the Year and

1083
00:53:04,920 --> 00:53:08,719
Speaker 1: like get to take my sons my date. The guy

1084
00:53:08,760 --> 00:53:11,160
Speaker 1: that kept me from you know, because that that year

1085
00:53:11,200 --> 00:53:13,200
Speaker 1: at the SAMs was like a Texas when it was

1086
00:53:13,239 --> 00:53:18,480
Speaker 1: like the Guinness's million people there anniversary doesn't get it.

1087
00:53:18,560 --> 00:53:20,359
Speaker 1: You can't think, You can't dream of the bigger moment

1088
00:53:20,400 --> 00:53:22,200
Speaker 1: for a songwriter. And I wasn't there, you know, because

1089
00:53:22,239 --> 00:53:24,120
Speaker 1: of my son. So this is like my this is

1090
00:53:24,160 --> 00:53:27,640
Speaker 1: my like come back. Well, congratulations on that song, because

1091
00:53:27,719 --> 00:53:30,000
Speaker 1: right now it's the song that everybody's tweeting and talking

1092
00:53:30,000 --> 00:53:31,759
Speaker 1: about and texting about it, and you know how it's

1093
00:53:31,760 --> 00:53:36,000
Speaker 1: who knows, there's no it could do love Triangle. You know.

1094
00:53:36,200 --> 00:53:39,439
Speaker 1: If Lee Bray sang love Triangle, that's a hit man,

1095
00:53:39,880 --> 00:53:41,960
Speaker 1: I know, and again not slightly toward Raylan at all.

1096
00:53:42,040 --> 00:53:43,880
Speaker 1: It's just tough to be a female and have a ballot.

1097
00:53:44,280 --> 00:53:47,759
Speaker 1: It won't be. It's better than it was a year ago,

1098
00:53:47,840 --> 00:53:49,200
Speaker 1: and in a year it's going to be even better

1099
00:53:49,200 --> 00:53:52,760
Speaker 1: than it is now. But there just is no farm system.

1100
00:53:52,960 --> 00:53:54,920
Speaker 1: There is now starting to come back with female talent

1101
00:53:55,120 --> 00:53:56,840
Speaker 1: because they just abandoned it. They were just like, you

1102
00:53:56,840 --> 00:53:58,480
Speaker 1: know what, this is what was paying the bills right now,

1103
00:53:58,719 --> 00:54:00,759
Speaker 1: Let's just have more sounds like this. Yes, and it's

1104
00:54:00,800 --> 00:54:03,759
Speaker 1: nobody's fault. When somebody does something successful, everybody wants to

1105
00:54:03,760 --> 00:54:05,480
Speaker 1: replicate it, and they also want to have success and

1106
00:54:05,520 --> 00:54:08,920
Speaker 1: make money bottom line quarter a quarter, a quarter, um so.

1107
00:54:09,040 --> 00:54:11,640
Speaker 1: But yes, I think it's just such a love trying

1108
00:54:11,640 --> 00:54:13,200
Speaker 1: out such a good song. I hated seeing that one.

1109
00:54:13,239 --> 00:54:15,640
Speaker 1: Go let me see what other do I like? What

1110
00:54:15,880 --> 00:54:17,479
Speaker 1: are the songs do I like here? That? Ever? First

1111
00:54:17,480 --> 00:54:20,000
Speaker 1: of all Halloween from Walker, which we talked about earlier. Like,

1112
00:54:20,960 --> 00:54:23,279
Speaker 1: I'll just brag on him as much as we can.

1113
00:54:24,040 --> 00:54:27,360
Speaker 1: I can't brag on him anymore. We've been on the

1114
00:54:27,400 --> 00:54:31,440
Speaker 1: road together five months after I listened to that his

1115
00:54:31,480 --> 00:54:34,160
Speaker 1: record more than any other record last year period, but

1116
00:54:35,280 --> 00:54:38,239
Speaker 1: I can't. Whenever it was like, hey, you should have you,

1117
00:54:38,440 --> 00:54:40,040
Speaker 1: I was like, I know her from something other than

1118
00:54:40,080 --> 00:54:42,840
Speaker 1: I couldn't remember what it was, but it was having

1119
00:54:42,840 --> 00:54:44,800
Speaker 1: the song and seeing your name scrolling across the screen

1120
00:54:44,840 --> 00:54:48,319
Speaker 1: so many times when I'm listening to so flatter. When

1121
00:54:48,320 --> 00:54:49,799
Speaker 1: he kept me on it and he said he's gonna

1122
00:54:49,840 --> 00:54:52,239
Speaker 1: put it up, I mean, and I know he hasn't

1123
00:54:52,239 --> 00:54:54,120
Speaker 1: like put out his record record yet, and I'm sure

1124
00:54:54,160 --> 00:54:59,560
Speaker 1: they're going to find somebody amazing, but and I'm excited

1125
00:54:59,600 --> 00:55:02,480
Speaker 1: about up, but like, there's just something magical about that

1126
00:55:02,480 --> 00:55:05,479
Speaker 1: little demo to me. It's a demo, I mean, yeah,

1127
00:55:05,520 --> 00:55:08,200
Speaker 1: I mean it's a it's a shot shot song. Yeah,

1128
00:55:11,000 --> 00:55:14,440
Speaker 1: it's such a like there's an Australian girl that that

1129
00:55:14,600 --> 00:55:17,600
Speaker 1: I know well. And she opened and then Walker's the

1130
00:55:17,640 --> 00:55:19,919
Speaker 1: feature music performer. Then I do stand up for an hour.

1131
00:55:20,400 --> 00:55:22,600
Speaker 1: We just finished Walker did where Carly Pearce is going

1132
00:55:22,640 --> 00:55:24,360
Speaker 1: to do it for now for the next four months.

1133
00:55:24,360 --> 00:55:27,640
Speaker 1: But Walker has been the guy and so I remember

1134
00:55:27,680 --> 00:55:30,200
Speaker 1: the first day the tore Walker asks Nikita Carmen, who's

1135
00:55:30,200 --> 00:55:33,000
Speaker 1: an Australian singer songwriter. He goes, hey, um, I do

1136
00:55:33,080 --> 00:55:34,839
Speaker 1: a song called Halloween do you show? I know every

1137
00:55:34,840 --> 00:55:37,800
Speaker 1: word of it? And I was like, wow, you know what,

1138
00:55:38,200 --> 00:55:43,719
Speaker 1: Like there, Walker's awesome. This song is awesome. So he

1139
00:55:43,800 --> 00:55:48,399
Speaker 1: had that idea, that concept sessed out way a lot

1140
00:55:48,400 --> 00:55:49,920
Speaker 1: of it sessed out when I walked down that day.

1141
00:55:49,920 --> 00:55:52,400
Speaker 1: I mean, he's just I would love to see what

1142
00:55:52,480 --> 00:55:56,400
Speaker 1: his brain looks like. Yeah, it's crazy how it works.

1143
00:55:56,880 --> 00:55:59,480
Speaker 1: Here's a funny, embarrassing story and a humble bragg At

1144
00:55:59,520 --> 00:56:01,600
Speaker 1: the same time, Walker and I were in Which Tall

1145
00:56:01,680 --> 00:56:04,759
Speaker 1: We did two shows at the or film in which

1146
00:56:04,760 --> 00:56:07,439
Speaker 1: it talks. We did two nights, and so I text

1147
00:56:07,560 --> 00:56:10,520
Speaker 1: him because we were gonna write on that Saturday. We

1148
00:56:10,560 --> 00:56:12,759
Speaker 1: got into Friday night, and so we had all day

1149
00:56:12,760 --> 00:56:14,160
Speaker 1: Saturday in the same town. And rarely do we need

1150
00:56:14,160 --> 00:56:15,839
Speaker 1: two shows in the same place, but it's we told

1151
00:56:15,840 --> 00:56:17,920
Speaker 1: at theater both nights. So we were like, we just stayed.

1152
00:56:18,080 --> 00:56:19,439
Speaker 1: So I sent him to Texas, Hey, do you still

1153
00:56:19,440 --> 00:56:22,399
Speaker 1: want to write? And get a message back? And then

1154
00:56:22,800 --> 00:56:25,040
Speaker 1: I finally got a message back It's like yeah when

1155
00:56:25,320 --> 00:56:27,399
Speaker 1: and I was like, this is why would Walker say win?

1156
00:56:27,480 --> 00:56:30,759
Speaker 1: We're like four hotel rooms down from each other. And

1157
00:56:30,800 --> 00:56:35,440
Speaker 1: so I look and actually texted Clay Walker not Walker

1158
00:56:35,520 --> 00:56:39,399
Speaker 1: has and then and then, and to me, I kind

1159
00:56:39,400 --> 00:56:41,120
Speaker 1: of nerd out Clay Walker because when I was a kid,

1160
00:56:41,120 --> 00:56:43,480
Speaker 1: that's what I listened to on the radio, nineties Country

1161
00:56:43,600 --> 00:56:46,879
Speaker 1: is Life. Yes, And so I was like, Clay, sorry, dude,

1162
00:56:46,880 --> 00:56:49,600
Speaker 1: I'm in Kansas with a Walker. We were gonna write today,

1163
00:56:49,920 --> 00:56:52,320
Speaker 1: And so I text Walker and I was like, every

1164
00:56:52,320 --> 00:56:54,839
Speaker 1: that was kind of embarrassing, but still who gets who

1165
00:56:54,840 --> 00:56:56,719
Speaker 1: has Walker's and Clay Walker on their phones? And like

1166
00:56:56,880 --> 00:56:58,480
Speaker 1: it's a pretty cool life. No, I was gonna say,

1167
00:56:58,560 --> 00:57:00,920
Speaker 1: that's an awesome story that you should never forget. It's

1168
00:57:00,920 --> 00:57:04,279
Speaker 1: a pretty cool alive And so now yeah, it's it's

1169
00:57:04,280 --> 00:57:07,359
Speaker 1: cool and Walker's Yeah, whatever, we can talk about Walker forever.

1170
00:57:07,400 --> 00:57:10,560
Speaker 1: I want to play some more stuff here. Um, how

1171
00:57:10,640 --> 00:57:12,720
Speaker 1: about Because I'm just big fans of some of these people.

1172
00:57:13,040 --> 00:57:15,719
Speaker 1: For example, one of the first ever one of these

1173
00:57:15,760 --> 00:57:17,680
Speaker 1: that I did, when I start talking about songwriters, even

1174
00:57:17,680 --> 00:57:20,280
Speaker 1: before Ryan Heard had his project out, I was like, Ryan,

1175
00:57:20,360 --> 00:57:22,520
Speaker 1: you have to come up because I'm just a fan

1176
00:57:22,600 --> 00:57:25,640
Speaker 1: of Ryan as a person and I love his songwriting

1177
00:57:25,640 --> 00:57:27,200
Speaker 1: and now I love his music that he's put out.

1178
00:57:27,560 --> 00:57:39,640
Speaker 1: But you guys will hold you back, Yeah a little bit.

1179
00:57:39,680 --> 00:57:42,880
Speaker 1: I don't know. Him that well, we actually just wrote

1180
00:57:42,880 --> 00:57:45,200
Speaker 1: the other day. It's like probably the first time we

1181
00:57:45,240 --> 00:57:48,640
Speaker 1: had written since we wrote that song. Um, he is

1182
00:57:49,560 --> 00:57:53,920
Speaker 1: so talented. He's one with the university is he is.

1183
00:57:54,000 --> 00:57:55,800
Speaker 1: It's such a It's always whiplash for me because I

1184
00:57:55,880 --> 00:57:59,000
Speaker 1: go from like my domestic mom world and then I

1185
00:57:59,040 --> 00:58:00,840
Speaker 1: walk in. I'm like, here's a rock star. You know.

1186
00:58:00,880 --> 00:58:02,840
Speaker 1: He just has that presence about it. It's like, hey,

1187
00:58:02,840 --> 00:58:12,600
Speaker 1: it's so cool. Yeah, we get you, kiss you good back.

1188
00:58:13,080 --> 00:58:14,840
Speaker 1: Someone a band that I've been fronts with for a

1189
00:58:14,880 --> 00:58:17,000
Speaker 1: long time, back when I lived in Texas and before

1190
00:58:17,040 --> 00:58:19,960
Speaker 1: they kind of did the Nashville thing was Mike Eli

1191
00:58:20,040 --> 00:58:23,880
Speaker 1: Eli Young Best. You guys throw this one saltwater gospel,

1192
00:58:25,400 --> 00:58:33,280
Speaker 1: so good about that song would be better? You know,

1193
00:58:33,560 --> 00:58:36,560
Speaker 1: those guys have a It's a weird thing for Texas artists.

1194
00:58:36,840 --> 00:58:39,880
Speaker 1: And I can tell you firsthand because I still live

1195
00:58:39,920 --> 00:58:42,120
Speaker 1: in Texas part tim like I live in Austin's. I

1196
00:58:42,200 --> 00:58:45,720
Speaker 1: love Austin, like God, no better place. I got lucky

1197
00:58:46,080 --> 00:58:49,960
Speaker 1: that Austin and Nashville the two cities that I get

1198
00:58:49,960 --> 00:58:53,360
Speaker 1: to live and working like they're the best. And so

1199
00:58:55,000 --> 00:58:58,320
Speaker 1: with the Texas artist here's the weird thing, like any

1200
00:58:58,360 --> 00:59:02,440
Speaker 1: Texas artists that tries for mainstream success gets screamed abt

1201
00:59:02,440 --> 00:59:04,920
Speaker 1: sell out, sell out, so that there's like this weird

1202
00:59:04,960 --> 00:59:07,760
Speaker 1: thing where they and I'm talking about Eli Young band specifically,

1203
00:59:07,800 --> 00:59:09,640
Speaker 1: but where they have to like cater back to the

1204
00:59:09,640 --> 00:59:12,600
Speaker 1: Texas country while going I'm not a sell loud, I'm

1205
00:59:12,600 --> 00:59:16,240
Speaker 1: still doing all the same red dirt stuff, and it

1206
00:59:16,280 --> 00:59:20,440
Speaker 1: does impair them a bit. It's um, I mean, I'm

1207
00:59:20,480 --> 00:59:23,080
Speaker 1: not from Texas, but growing up in Kansas, all those

1208
00:59:23,080 --> 00:59:24,880
Speaker 1: Texas bands when I was in high school, that's what

1209
00:59:24,920 --> 00:59:27,360
Speaker 1: all my that's what all my friends listened to. The

1210
00:59:27,360 --> 00:59:29,800
Speaker 1: Pat Green and the Jason Bullan Cross Canadian Red like

1211
00:59:29,840 --> 00:59:34,120
Speaker 1: ccr A. I mean, there's so many of them, and

1212
00:59:34,160 --> 00:59:37,240
Speaker 1: I I kind of got to know Pat a little

1213
00:59:37,240 --> 00:59:38,960
Speaker 1: bit after I moved here, like and then I was

1214
00:59:39,000 --> 00:59:43,080
Speaker 1: like I was totally you know, seventeen again, like fan fan,

1215
00:59:43,120 --> 00:59:45,600
Speaker 1: growing out and just watching that happened with Wave on

1216
00:59:45,680 --> 00:59:48,160
Speaker 1: Wave and like what that did for him and didn't

1217
00:59:48,200 --> 00:59:49,840
Speaker 1: do for him, you know, it just it helped him

1218
00:59:49,840 --> 00:59:51,440
Speaker 1: and hurt him at the same time. I remember what

1219
00:59:51,480 --> 00:59:54,480
Speaker 1: happening because Pat Green was Texas still and he is

1220
00:59:54,800 --> 00:59:57,320
Speaker 1: and he still is, and we just have pat On

1221
00:59:57,360 --> 00:59:59,040
Speaker 1: the radio show Texas all the time, and I was

1222
00:59:59,080 --> 01:00:00,560
Speaker 1: doing Tough for You at time, but I would have

1223
01:00:00,600 --> 01:00:03,240
Speaker 1: pad On and you know Eli Young and Dirk's. I

1224
01:00:03,320 --> 01:00:04,840
Speaker 1: was a country fan and I would put these country

1225
01:00:04,880 --> 01:00:06,720
Speaker 1: artists on a national syndicated pop shure. That's why ended

1226
01:00:06,800 --> 01:00:08,360
Speaker 1: up be doing country because it was just better for me.

1227
01:00:09,080 --> 01:00:11,880
Speaker 1: But when wave on wave of hit, everyone's like, oh,

1228
01:00:11,920 --> 01:00:14,840
Speaker 1: what a sell out, and it's like, no, what a

1229
01:00:14,960 --> 01:00:16,560
Speaker 1: sell out me? And you get to put more music

1230
01:00:16,600 --> 01:00:19,040
Speaker 1: out for more people. I feel bad for guys like

1231
01:00:19,080 --> 01:00:22,920
Speaker 1: Granger because here's Granger, the best guy, just just a

1232
01:00:22,920 --> 01:00:25,120
Speaker 1: phenomenal guy, still lives in Texas, and people like, oh,

1233
01:00:25,120 --> 01:00:27,320
Speaker 1: he's sell out. He's got a record deal. We got

1234
01:00:27,320 --> 01:00:29,640
Speaker 1: a record deal. It's not selling out. If you want

1235
01:00:29,680 --> 01:00:33,240
Speaker 1: to have a nicer life, you can still remain true,

1236
01:00:33,320 --> 01:00:35,520
Speaker 1: like I will always be an Arkansas razorback like in

1237
01:00:35,640 --> 01:00:37,560
Speaker 1: my blood. But you know I live in Nashville right now.

1238
01:00:37,560 --> 01:00:41,000
Speaker 1: That does mean I'm not an Arkansas razorback. You can bother.

1239
01:00:41,160 --> 01:00:43,600
Speaker 1: That part really bothers me because I love Texas and

1240
01:00:43,640 --> 01:00:45,680
Speaker 1: I love the people, and I have so many friends

1241
01:00:45,720 --> 01:00:49,320
Speaker 1: that do Texas country, but they there's an alienation at

1242
01:00:49,360 --> 01:00:51,400
Speaker 1: times where it's like some some of the artists like, well,

1243
01:00:51,400 --> 01:00:53,080
Speaker 1: if you like the natural artist, then you're not one

1244
01:00:53,120 --> 01:00:55,120
Speaker 1: of us. And it's why some of the arts do

1245
01:00:55,120 --> 01:00:57,800
Speaker 1: only want tor in Texas because they feel like everybody

1246
01:00:57,840 --> 01:01:02,200
Speaker 1: hates them. It's weird. Yeah, it's like two steps forward,

1247
01:01:02,240 --> 01:01:04,400
Speaker 1: one step back, or even one step forward two steps

1248
01:01:04,440 --> 01:01:07,160
Speaker 1: back on that stuff. So guys like Eli young Man

1249
01:01:07,280 --> 01:01:10,520
Speaker 1: make it. You're like, man, that's awesome because then they

1250
01:01:10,520 --> 01:01:14,240
Speaker 1: got there, they kept kept their Texas, got their Nashville,

1251
01:01:14,240 --> 01:01:15,400
Speaker 1: and I thought it would do it too, But they

1252
01:01:15,400 --> 01:01:17,640
Speaker 1: just have this two sides that are just pulling from

1253
01:01:17,640 --> 01:01:20,480
Speaker 1: both directions where I kind of felt bad for them.

1254
01:01:20,520 --> 01:01:21,880
Speaker 1: So I agree with that. I love the song would

1255
01:01:21,880 --> 01:01:27,040
Speaker 1: do better too that, but again I can't predict it.

1256
01:01:27,240 --> 01:01:32,760
Speaker 1: So let's see, let's see, let's see, let's see. Let

1257
01:01:32,760 --> 01:01:35,400
Speaker 1: me do one more. How about I think it's don

1258
01:01:35,400 --> 01:01:41,040
Speaker 1: gonna take a home hear? How'd you get in the

1259
01:01:41,120 --> 01:01:46,760
Speaker 1: lady a camp because of it ain't pretty? Um probably

1260
01:01:47,840 --> 01:01:52,640
Speaker 1: I don't actually remember. Actually, oh so my publisher. They

1261
01:01:52,640 --> 01:01:55,040
Speaker 1: were published by the same publisher that I was, um

1262
01:01:55,240 --> 01:01:58,000
Speaker 1: years ago. I've been at Warner Chapel the whole time.

1263
01:01:58,440 --> 01:02:00,800
Speaker 1: But they they were there and then they left. Now

1264
01:02:00,840 --> 01:02:04,280
Speaker 1: they're back. Um, but they kind of pitched a lot

1265
01:02:04,280 --> 01:02:07,280
Speaker 1: of my songs because we're all in the family together,

1266
01:02:07,320 --> 01:02:09,800
Speaker 1: and that's how it Ain't Pretty happened. But now I'm

1267
01:02:09,800 --> 01:02:12,640
Speaker 1: like super good friends with all of them, like family friends,

1268
01:02:12,640 --> 01:02:14,400
Speaker 1: Like they come over to our house for Halloween and

1269
01:02:14,640 --> 01:02:17,240
Speaker 1: our kids play that kind of thing. Um. In fact,

1270
01:02:17,320 --> 01:02:19,800
Speaker 1: when I play Heartbreak in my car, like my daughter's like,

1271
01:02:20,160 --> 01:02:23,120
Speaker 1: oh you wrote that with Easley's mommy. You know. It's

1272
01:02:23,600 --> 01:02:27,040
Speaker 1: that's my dynamic with them now. Um. And what's interesting

1273
01:02:27,160 --> 01:02:28,680
Speaker 1: is I thought it Ain't Pretty was going to be

1274
01:02:28,680 --> 01:02:31,480
Speaker 1: my first big hit, and it wasn't. And then right

1275
01:02:31,520 --> 01:02:34,160
Speaker 1: after that he asked about like the dynamic between Rodney

1276
01:02:34,160 --> 01:02:35,800
Speaker 1: and I. Rodney went out and wrote with them for

1277
01:02:35,800 --> 01:02:39,040
Speaker 1: the first time and wrote Bartender and he got The

1278
01:02:39,040 --> 01:02:44,400
Speaker 1: Big Lady a single, and um, I remember thinking, damn,

1279
01:02:44,400 --> 01:02:45,960
Speaker 1: if I'm not gonna get it, then I guess I

1280
01:02:46,040 --> 01:02:47,840
Speaker 1: guess I want you to get it, you know, like

1281
01:02:48,320 --> 01:02:52,840
Speaker 1: that's my consolation prizes again, as all the Dodts are connecting,

1282
01:02:52,880 --> 01:02:56,520
Speaker 1: you and Eric wrote it Ain't Pretty. Eric wrote Friday Night,

1283
01:02:57,240 --> 01:02:59,959
Speaker 1: which was on their record, which they did not cut

1284
01:03:00,000 --> 01:03:01,960
Speaker 1: as a single, and Eric said, hey, you might if

1285
01:03:01,960 --> 01:03:04,440
Speaker 1: I have it back, got it back cut it went

1286
01:03:04,520 --> 01:03:08,040
Speaker 1: number one. I mean, the whole world was weird and

1287
01:03:08,080 --> 01:03:12,040
Speaker 1: crazy and awesome and awful and amazing and terrible and

1288
01:03:12,360 --> 01:03:15,560
Speaker 1: you just never know. Son, It's all a long game,

1289
01:03:15,600 --> 01:03:18,280
Speaker 1: you know. You can't, like I said, you can't get

1290
01:03:18,320 --> 01:03:23,520
Speaker 1: one little disappointment dictate anything about your future. You just

1291
01:03:23,560 --> 01:03:26,240
Speaker 1: have to keep moving and keep writing more. Who'd you

1292
01:03:26,240 --> 01:03:28,760
Speaker 1: write with today? Do? Right? Today? Today? I wrote with

1293
01:03:29,160 --> 01:03:34,840
Speaker 1: Um Josh Kerr and Cassie Ashton. Cassie's this Girl that's

1294
01:03:34,880 --> 01:03:38,240
Speaker 1: on signed to Bethan Luke Laird's company, Creative Nation. We

1295
01:03:38,280 --> 01:03:43,080
Speaker 1: wrote a song called Wedding Cake and that girl is

1296
01:03:43,720 --> 01:03:47,160
Speaker 1: so much fun. Really, I know josh ka really well. Yeah,

1297
01:03:47,200 --> 01:03:48,640
Speaker 1: well he played guitar on the road with this for

1298
01:03:48,680 --> 01:03:51,600
Speaker 1: a long time and I'm on Black River. Oh yeah

1299
01:03:51,640 --> 01:03:54,840
Speaker 1: that's right. So yeah, so we wrote, we wrote, and

1300
01:03:54,840 --> 01:03:58,600
Speaker 1: then Cassie left, and then this other amazing artist named

1301
01:03:58,600 --> 01:04:01,080
Speaker 1: Emily Wiseman came in and we had to tweak another

1302
01:04:01,160 --> 01:04:04,680
Speaker 1: song UM that we had written with. So Emily's his

1303
01:04:04,800 --> 01:04:08,120
Speaker 1: girlfriend right now? Yeah, I was like another amazing artist,

1304
01:04:08,160 --> 01:04:11,120
Speaker 1: like the Emily's girlfriend. Everybody knows that. I guess. Oh yeah, yeah,

1305
01:04:11,160 --> 01:04:14,120
Speaker 1: it's out there. Yeah, oh yeah, I mean their Instagram

1306
01:04:14,240 --> 01:04:16,720
Speaker 1: shows it. By the way, you don't have Twitter, which

1307
01:04:16,720 --> 01:04:20,040
Speaker 1: is weird. Why how can you look don't I would

1308
01:04:20,120 --> 01:04:22,000
Speaker 1: get news in no other way. I don't know. I

1309
01:04:22,040 --> 01:04:25,200
Speaker 1: think I just um, I think it was a minute

1310
01:04:25,200 --> 01:04:28,760
Speaker 1: when I had a like, had a log in issue

1311
01:04:29,040 --> 01:04:32,520
Speaker 1: for some reason. Quit and I was just like, you

1312
01:04:32,560 --> 01:04:35,439
Speaker 1: know what, I love Instagram so much, and I love

1313
01:04:35,560 --> 01:04:39,920
Speaker 1: taking pictures like like I was the yearbook editor, loved

1314
01:04:39,960 --> 01:04:42,480
Speaker 1: taking pictures like I could care I carry a camera

1315
01:04:42,520 --> 01:04:45,480
Speaker 1: all the time, you know. Um, So that was just

1316
01:04:45,800 --> 01:04:48,720
Speaker 1: a good cleaning of the closet. On that one. I

1317
01:04:48,760 --> 01:04:51,720
Speaker 1: was just like, yeah, go away. I just didn't have

1318
01:04:51,800 --> 01:04:54,960
Speaker 1: enough time for it. Well, I appreciate you coming by,

1319
01:04:55,000 --> 01:04:57,840
Speaker 1: thanks for having me. My mom's going to think that

1320
01:04:57,920 --> 01:05:01,400
Speaker 1: I'm I've so made it. Now. Does your mom get

1321
01:05:01,400 --> 01:05:04,640
Speaker 1: to hear the show where she lives my radio show, Yes,

1322
01:05:05,320 --> 01:05:06,760
Speaker 1: because that's one of my favorite places to go in

1323
01:05:06,800 --> 01:05:08,600
Speaker 1: the whole world. Which saw that's what we just sent to.

1324
01:05:08,720 --> 01:05:11,240
Speaker 1: I mean, I'm telling you it is degree. Oh. My

1325
01:05:11,320 --> 01:05:13,960
Speaker 1: show would not be nationally syndicated without which Dock Kansas,

1326
01:05:14,440 --> 01:05:17,400
Speaker 1: Well probably my mom. My mom's probably just probably has

1327
01:05:17,520 --> 01:05:20,520
Speaker 1: going on twenty seven radio, you know, devices in the

1328
01:05:20,560 --> 01:05:22,440
Speaker 1: house at the same time. And when you say Hutchinson,

1329
01:05:22,520 --> 01:05:25,120
Speaker 1: like I know the area because I guess twelve years

1330
01:05:25,120 --> 01:05:27,240
Speaker 1: or so ago I went and not that you even

1331
01:05:27,280 --> 01:05:29,160
Speaker 1: care about since it is your hometown. I'll tell you.

1332
01:05:29,800 --> 01:05:32,080
Speaker 1: I went and begged a station on which put my

1333
01:05:32,080 --> 01:05:34,520
Speaker 1: show on, and I paid for everything, Like I was like,

1334
01:05:34,720 --> 01:05:36,880
Speaker 1: I have this new technology I just bought trying to

1335
01:05:36,920 --> 01:05:38,479
Speaker 1: figure it out. I'll pay for everything. All the phone

1336
01:05:38,480 --> 01:05:40,840
Speaker 1: lines all don't pay me anything. And the very first

1337
01:05:40,840 --> 01:05:43,560
Speaker 1: station to ever pick up my show on syndication was Whichtock, Kansas.

1338
01:05:44,120 --> 01:05:47,120
Speaker 1: And every year I go back to three sometimes four times,

1339
01:05:47,440 --> 01:05:49,919
Speaker 1: which I just did two nights at the Oar film there,

1340
01:05:49,920 --> 01:05:51,840
Speaker 1: and then I'm going back to play My band is

1341
01:05:51,880 --> 01:05:54,280
Speaker 1: the Raging Gas. Were playing at festival with Granger in

1342
01:05:54,320 --> 01:05:56,960
Speaker 1: like three weeks. Like I can't get enough at that place,

1343
01:05:57,240 --> 01:05:59,240
Speaker 1: and for some reason they keep having me back. I

1344
01:05:59,280 --> 01:06:01,880
Speaker 1: love it there, Well, I love you for loving it.

1345
01:06:01,920 --> 01:06:06,560
Speaker 1: We're actually building a house there, so I'll come and

1346
01:06:06,560 --> 01:06:09,920
Speaker 1: eat dinner. I do cook, yeah, yeah, I cook like

1347
01:06:09,960 --> 01:06:13,200
Speaker 1: a Midwestern though, so you cook chicken friedes well not

1348
01:06:13,240 --> 01:06:16,480
Speaker 1: fried that feels more Southern, but just like steak and potatoes,

1349
01:06:16,640 --> 01:06:20,520
Speaker 1: like meat patoes all day long. Well, I appreciate you

1350
01:06:20,600 --> 01:06:23,200
Speaker 1: coming by. Everybody was like, you have to have our

1351
01:06:23,280 --> 01:06:25,360
Speaker 1: She's amazing. You've got no bad reviews and everybody gets

1352
01:06:25,360 --> 01:06:27,400
Speaker 1: at least one bad review, right, Mike, Yeah, everybody gets

1353
01:06:27,360 --> 01:06:30,200
Speaker 1: at least one bad review on your yelp was amazing.

1354
01:06:30,240 --> 01:06:33,720
Speaker 1: It was spotless. Yeah it was, Yeah, it was. It

1355
01:06:33,800 --> 01:06:40,120
Speaker 1: was basically the Chipotle of songwriters. Like had liked it

1356
01:06:40,160 --> 01:06:41,880
Speaker 1: on the news, I'd be like, oh there's food pointing

1357
01:06:41,880 --> 01:06:45,000
Speaker 1: and Chipotle, Chipotle, Chippole, I need Chipotle, like it worked

1358
01:06:45,040 --> 01:06:47,680
Speaker 1: like that. Well, thank you so much for having me.

1359
01:06:47,760 --> 01:06:52,600
Speaker 1: Congratulations on just Man. You got some big songs and

1360
01:06:52,640 --> 01:06:55,720
Speaker 1: I think, yes, you got some comment this boy from

1361
01:06:55,760 --> 01:06:57,480
Speaker 1: Lee Bryce, Like I think in a year we look

1362
01:06:57,520 --> 01:06:59,480
Speaker 1: back at this, we're gonna we're talking about when boy

1363
01:06:59,560 --> 01:07:03,280
Speaker 1: just was at least so Elsten And I'm not the jinks.

1364
01:07:03,320 --> 01:07:05,720
Speaker 1: I've said too many things that I went right, I'm

1365
01:07:05,720 --> 01:07:10,160
Speaker 1: not the drinks, I Mike, I've actually they're yeah yeah, yeah, um, well,

1366
01:07:10,160 --> 01:07:12,760
Speaker 1: thank you for coming buy. We really appreciating all right,

1367
01:07:12,960 --> 01:07:18,160
Speaker 1: and that's a rap. What episode is Mike one and

1368
01:07:19,320 --> 01:07:23,560
Speaker 1: thanks to our sponsor. Oh that I'm telling you that

1369
01:07:23,680 --> 01:07:25,920
Speaker 1: you have a dog, you have kids, have kids? Did

1370
01:07:25,960 --> 01:07:28,840
Speaker 1: you have a dog? This Wagwalker is the greatest app.

1371
01:07:28,880 --> 01:07:31,840
Speaker 1: It's not they're not paying me right now, Okay, like

1372
01:07:31,880 --> 01:07:33,480
Speaker 1: I'll do a freaking martial because it's so good. It's

1373
01:07:33,480 --> 01:07:35,160
Speaker 1: a dog walking service. It's app and you just get

1374
01:07:35,240 --> 01:07:36,400
Speaker 1: on your app and you go, heay, they can walk

1375
01:07:36,440 --> 01:07:38,600
Speaker 1: your kids. I don't know. So you hit it and

1376
01:07:38,760 --> 01:07:40,920
Speaker 1: you go when your dog walker and they're like thirty

1377
01:07:40,960 --> 01:07:43,360
Speaker 1: minutes hour they come and I have a lock and

1378
01:07:43,400 --> 01:07:44,640
Speaker 1: they push the little code in. They get a lock,

1379
01:07:44,720 --> 01:07:46,280
Speaker 1: open door, take my dog out. They take pictures of

1380
01:07:46,280 --> 01:07:48,000
Speaker 1: the dog. It texts you while it's going. When it

1381
01:07:48,040 --> 01:07:52,280
Speaker 1: poops like dog poop, it's send you a text. It's amazing. Yeah,

1382
01:07:52,560 --> 01:07:56,040
Speaker 1: anyway for that that, I'm here. Do you know wherever

1383
01:07:56,040 --> 01:07:58,080
Speaker 1: you want? Yeah? Yeah, I'll let the story you. It's

1384
01:07:58,080 --> 01:08:00,480
Speaker 1: a story me. We're still on by the way, hut

1385
01:08:00,600 --> 01:08:04,360
Speaker 1: well good, that fits my brand. I'm only a total instant.

1386
01:08:05,640 --> 01:08:07,640
Speaker 1: All right, We're gonna go, Thank you and we'll see

1387
01:08:07,640 --> 01:08:09,720
Speaker 1: you next time. Our boy