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Speaker 1: M. Welcome to episode three sixty one. Famous First is

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Speaker 1: a good one. You gotta shout out my putting this together.

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Speaker 1: It's a really great episode. So it's about famous First

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Speaker 1: and some of these artists that will hear from here.

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Speaker 1: I had to make it as songwriters, you know, we'll

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Speaker 1: talk about their famous first maybe the songwriter you know.

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Speaker 1: These are a lot of the stories that we have

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Speaker 1: gathered about their first number one songs. A lot of

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Speaker 1: times they were struggling as an artist forever and finally

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Speaker 1: got their first number one. It's just a lot of

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Speaker 1: folks that you think probably have always been successful talking

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Speaker 1: about how they haven't always been successful and how it

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Speaker 1: was a grind and their first number one. So you'll

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Speaker 1: hear stories behind number one from Kelsey, Ballerini, Derk s Bentley,

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Speaker 1: Luke Combs, Lady A, and a whole bunch more. What

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Speaker 1: was your first number one? I'm glad you asked. You're

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Speaker 1: talking about what music? Music? Well, it's, uh, it's kind

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Speaker 1: of controversial thing to ask me since I'm not a

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Speaker 1: real life musician. But The Raging Idiots had a number

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Speaker 1: one comedy album and we had a number one comedy

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Speaker 1: song with Namas Day back in and that was our

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Speaker 1: first number one, first number one. That's it? Oh you

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Speaker 1: have it there, you already knew that. Yeah, we've had

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Speaker 1: a few like in these odd category number one number

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Speaker 1: one children's song which we had was when I grew

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Speaker 1: up up up by could be that one whatever, That

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Speaker 1: was the number one song. But it's been pretty crazy

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Speaker 1: you any number ones ever? No, I never written number one,

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Speaker 1: written a number like a top five, top five? What

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Speaker 1: comedy song? Oh with me? Yeah, but it's Sunday it's

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Speaker 1: like a number three. Yeah, it was number three, That

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Speaker 1: is true. Maybe you know what our new goals. But

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Speaker 1: did they even categorize comedy? Yeah, I'll tell you what

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Speaker 1: happened on Spotify. They have pulled a bunch of comedy

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Speaker 1: stuff for whatever reason. I don't know if it's the

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Speaker 1: rights thing, but they pulled Aromas Day off Spotify for

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Speaker 1: like a month because we had classified at this comedy.

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Speaker 1: We had to go back and reclassified this country and

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Speaker 1: it stayed up on all the other platforms except Spotify.

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Speaker 1: We go check and see if it's there, but once

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Speaker 1: we reclass has a fight and it popped back up. Yeah,

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Speaker 1: there was a royalty thing with people claiming their comedy

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Speaker 1: stuff on there. Is that what it is? Yeah, so

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Speaker 1: they pulled a whole lot of that stuff. But there

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Speaker 1: you go. All right, well this is a really cool episode.

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Speaker 1: Nice job on this. It should this should be submitted

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Speaker 1: for some sort of award. It to be your first

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Speaker 1: There we go, my first podcast award. All right, here

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Speaker 1: we go the Bobby Cast Famous. First, let's get into

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Speaker 1: the first one. Keith Urban. He talked about how he

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Speaker 1: vividly remembers his first number one but for the grace

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Speaker 1: of God, because it came after years after struggles on

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Speaker 1: his label. When you became Keith Urban, I'm gonna rolled

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Speaker 1: through some number one here, two thousand and one, your

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Speaker 1: first number one, but for the grace of God's here

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Speaker 1: a little bit. It is God again after the years

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Speaker 1: of struggle on a label to have a hit, did

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Speaker 1: it feel like a relief or did it all like

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Speaker 1: this is amazing, because there's a difference. Was it like,

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Speaker 1: oh my God, thank you? Was like whoa, That's what

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Speaker 1: I'm talking about? It only above. It was surreal to

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Speaker 1: have a number one song in America was just crazy.

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Speaker 1: Remember that, like it was yesterday. Really, oh my god,

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Speaker 1: twenty years ago, you still remember it like that your

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Speaker 1: first Literally, yeah, I remember exactly the house I was at,

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Speaker 1: what I was doing, who told me everything like detail

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Speaker 1: because it was too surreal. I was like number one,

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Speaker 1: like the number one most played song and country radio

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Speaker 1: in America? Truly really did your life change after that?

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Speaker 1: After you had a number one, since you could say it, um,

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Speaker 1: I felt like, okay, now we got a chance to

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Speaker 1: get some more music going. And the next single after that,

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Speaker 1: I think was Where the Black Top Bands, which is

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Speaker 1: weird because it peaked. I was looking at numbers. It

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Speaker 1: wasn't a number one, but that, to me is one

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Speaker 1: of the songs I think of when I think of

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Speaker 1: you in your catalog is Where the Black Cop Ends.

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Speaker 1: It wasn't even number one, which shows you not all

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Speaker 1: number one or career songs, and not all career songs

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Speaker 1: or number one songs. Even in two thousand two thou

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Speaker 1: two did that song feel big like a number one song?

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Speaker 1: Where the Black Top Ins. I can't remember that now.

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Speaker 1: When you can't remember now, I can't remember that. I

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Speaker 1: mean I remember making that a whole album with Matt Rawlings,

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Speaker 1: and it was the first time where I was in

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Speaker 1: a studio and having gone through all of the famous

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Speaker 1: producers and realizing none of it works for me. It

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Speaker 1: just I don't know what I'm gonna do. Um. There

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Speaker 1: was a guy running Capital Records at the time called

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Speaker 1: Pat Quigley and he was the president. And I used

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Speaker 1: every proper famous producer and none of it was working.

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Speaker 1: And I went into Patt and I said, can I

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Speaker 1: just I had just done a session with Matt Rawlings

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Speaker 1: for somebody else. The two of us were playing on it,

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Speaker 1: and I clicked with him and I really liked him

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Speaker 1: a lot, and I said, could I just go and

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Speaker 1: record some songs with this guy? Because I think he

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Speaker 1: can put good band together and we can just make

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Speaker 1: a record that sounds good. And he went, yeah, whatever.

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Speaker 1: It was very much that case of like, go do

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Speaker 1: whatever you want to do. We're not that interest. You

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Speaker 1: could tell it was whatever it's going. So we went

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Speaker 1: and cut up the Grace God and like four or

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Speaker 1: five songs, and I took him in and played for

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Speaker 1: him and he goes, that sounds good and just finished

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Speaker 1: the record out. It was no big deal, and we

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Speaker 1: handed in the record and it had It's a love

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Speaker 1: Thing and I want to be everything. All the singles

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Speaker 1: that came out Grace God, Black Top all that stuff, um,

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Speaker 1: and they put out Love It's a love Thing, and

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Speaker 1: I think I went to the number eighteen or something like, No,

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Speaker 1: it's okay, pretty good. They put out another song, I

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Speaker 1: Want to Be Everything, and I got to top five

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Speaker 1: or close to it, and it wasn't It was okay.

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Speaker 1: Everything was okay. And then the label really focused on

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Speaker 1: me and they put out Grace to God and it

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Speaker 1: did that and I could feel everything changed after that.

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Speaker 1: Whenever Somebody like You comes out two thousand two, there's

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Speaker 1: a little clip. Do you remember this one? Is vivid?

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Speaker 1: At your second number one? You do everything about it.

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Speaker 1: Recording it first time, I'd work with Dan hulf Um

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Speaker 1: working out at Sound Kitchen and Franklin and the putting them,

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Speaker 1: putting the band together and the set, the whole session.

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Speaker 1: I remember it vividly because it got magical. Does a

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Speaker 1: guy like Dan half challenge you? So? Uh? I was

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Speaker 1: going to do the next record on my own UM

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Speaker 1: Golden Road, and I had already done six six sides

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Speaker 1: of that record, including who who were on Me? I

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Speaker 1: put the band together, I chose the studio, I chose

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Speaker 1: the engineer, I put it all together. And then someone said,

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Speaker 1: you know, you should try and work with Dan half

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Speaker 1: and I went, no, I don't want to work with

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Speaker 1: him because and they went, well, he's a guitar player.

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Speaker 1: I mean, I'm so not going to work with a

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Speaker 1: guitar player who's gonna tell me what to play, you know.

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Speaker 1: I don't want that. I've been down this road before.

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Speaker 1: And they're like, we'll just give it a shot, you know.

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Speaker 1: And I met with Dan, and this is a true story,

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Speaker 1: and I it was really a compliment to Dan. I

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Speaker 1: met with Dan. I said, Okay, I've got this one

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Speaker 1: song it's called Somebody Like You that that'd be a

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Speaker 1: good one for us to start on. And I've already

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Speaker 1: been in the studio for two weeks with this band.

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Speaker 1: We'd cut half the record, it's already done. And Dan says, okay,

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Speaker 1: this song feels great. Um, I think we should use

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Speaker 1: this drummer. And I got already got the drummer. Well,

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Speaker 1: I think we should use this space. But I got

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Speaker 1: I got the whole band. Dan, I got the whole band,

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Speaker 1: all right, Well, I like to work at this studio,

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Speaker 1: I said, I'm already at the studio. We're gonna be

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Speaker 1: at sand kitchen. Okay, well the engineer I like to

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Speaker 1: use is already got the engineer. His name is justin Ebank.

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Speaker 1: And he goes, what do I do when I go,

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Speaker 1: you just show up. That's all you're gonna do. Show

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Speaker 1: up because I want to see what you do. I'm

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Speaker 1: sick of these producers that say they're a producer, but

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Speaker 1: really they have great engineer, great players, they don't do anything.

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Speaker 1: I saw it again and again and again. I'm like,

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Speaker 1: just show up. What the hell can you possibly bring

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Speaker 1: to this session? I want to see? And he walked

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Speaker 1: into that session. I've been with this band for two weeks.

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Speaker 1: He walks in and I literally could feel all the

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Speaker 1: musicianship go up a whole other level just with him

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Speaker 1: being in the room. He sat in the room, the

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Speaker 1: band's playing a bit of Somebody Like You, and he goes, hey, Chris,

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Speaker 1: just change that snare a little bit there. Okay, yeah,

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Speaker 1: leave that base part out right there, and you play

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Speaker 1: that bit over there. And he I watched him arrange

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Speaker 1: this thing and the whole track just elevated and like, well, damn,

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Speaker 1: this guy is the real deal. He's so good. When

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Speaker 1: did the town start to treat you differently. I was

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Speaker 1: already getting support from the town very early on. I

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Speaker 1: think because of all those writing sessions, you know, and

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Speaker 1: when you write with people, where it gets out whether

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Speaker 1: you can really thing, really play, whether you know about

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Speaker 1: country music, if you're legit or just some poser really.

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Speaker 1: So I think those sort of guitar pool sessions of

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Speaker 1: people's houses going to the Bluebird, people knew I was

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Speaker 1: for real. Kelsey Ballerini talked about how she landed her

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Speaker 1: first number one, love Me Like You Mean It Back.

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Speaker 1: She wasn't signed as an artist when she wrote this song,

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Speaker 1: and it was even pitched to other artists before she

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Speaker 1: recorded it. Tell me about this here, So you're talking

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Speaker 1: about writing the song. Yeah, where are you talking about

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Speaker 1: the room? Who's in the room? This was such a

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Speaker 1: random mistake song. Um, that wasn't a mistake we had.

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Speaker 1: We were writing at Black River. I was writing with

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Speaker 1: Um Josh Kerr that day and Um Forest was writing

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Speaker 1: with a guy named Lance Carpenter that day. Um, and

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Speaker 1: so we all get done with our rights and we're like, hey,

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Speaker 1: should we try to all write together? Like we're all

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Speaker 1: kind of so you wrote separately and they came together

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Speaker 1: on this one. Yeah, it was our second song of

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Speaker 1: the day and um, yeah, so we got together and

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Speaker 1: we ordered soul Shine and we just kind of pizza

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Speaker 1: pizza yeah, um, and we kind of just posted up

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Speaker 1: in like the the big lobby area of the label, um,

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Speaker 1: the upstairs by the fireplace, you know. But I'm just

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Speaker 1: the question as um and so yeah, and it was

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Speaker 1: kind of no pressure and we were sitting there, we

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Speaker 1: were catching up. We all we didn't really get a

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Speaker 1: lot of time together and um, yeah, we're just talking,

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Speaker 1: hanging out and I think the first thing that came

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Speaker 1: out well Forest actually, who ended up producing the whole record. Um,

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Speaker 1: he's like my musical partner. He's just that person for

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Speaker 1: me that I feel like it's my better half and

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Speaker 1: has really become that, and especially now even working on

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Speaker 1: the next record, is that even more so. But um,

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Speaker 1: he was like, Hey, we're listening to Take a Bow

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Speaker 1: by Rihanna. I love pop music, and so we're listening

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Speaker 1: to that song and he was like, I really feel

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Speaker 1: like you should try to to do like that swag

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Speaker 1: that she does how she kind of like laughs after

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Speaker 1: she says a sassy lion all that stuff. And I

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Speaker 1: was like, I just don't know if I can pull

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Speaker 1: that off. You know, I didn't know because I was

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Speaker 1: I mean I was nineteen at the time maybe and

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Speaker 1: I don't know, just insecure and awkward and UM. So

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Speaker 1: he's like, let's just try it, and he started playing

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Speaker 1: the debt app but dead a Dad on the guitar

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Speaker 1: and and then we were all kind of like the

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Speaker 1: if you're gonna know, if you're gonna We just loved

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Speaker 1: that done on a kind of melodic thing and um.

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Speaker 1: And then we literally just wrote it like thirty minutes.

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Speaker 1: And uh, I don't think we really thought anything of

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Speaker 1: it other than it was fun. But the moment for

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Speaker 1: me that I remember was Forest did a demo for it, um,

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Speaker 1: and I sang the demo. So he did like a

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Speaker 1: basic track like guitar beat. I sang it like the

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Speaker 1: next day, and then he did a demo for it,

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Speaker 1: like built around my vocal and said it to me,

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Speaker 1: I mean maybe a week and a half later, and

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Speaker 1: I remember putting on my headphones listening to this demo

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Speaker 1: being like, that's special. And I don't know why because

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Speaker 1: it's not lyrically genius or anything, you know, but it's

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Speaker 1: special to me. And um and the label felt the

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Speaker 1: same way about it, so and it got pitched around

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Speaker 1: town to which I didn't know till later. So they

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Speaker 1: were trying to give the song some other people. I

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Speaker 1: didn't know that because I wasn't signed yet. Yeah, and

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Speaker 1: as you weren't okay good, this is all putting it

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Speaker 1: into it to a place. Now you weren't signed as

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Speaker 1: an artist when you wrote this song. It's fair than

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Speaker 1: they pitch it. Yeah, to you, it may not feel fair,

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Speaker 1: but guys, this is the first one. I get it completely.

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Speaker 1: But looking at everyone thought it was way too pop,

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Speaker 1: and I think, and this is a kind of a

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Speaker 1: weird place for you right now, and that's why I'm

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Speaker 1: really anxious. And listen, I've heard some of your You've

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Speaker 1: sent me some stuff on your second album, and I'm

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Speaker 1: ex just for it to come out, because it's gonna

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Speaker 1: paint a new you, because what what's happened with you

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Speaker 1: as you created this new niche in the format and

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Speaker 1: now a bit. I don't think it's I don't think

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Speaker 1: you're being penalized for it, but I think this is

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Speaker 1: your one record and it got so big that people

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Speaker 1: only know you as the pop country girl. So now

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Speaker 1: it's your goal and this is just me talking, and

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Speaker 1: it's your goal with the second record to show your depth.

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Speaker 1: Do you do you feel that yes, I think that

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Speaker 1: just talking super honestly, Like I think that this first record,

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Speaker 1: it was really heavily embraced by radio, which was really epic.

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Speaker 1: But I think in doing that the industry absolutely it

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Speaker 1: made you not cool. It made me really not cool,

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Speaker 1: and so it was awesome because I was like radio's girl,

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Speaker 1: which I love, and I mean I did a twenty

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Speaker 1: two week radio tour. I mean like that means for

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Speaker 1: those of whom know, she's going to morning shows and

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Speaker 1: radio stations. It's five in the morning and singing and

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Speaker 1: it's miserable and it is and you're dealing. It's just

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Speaker 1: and you're going city to city the little station, a

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Speaker 1: little station, every single day doing this anything over and

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Speaker 1: over and over and over again. Yeah, and it and

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Speaker 1: it it's it's paid off and it's been amazing and

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Speaker 1: that relationship has been amazing. But I think in in

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Speaker 1: that happening how it did, it made Nashville kind of

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Speaker 1: be like, but what a place to be because you're right, yeah,

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Speaker 1: you put out this record and it it breaks records

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Speaker 1: and sets new standards and here you are, You're all

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Speaker 1: over all over TV. But you know how industry snooty

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Speaker 1: can be. So to the industry like they you know,

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Speaker 1: you're not that cool, but everybody in the world you're

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Speaker 1: the coolest thing ever. And it's a weird dynamic because

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Speaker 1: you're blowing up. But then the people that are at home,

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Speaker 1: you're like that you want to to like be like, oh, Kelcy,

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Speaker 1: so you're like, oh, they don't think I'm cool because

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Speaker 1: my song sound poppy. It was. It's a huge and

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Speaker 1: security of mine. Yeah, And and the thing for me

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Speaker 1: like my biggest goal right now, And like I'm in

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Speaker 1: Nashville right now, like I have two and a half

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Speaker 1: weeks to finish my record essentially, and I'm writing twice

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Speaker 1: a day. I'm writing after this I wrote this morning,

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Speaker 1: Like I'm just like trying to drain myself of that

294
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Speaker 1: because if anything, like I just want people to know

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Speaker 1: I'm a songwriter on this next album. That's the most

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Speaker 1: important thing to me. And what's funny, you're such a

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Speaker 1: long writer, you know. I mean I used to play

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Speaker 1: you and I know and we would drive for hours

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Speaker 1: and hours and hours when you would play songs and

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Speaker 1: you're very much a songwriter. But I saw it as

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Speaker 1: it was happening, and as you were exploding. I saw

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Speaker 1: you exploding in one way and becoming industry less cool

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Speaker 1: at the same time. And it's such a weird anomally

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Speaker 1: it's like the bigger you got, but you screw them,

305
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Speaker 1: because I'm gonna tell you in a sort of way

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Speaker 1: that that's happened to me too, where it's like, you

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Speaker 1: know what, I'm just gonna be me and that's really

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Speaker 1: all you can be. It's yes, it's carry carry her

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Speaker 1: Khalil line. This sounds so lame, but her trademark or

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Speaker 1: whatever is stay the path, stay your path. And I'm like,

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Speaker 1: I always have to tell myself that because I'm always

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Speaker 1: comparing myself. You're the next You're the first of the

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Speaker 1: next wave. And that's that's pressure too. It's a lot

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Speaker 1: of pressure too, because you have to put out a

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Speaker 1: second record and the next record that you really do.

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Speaker 1: It a lot of pressure. But the good thing for

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Speaker 1: you is you also you create your content. You're not

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Speaker 1: just not picking and and that's a and that's a

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Speaker 1: different skill sell set in itself. But you're right, yeah,

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Speaker 1: and a lot of people don't, so you can actually

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Speaker 1: create your own path, which even if you lose, if

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Speaker 1: you're creating your own path, at least lose. At least

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Speaker 1: you lose by creating, Yes, you don't have to get

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Speaker 1: someone else's vot and sync. You get to build your

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Speaker 1: one boat and sink. There's so much more into that

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Speaker 1: than it is just falling with it. So, um, love

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Speaker 1: me comes out? Yeah, let it comes out. Wonderful song.

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Speaker 1: Who picks it? By the way, like when it was

329
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Speaker 1: across the board, we just knew we we had a meeting,

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Speaker 1: just I think for the sake of having a meeting. Um,

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Speaker 1: and we all sat around and I don't even know

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Speaker 1: if I had management at the time. I don't think

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Speaker 1: I had management. Yet you didn't because your management I

334
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Speaker 1: remember meeting you're now manager in St. Louis when he

335
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Speaker 1: came to one of our Yes, you're right, you're right.

336
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Speaker 1: So I didn't have management. It was just me in

337
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Speaker 1: my label and we all, which is not a good

338
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Speaker 1: place to be, by the way. You want to always

339
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Speaker 1: have someone there. But again, you pick a good song,

340
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Speaker 1: good to go. Yeah, And so we listened to three songs.

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Speaker 1: We had a song of looking at stars the first

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Speaker 1: time and love Me and listen to all three and

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Speaker 1: then we all went around the table and voted, and

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Speaker 1: everyone said loved me and and then I guess they

345
00:16:59,520 --> 00:17:01,600
Speaker 1: already n that that was going to happen. So then

346
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Speaker 1: we they had all these like cool bracelets made that

347
00:17:04,000 --> 00:17:05,480
Speaker 1: said let me like you mean it on um. It

348
00:17:05,560 --> 00:17:08,520
Speaker 1: was a cool moment. Yeah. Luke Holmbs got his first

349
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Speaker 1: number one in with Hurricane. He told us the story

350
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Speaker 1: behind that song and how it led to a string

351
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Speaker 1: of six more that followed. We get into the stories

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Speaker 1: of each one. Here walk through these number ones and

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Speaker 1: just give me a couple of sentences about what they

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Speaker 1: like when you hear them back, Like what was happening

355
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Speaker 1: around the time that either you wrote it or number one?

356
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Speaker 1: Like what story we'll start. We'll start with Hurricane. Here

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Speaker 1: you go, here's that. What do you think when that plays?

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Speaker 1: I mean, it just is a flood of like things

359
00:17:42,240 --> 00:17:46,080
Speaker 1: were just really happening at that time, you know, And

360
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Speaker 1: and that song was around it for you know, in

361
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Speaker 1: my life at that time a long time. You know,

362
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Speaker 1: it had been out for you know, by the time

363
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Speaker 1: it went number one, it had been out for two years.

364
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Speaker 1: And so I played that song on a lot of clubs,

365
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Speaker 1: and and I just could I I can just feel

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Speaker 1: the like the momentum when you play that song, because

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Speaker 1: it's you know, I kind of everything to that song,

368
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Speaker 1: you know. I mean I wouldn't be sitting here talking

369
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Speaker 1: to you if it wasn't for that moment in time,

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Speaker 1: you know. And I just remember, you know, playing all

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Speaker 1: these shows, and man, we're selling everything out, and people

372
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Speaker 1: were all these important you know, business people were coming

373
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Speaker 1: out and we want to see the show, and we

374
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Speaker 1: want to talk to you about this, and and just excitement,

375
00:18:33,440 --> 00:18:35,280
Speaker 1: I guess would be the word that I think of

376
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Speaker 1: when that song comes to mind. All right, number two

377
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Speaker 1: here is your second one one number away, I'm number.

378
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Speaker 1: That's just different, you know, it was. It was the

379
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Speaker 1: most different thing that I had done at that time,

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Speaker 1: especially when we wrote it. You know, I had never

381
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Speaker 1: written to a track before. I didn't know what that was, um,

382
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Speaker 1: and it was just it was it was cool, man.

383
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Speaker 1: It was kind of like I was like, man, this

384
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Speaker 1: thing is just so cool. It's such a risk for

385
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Speaker 1: me I felt at that time to put out, you know,

386
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Speaker 1: and so I mean luckily it worked out. But that

387
00:19:11,320 --> 00:19:14,240
Speaker 1: one is is definitely, I would like risky, I think,

388
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Speaker 1: is how I would felt. I felt about that one

389
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Speaker 1: when it rains it poors. Yeah, man, I mean just

390
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Speaker 1: I mean, I just think that's probably my It just

391
00:19:28,440 --> 00:19:30,919
Speaker 1: makes me happy when I hear that song. Man. You know,

392
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Speaker 1: I remember shooting the video and and uh and Charleston

393
00:19:35,040 --> 00:19:37,679
Speaker 1: and and uh you know me and my uh you know,

394
00:19:37,760 --> 00:19:41,200
Speaker 1: now fiance had had just really got into the throes

395
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Speaker 1: of our relationship at that time, and it was just

396
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Speaker 1: really fun. That was just a really fun time for me.

397
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Speaker 1: You know, that song brings back a lot of of

398
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Speaker 1: really cool fun memories for me. Right number four here

399
00:19:54,080 --> 00:20:00,159
Speaker 1: she got the best of me. Why did you up

400
00:20:00,240 --> 00:20:03,240
Speaker 1: right there? What what happened up there? Was? As I mean,

401
00:20:03,280 --> 00:20:05,639
Speaker 1: it's just that's full It's like full circle is the

402
00:20:05,640 --> 00:20:08,960
Speaker 1: word I would use. Because I wrote that song in college. Um,

403
00:20:09,040 --> 00:20:11,000
Speaker 1: I wrote it here in Nashville, but it was on

404
00:20:11,000 --> 00:20:13,119
Speaker 1: one of my trips and it just the way it

405
00:20:13,160 --> 00:20:16,000
Speaker 1: all came together was, um, you know, I wrote it

406
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Speaker 1: with Rob Snyder and Channing Wilson h at that time

407
00:20:18,840 --> 00:20:22,000
Speaker 1: they were both you know, doing the revival thing together

408
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Speaker 1: at Tin Roof and um, a buddy of mine that

409
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Speaker 1: I went to Nashville with had you know, kind of

410
00:20:27,520 --> 00:20:29,560
Speaker 1: walked up to those guys and was like, hey, let's

411
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Speaker 1: write a song thing, and and so they were like sure, man,

412
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Speaker 1: you know, we're in town for a couple of days.

413
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Speaker 1: And they're like, oh, well, we can write tomorrow or whatever.

414
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Speaker 1: Me and my buddy got just super drunk that night

415
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Speaker 1: at the Tin Roof and and you know, we played

416
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Speaker 1: revival that night and um, and so he called me

417
00:20:45,800 --> 00:20:48,840
Speaker 1: in the morning and was like, hey, man, like, I'm

418
00:20:48,880 --> 00:20:52,840
Speaker 1: too hungover to go to this right, will you go instead?

419
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Speaker 1: And I was like sure, man, like I'll go right

420
00:20:55,600 --> 00:20:59,199
Speaker 1: with these, you know, two complete stranger guys, you know.

421
00:20:59,800 --> 00:21:02,119
Speaker 1: And so I went over to Rob's apartment. Me and

422
00:21:02,200 --> 00:21:05,000
Speaker 1: Rob were kind of sitting there writing and this. I mean,

423
00:21:05,160 --> 00:21:07,920
Speaker 1: Rob and Channing are both like big dudes. They're both

424
00:21:07,960 --> 00:21:10,320
Speaker 1: taller than me. They're both even broader than I am.

425
00:21:10,400 --> 00:21:13,560
Speaker 1: And and Channing walks out in this like bath towel,

426
00:21:14,240 --> 00:21:16,200
Speaker 1: you know, he's got his long hair and his big

427
00:21:16,200 --> 00:21:19,360
Speaker 1: beard and everything. And Rob was like, dude, come come

428
00:21:19,480 --> 00:21:21,399
Speaker 1: get on this song with us, manhol come write this

429
00:21:21,400 --> 00:21:23,520
Speaker 1: song with us. And he was like, man, I'm not

430
00:21:23,640 --> 00:21:27,359
Speaker 1: feeling it, you know, and he said, we'll play. He said, dude,

431
00:21:27,359 --> 00:21:31,040
Speaker 1: just just play him something. So I played night Moves

432
00:21:31,119 --> 00:21:34,320
Speaker 1: on my guitar by Seeger and He's like, yeah, I'll

433
00:21:34,320 --> 00:21:37,119
Speaker 1: come right with you, guys. And then so we wrote

434
00:21:37,600 --> 00:21:40,280
Speaker 1: we wrote she Got the Best of Me that day, uh,

435
00:21:40,320 --> 00:21:42,639
Speaker 1: And I ended up recording it uh in college when

436
00:21:42,640 --> 00:21:45,520
Speaker 1: I'm still in college, putting it out, And then when

437
00:21:45,520 --> 00:21:48,679
Speaker 1: it came time to record the deluxe version of the album,

438
00:21:48,720 --> 00:21:50,679
Speaker 1: you know, Lynn was like, this song is just great

439
00:21:50,840 --> 00:21:53,359
Speaker 1: and your fans love it at the shows and and

440
00:21:53,400 --> 00:21:55,359
Speaker 1: I really think it deserves a chance to you know,

441
00:21:55,400 --> 00:21:58,199
Speaker 1: to be recorded with the proper equipment and the proper

442
00:21:58,280 --> 00:22:01,199
Speaker 1: proper band, and and to shot at being a single one.

443
00:22:01,240 --> 00:22:04,320
Speaker 1: So it was definitely a full circle experience for that one,

444
00:22:04,560 --> 00:22:09,720
Speaker 1: beautiful crazy. I mean definitely, my fiance comes to mind

445
00:22:09,840 --> 00:22:15,080
Speaker 1: more than anything. Um, and that song really just changed

446
00:22:15,119 --> 00:22:17,280
Speaker 1: a lot for me. I mean it was seven week

447
00:22:17,359 --> 00:22:20,600
Speaker 1: number one, which is crazy. I want to never imagine

448
00:22:20,640 --> 00:22:22,960
Speaker 1: that that that to you, that song to me put

449
00:22:23,000 --> 00:22:25,359
Speaker 1: you on a hold different like it's you have to

450
00:22:25,359 --> 00:22:28,040
Speaker 1: have a massive song to actually make the jump. You

451
00:22:28,119 --> 00:22:29,760
Speaker 1: can have eleven number one and sometimes you don't make

452
00:22:29,760 --> 00:22:32,320
Speaker 1: the jump. But if you get that one definer, you

453
00:22:32,320 --> 00:22:34,320
Speaker 1: can make a jump. I think for you, that's when

454
00:22:34,320 --> 00:22:36,480
Speaker 1: it launched you up. And that's what I was thinking,

455
00:22:36,560 --> 00:22:37,960
Speaker 1: is this is the one that took us from like

456
00:22:38,119 --> 00:22:40,480
Speaker 1: I mean, we had four number ones and things were awesome,

457
00:22:41,040 --> 00:22:42,639
Speaker 1: and then it was all of a sudden, it was

458
00:22:42,680 --> 00:22:46,280
Speaker 1: like next, it was the next gear after that song,

459
00:22:46,359 --> 00:22:49,080
Speaker 1: you know. And you know, I think of obviously winning

460
00:22:49,320 --> 00:22:52,840
Speaker 1: the Song of the year uh here recently, and you know,

461
00:22:52,880 --> 00:22:55,879
Speaker 1: all the accolades and and and and things. There's so

462
00:22:55,920 --> 00:22:59,719
Speaker 1: many really positive, you know memories. I mean, I wouldn't

463
00:22:59,760 --> 00:23:02,000
Speaker 1: be you know, I probably, I mean I would like

464
00:23:02,040 --> 00:23:04,240
Speaker 1: to think I would still be with my fiance without

465
00:23:04,240 --> 00:23:06,399
Speaker 1: that song. But I mean, this is the song that

466
00:23:06,440 --> 00:23:09,480
Speaker 1: I played for her, you know, after we weren't even

467
00:23:09,560 --> 00:23:12,120
Speaker 1: officially dating yet when I wrote this song about her,

468
00:23:12,119 --> 00:23:14,680
Speaker 1: and I remember playing it for like two days after

469
00:23:14,760 --> 00:23:17,679
Speaker 1: I wrote it, and I was like so nervous right

470
00:23:17,680 --> 00:23:19,800
Speaker 1: there because I was like, man, what if she thinks

471
00:23:19,800 --> 00:23:23,639
Speaker 1: I'm just a total creep? Like you know, because it

472
00:23:23,680 --> 00:23:25,560
Speaker 1: was like, I mean, we're hanging out. We were hanging

473
00:23:25,560 --> 00:23:27,600
Speaker 1: out a good amount at that time, but it was

474
00:23:27,640 --> 00:23:31,200
Speaker 1: still like, man, it was such a risk in my

475
00:23:31,240 --> 00:23:33,440
Speaker 1: mind like to play her that. What did she do?

476
00:23:33,880 --> 00:23:35,679
Speaker 1: She was working at b M. I no, what did

477
00:23:35,720 --> 00:23:37,240
Speaker 1: she do when you played the song? Did she get

478
00:23:37,240 --> 00:23:40,320
Speaker 1: emotional or did she? Well? I I played it smart

479
00:23:40,480 --> 00:23:43,119
Speaker 1: because her one of her friends was there, and so

480
00:23:43,200 --> 00:23:46,000
Speaker 1: I had actually bought her a record player as a gift,

481
00:23:46,600 --> 00:23:49,439
Speaker 1: like a Crosley record player with like the legs and

482
00:23:49,720 --> 00:23:52,159
Speaker 1: like its own little speaker and stuff, and so I

483
00:23:52,200 --> 00:23:55,240
Speaker 1: it had an OX cord jack, and I plugged my

484
00:23:55,280 --> 00:23:58,160
Speaker 1: phone in and played the work tape and her friend

485
00:23:58,200 --> 00:24:00,080
Speaker 1: was in there, and her friend was like, oh my god,

486
00:24:00,400 --> 00:24:03,280
Speaker 1: like this is just wow, you know. And so I

487
00:24:03,359 --> 00:24:05,199
Speaker 1: was like, I know, if I can like hook the

488
00:24:05,280 --> 00:24:08,720
Speaker 1: friend and the friend thinks it's sweet, she at least

489
00:24:08,800 --> 00:24:11,560
Speaker 1: has to pretend like she likes it so that I'm

490
00:24:11,560 --> 00:24:15,000
Speaker 1: not in this awkward situation where both like, well, we'll

491
00:24:15,040 --> 00:24:16,800
Speaker 1: just stop hanging out now, because do you think I'm

492
00:24:16,840 --> 00:24:20,439
Speaker 1: super weird? So it was she, but no, she loved it.

493
00:24:20,480 --> 00:24:22,719
Speaker 1: And I mean she obviously loves that tune. All right,

494
00:24:22,760 --> 00:24:30,280
Speaker 1: Bear never broke my heart. I can't just feel the

495
00:24:30,359 --> 00:24:34,200
Speaker 1: live show on that one. Yeah, I mean, it's just

496
00:24:34,240 --> 00:24:38,240
Speaker 1: like it just feels like, you know, it just feel

497
00:24:38,320 --> 00:24:40,439
Speaker 1: like I can imagine what the environment would have been

498
00:24:40,480 --> 00:24:42,800
Speaker 1: like in an A C. D C concert, you know,

499
00:24:42,880 --> 00:24:45,320
Speaker 1: like and not that that song sounds anything like an

500
00:24:45,320 --> 00:24:47,480
Speaker 1: A C d C song, but it's the most rock

501
00:24:47,600 --> 00:24:50,280
Speaker 1: and the thing that we have. You know. It has

502
00:24:50,320 --> 00:24:54,000
Speaker 1: those heavy, like chugging guitars and and just it just

503
00:24:54,040 --> 00:24:57,920
Speaker 1: feels like an arena rock like anthem song. And that's

504
00:24:57,920 --> 00:25:00,600
Speaker 1: what it feels like every time we play it. And

505
00:25:00,640 --> 00:25:05,240
Speaker 1: I think that song, you know, if Beautiful Crazy was important,

506
00:25:05,280 --> 00:25:09,240
Speaker 1: I think beers just as important because we followed Beautiful

507
00:25:09,240 --> 00:25:13,439
Speaker 1: Crazy up, which was this very vulnerable, like low you know,

508
00:25:13,640 --> 00:25:18,000
Speaker 1: finnel like violin kind of acoustic thing, and then it

509
00:25:18,200 --> 00:25:22,440
Speaker 1: just polar opposite is this song. And and this song.

510
00:25:22,800 --> 00:25:24,640
Speaker 1: You know, I think this gave us a jump too,

511
00:25:24,680 --> 00:25:26,560
Speaker 1: because you know, a lot of and like you said,

512
00:25:26,600 --> 00:25:28,200
Speaker 1: we did have hits, but a lot of the hits

513
00:25:28,320 --> 00:25:31,520
Speaker 1: were kind of like mid tempo e like there wasn't

514
00:25:31,560 --> 00:25:35,200
Speaker 1: that like kick you in the teeth thing in the set,

515
00:25:36,000 --> 00:25:38,080
Speaker 1: and I think that song brought that to the table

516
00:25:38,160 --> 00:25:39,880
Speaker 1: for us. And the last one before we go, even

517
00:25:39,880 --> 00:25:45,320
Speaker 1: though I'm leaving seven number one in a row as

518
00:25:45,680 --> 00:25:48,159
Speaker 1: we record this right now, this is the one multi

519
00:25:48,200 --> 00:25:50,960
Speaker 1: week number one when you wrote this, how do you feel?

520
00:25:52,080 --> 00:25:55,879
Speaker 1: I've man, this was like crazy, right. So actually one

521
00:25:55,920 --> 00:25:58,600
Speaker 1: of the guys I wrote Beautiful Crazy with White dirette Um.

522
00:25:58,640 --> 00:26:01,800
Speaker 1: This was the first song that we wrote together, uh

523
00:26:01,840 --> 00:26:04,399
Speaker 1: and me and him and and a good friend of

524
00:26:04,400 --> 00:26:08,359
Speaker 1: ours Rave Fulture wrote this together and it was one

525
00:26:08,359 --> 00:26:10,040
Speaker 1: of those things like I love to get into a

526
00:26:10,160 --> 00:26:14,920
Speaker 1: rite and just not go until I feel like it's perfect,

527
00:26:15,640 --> 00:26:18,439
Speaker 1: and I feel like sometimes the Nashville environment can be

528
00:26:19,160 --> 00:26:21,960
Speaker 1: We got three hours, We're walking out with a song.

529
00:26:22,119 --> 00:26:24,760
Speaker 1: I don't care if it's terrible. I don't care if

530
00:26:24,760 --> 00:26:27,159
Speaker 1: it's the best song that anybody's ever written. I just

531
00:26:27,200 --> 00:26:29,400
Speaker 1: want to get it done and turn into my publisher

532
00:26:29,520 --> 00:26:33,679
Speaker 1: and get on with my life. You know, which is

533
00:26:33,720 --> 00:26:35,959
Speaker 1: great if that's what you want to do. And I

534
00:26:36,119 --> 00:26:40,679
Speaker 1: understand that, and I enjoy that sometimes too, But I

535
00:26:40,800 --> 00:26:42,720
Speaker 1: have to go into it with a different thing because

536
00:26:42,800 --> 00:26:46,240
Speaker 1: I'm writing it as something that could potentially be a

537
00:26:46,320 --> 00:26:49,760
Speaker 1: humongous part of my life forever. You know, that song

538
00:26:49,880 --> 00:26:52,159
Speaker 1: is never gonna go away. It's never not gonna have

539
00:26:52,240 --> 00:26:54,199
Speaker 1: been a number one. I'm never not gonna play it

540
00:26:54,240 --> 00:26:57,000
Speaker 1: every night, And so I love to go in and

541
00:26:57,040 --> 00:26:59,000
Speaker 1: make sure that if I'm going to record something and

542
00:26:59,040 --> 00:27:00,760
Speaker 1: I'm gonna put it out there for people, that it's

543
00:27:00,800 --> 00:27:04,480
Speaker 1: something that has the stamp of approval. And so that

544
00:27:04,560 --> 00:27:08,480
Speaker 1: was a right that took probably eight hours, seven or

545
00:27:08,520 --> 00:27:11,560
Speaker 1: eight hours and one day. And we were in the

546
00:27:11,640 --> 00:27:15,560
Speaker 1: little like um, we were in like the little office

547
00:27:15,680 --> 00:27:19,760
Speaker 1: rooms at Southern Ground in the studio. We weren't in

548
00:27:19,760 --> 00:27:21,760
Speaker 1: the studio, but there's a little spot next door where

549
00:27:21,800 --> 00:27:25,919
Speaker 1: there's like, you know, just a little fluorescent bulb like offices.

550
00:27:27,200 --> 00:27:30,760
Speaker 1: And why it's son at that time was you know,

551
00:27:30,840 --> 00:27:33,000
Speaker 1: getting ready to you know, he was getting to the

552
00:27:33,000 --> 00:27:34,760
Speaker 1: age where he was going to be graduating from high

553
00:27:34,760 --> 00:27:38,159
Speaker 1: school very soon. And that was his only a child

554
00:27:38,440 --> 00:27:40,719
Speaker 1: at that time. And um, he was like, man, I

555
00:27:40,760 --> 00:27:44,160
Speaker 1: want to write my son a song and let him

556
00:27:44,160 --> 00:27:47,520
Speaker 1: know that I'm gonna be there for him no matter what,

557
00:27:47,640 --> 00:27:49,400
Speaker 1: you know, like just because he's not living at home,

558
00:27:50,520 --> 00:27:52,280
Speaker 1: he doesn't I don't want him to feel like he

559
00:27:52,320 --> 00:27:54,879
Speaker 1: can't still call me, or he can't still you know,

560
00:27:54,920 --> 00:27:57,080
Speaker 1: be my son or ask for help if he needs it.

561
00:27:57,200 --> 00:28:01,600
Speaker 1: And so that's how that song started. Uh and and uh, man,

562
00:28:01,640 --> 00:28:04,080
Speaker 1: we had trouble getting through it. You know, I'm lucky

563
00:28:04,160 --> 00:28:06,359
Speaker 1: enough to still have my my parents in my life,

564
00:28:06,359 --> 00:28:09,080
Speaker 1: and so I haven't you know, had to deal with that,

565
00:28:09,600 --> 00:28:13,359
Speaker 1: you know, horrible day yet. But we were all, you know,

566
00:28:13,520 --> 00:28:15,879
Speaker 1: very emotional, like you didn't sing in the work tape.

567
00:28:15,920 --> 00:28:18,000
Speaker 1: I got a little choked up, and I was like, man,

568
00:28:18,080 --> 00:28:20,959
Speaker 1: this is like and I knew, like, if that's happening

569
00:28:21,000 --> 00:28:23,040
Speaker 1: to me, like that's going to happen to a lot

570
00:28:23,119 --> 00:28:25,960
Speaker 1: of people with that song. So um, that song is

571
00:28:26,320 --> 00:28:28,479
Speaker 1: just you know, it's it's really powerful for a lot

572
00:28:28,560 --> 00:28:36,600
Speaker 1: of folks. Dave Heywood of Lady A on how their

573
00:28:36,720 --> 00:28:38,760
Speaker 1: first number one, I Run to You in two thousand

574
00:28:38,920 --> 00:28:43,000
Speaker 1: nine started with a poem written by Tom Douglas. That

575
00:28:43,160 --> 00:28:46,480
Speaker 1: first number one lead to Need You Now, which became

576
00:28:46,520 --> 00:28:50,040
Speaker 1: their first crossover hit, I Run to You. It was

577
00:28:50,040 --> 00:28:58,560
Speaker 1: on the first second a lot yet even though it's

578
00:28:58,600 --> 00:29:00,560
Speaker 1: from the first record, and listen to those lyrics in

579
00:29:00,560 --> 00:29:06,400
Speaker 1: our society today, Tom Douglas. Tom Douglas sat in that

580
00:29:06,480 --> 00:29:10,520
Speaker 1: chair and blo did he come here? He talked about

581
00:29:10,560 --> 00:29:14,240
Speaker 1: you guys really yeah, and gathering around the piano. Yeah,

582
00:29:14,280 --> 00:29:17,360
Speaker 1: he's got a beautiful little farm and our beautiful home mountain.

583
00:29:17,440 --> 00:29:20,080
Speaker 1: You know, Franklin or whatever, and just an old piano

584
00:29:20,240 --> 00:29:23,239
Speaker 1: and he's such a poet. It's just so artistic. I'm like,

585
00:29:23,640 --> 00:29:25,760
Speaker 1: I like want to be him. I would fangirl him

586
00:29:25,760 --> 00:29:27,640
Speaker 1: just even though we've written with him a dozen times,

587
00:29:27,720 --> 00:29:30,720
Speaker 1: Like I would fan girl him just about everything. Yeah,

588
00:29:30,760 --> 00:29:32,920
Speaker 1: I've been lucky enough to sit next to some really

589
00:29:33,560 --> 00:29:37,600
Speaker 1: mind blowing lye awesome people that I only appreciate way

590
00:29:37,720 --> 00:29:40,560
Speaker 1: later because in the moment, And that's gotta be like

591
00:29:40,600 --> 00:29:41,920
Speaker 1: that with you at times too. You're doing this big

592
00:29:42,840 --> 00:29:44,720
Speaker 1: in the moment, you're just trying to get through it

593
00:29:44,720 --> 00:29:48,440
Speaker 1: and not suck and go back at it and go Yeah,

594
00:29:48,520 --> 00:29:50,280
Speaker 1: that was awesome. It was so cool. That was a

595
00:29:50,320 --> 00:29:53,160
Speaker 1: poem which we told that story, but our bass player

596
00:29:53,240 --> 00:29:55,440
Speaker 1: jokes us about that a lot, but it was. It

597
00:29:55,480 --> 00:29:57,920
Speaker 1: was a poem time it'd written called I Run to You,

598
00:29:58,000 --> 00:29:59,920
Speaker 1: and it was just all these things that he runs from, pest,

599
00:30:00,080 --> 00:30:03,680
Speaker 1: this and prejudice. He was like running. He was like

600
00:30:03,680 --> 00:30:05,920
Speaker 1: actually running, I think maybe the Music City Marathon, but

601
00:30:05,960 --> 00:30:08,440
Speaker 1: he had all these visions of things that you run from.

602
00:30:08,480 --> 00:30:12,080
Speaker 1: I mean, how deep is that? You know? Like I

603
00:30:12,120 --> 00:30:13,920
Speaker 1: mean it's like, like, why can't I think of that

604
00:30:14,000 --> 00:30:15,720
Speaker 1: kind of stuff. He's just that kind of guy and

605
00:30:16,080 --> 00:30:18,600
Speaker 1: has lived a lot of great life and and had,

606
00:30:18,840 --> 00:30:20,400
Speaker 1: you know, his ups and downs that he writes and

607
00:30:20,440 --> 00:30:22,760
Speaker 1: shares about. But yeah, that started with a poem and

608
00:30:22,800 --> 00:30:24,840
Speaker 1: we basically took his poem and kind of put music

609
00:30:24,880 --> 00:30:27,080
Speaker 1: to it, and then we got into it so right.

610
00:30:27,160 --> 00:30:29,120
Speaker 1: And for the next record, we had a writing compointment

611
00:30:29,200 --> 00:30:30,920
Speaker 1: with Josh Kire and we never written with him before,

612
00:30:31,360 --> 00:30:34,200
Speaker 1: but he had written before he cheats for carry Underwood,

613
00:30:35,040 --> 00:30:38,400
Speaker 1: and Uh. We went in there and wrote one song

614
00:30:39,600 --> 00:30:41,920
Speaker 1: first for about an hour and it was kind of quick,

615
00:30:41,920 --> 00:30:44,640
Speaker 1: and I just didn't feel like a good song. Um,

616
00:30:46,160 --> 00:30:48,280
Speaker 1: it was a quick right he had had Um, he

617
00:30:48,320 --> 00:30:50,440
Speaker 1: had had like half of it done. It was a

618
00:30:50,480 --> 00:30:53,480
Speaker 1: song called young Love, and it just didn't feel like us.

619
00:30:53,640 --> 00:30:56,040
Speaker 1: It didn't feel like us. And we finished it and

620
00:30:56,080 --> 00:30:57,840
Speaker 1: I was like yeah, and then it was like one

621
00:30:57,880 --> 00:30:59,920
Speaker 1: of those things. Charles was like, why don't we just

622
00:31:00,040 --> 00:31:01,840
Speaker 1: day and write another song? And I was like, I mean,

623
00:31:01,840 --> 00:31:04,600
Speaker 1: we're all single and nothing to do. I was like,

624
00:31:04,680 --> 00:31:07,160
Speaker 1: sounds great, I'm here. So we started writing another song

625
00:31:07,240 --> 00:31:10,080
Speaker 1: and um, Charles had some melodies on the guitar. He

626
00:31:10,080 --> 00:31:12,640
Speaker 1: had just started playing guitar. Actually and learned a few

627
00:31:12,760 --> 00:31:14,560
Speaker 1: chords on the acoustics, so he came up with some

628
00:31:14,640 --> 00:31:18,160
Speaker 1: of the melody on the verse D D D no

629
00:31:18,280 --> 00:31:22,120
Speaker 1: no um, and then we kind of just sailed off

630
00:31:22,120 --> 00:31:26,480
Speaker 1: from there and you know, we wrote it really quick.

631
00:31:26,480 --> 00:31:29,040
Speaker 1: I'd say in an hour as well. Needs You Now

632
00:31:29,080 --> 00:31:31,400
Speaker 1: happen fast, some of the some songs take like six

633
00:31:31,440 --> 00:31:34,840
Speaker 1: hours or a few days or a couple of writing sessions.

634
00:31:34,960 --> 00:31:37,000
Speaker 1: Needs You Now was quick. I Run to You was

635
00:31:37,040 --> 00:31:40,280
Speaker 1: pretty quick. You finished Needs You Now. And it's just

636
00:31:40,360 --> 00:31:43,000
Speaker 1: a song. It's just a song. I didn't think it would.

637
00:31:43,280 --> 00:31:45,920
Speaker 1: We sat on it for probably eight months, just sitting

638
00:31:45,960 --> 00:31:49,840
Speaker 1: in our iTunes playlist and our very last label meeting

639
00:31:49,960 --> 00:31:52,960
Speaker 1: to cut with Paul Worley for that Needs You Now record,

640
00:31:52,960 --> 00:31:56,600
Speaker 1: which it was not obviously titled inn Um I remember,

641
00:31:56,640 --> 00:31:59,000
Speaker 1: and again it's just a beautiful testament. I think Charles

642
00:31:59,040 --> 00:32:02,840
Speaker 1: and his memory and his passion and ear from music,

643
00:32:02,880 --> 00:32:04,720
Speaker 1: He was like, what about that remember that song we

644
00:32:04,760 --> 00:32:07,280
Speaker 1: wrote Josh here that day. You know, it's kind of

645
00:32:07,320 --> 00:32:09,680
Speaker 1: like it sounds just like it'd be a cool album track,

646
00:32:09,880 --> 00:32:11,920
Speaker 1: you know, kind of one of those like kind of

647
00:32:11,960 --> 00:32:14,400
Speaker 1: insider songs that like people just love the vibe you know,

648
00:32:14,440 --> 00:32:17,520
Speaker 1: it's it could probably have like a cool vibe. Um,

649
00:32:17,600 --> 00:32:19,560
Speaker 1: what if we you know, in the the acoustic demo,

650
00:32:20,240 --> 00:32:21,440
Speaker 1: I want to play you some of that. I mean,

651
00:32:21,440 --> 00:32:25,440
Speaker 1: the acoustic demo is just we're fumbling all over the melody,

652
00:32:25,680 --> 00:32:28,800
Speaker 1: you know, it's like he messes up a lyric and

653
00:32:28,840 --> 00:32:30,600
Speaker 1: it was just all over the place. The acoustic demo

654
00:32:30,680 --> 00:32:32,320
Speaker 1: was really just it was just a voice in them

655
00:32:32,440 --> 00:32:34,920
Speaker 1: from our phone, and so it sounded really rough. But

656
00:32:35,000 --> 00:32:36,800
Speaker 1: we were like a couple of people in the room

657
00:32:36,800 --> 00:32:40,080
Speaker 1: Autumn House, Mike Dungan Um, they all kind of perked

658
00:32:40,120 --> 00:32:41,440
Speaker 1: up there like that could be kind of cool. Why

659
00:32:41,480 --> 00:32:43,960
Speaker 1: don't you guys try that? And so still we didn't

660
00:32:43,960 --> 00:32:45,400
Speaker 1: know what was happening. We got in the studio and

661
00:32:45,400 --> 00:32:48,040
Speaker 1: recorded it, and I think once we got in there

662
00:32:48,080 --> 00:32:50,000
Speaker 1: and Paul Worley got his hands on it, he made

663
00:32:50,800 --> 00:32:54,520
Speaker 1: so the piano part, Mike Rojas was tinkering around, you

664
00:32:54,520 --> 00:32:56,280
Speaker 1: know when you're warming up in the studio, and he

665
00:32:56,320 --> 00:32:58,120
Speaker 1: started to kind of do that on the outro of

666
00:32:58,120 --> 00:33:01,080
Speaker 1: the song, and we were like, man, do that on

667
00:33:01,120 --> 00:33:03,160
Speaker 1: the intro. That's like a hook. That sounds like one

668
00:33:03,160 --> 00:33:05,800
Speaker 1: of those big hooks. The baseline, this guy named Craig

669
00:33:05,840 --> 00:33:08,440
Speaker 1: Young play that Paul Worley got. I could geek out

670
00:33:08,440 --> 00:33:11,840
Speaker 1: on these guys names for for for hours. But um,

671
00:33:11,960 --> 00:33:15,000
Speaker 1: some of the bass playing, piano playing guitar, I mean

672
00:33:15,040 --> 00:33:18,080
Speaker 1: me and Paul played about twenty acoustic guitars on that song.

673
00:33:18,840 --> 00:33:22,440
Speaker 1: So when it gets to the chorus on the song, acoustics,

674
00:33:22,720 --> 00:33:25,720
Speaker 1: So this is an old Um, I won't go down

675
00:33:25,720 --> 00:33:27,560
Speaker 1: this tangent forever. This is an old Crosby Stills in

676
00:33:27,640 --> 00:33:30,600
Speaker 1: Nash and Young trick that Paul Worley knew where you

677
00:33:30,720 --> 00:33:32,800
Speaker 1: kind of if you have like up to twenty to

678
00:33:32,880 --> 00:33:36,160
Speaker 1: thirty acoustics, that makes it feel like the whole song

679
00:33:36,320 --> 00:33:39,680
Speaker 1: chugs along really like it's like a wall of sound, right,

680
00:33:40,080 --> 00:33:44,040
Speaker 1: So if you notice on the course there's just this jinging, jinginginging,

681
00:33:44,080 --> 00:33:46,880
Speaker 1: straight kind of thing. And that's about acoustics in the background.

682
00:33:46,880 --> 00:33:52,280
Speaker 1: I mean, it's not the same. If you want to

683
00:33:52,240 --> 00:33:54,520
Speaker 1: to in today's world, you could just duplicate him. Yeah,

684
00:33:54,560 --> 00:33:57,120
Speaker 1: But to have different guitars with different woods and different

685
00:33:57,120 --> 00:34:01,320
Speaker 1: strings from different eras in different times, all surrounding in stereo,

686
00:34:02,400 --> 00:34:05,800
Speaker 1: different guitars all playing, and you know, Paul plays a

687
00:34:05,800 --> 00:34:07,400
Speaker 1: little different than I play, and I play a little

688
00:34:07,400 --> 00:34:10,360
Speaker 1: different and finger some of the chords differently with different voicings,

689
00:34:10,400 --> 00:34:13,040
Speaker 1: but just those little nuances on the track. When Paul

690
00:34:13,040 --> 00:34:16,839
Speaker 1: worly got and and dug in with that song, I mean,

691
00:34:16,880 --> 00:34:19,160
Speaker 1: I gotta give it to micro Haas. The piano stuff

692
00:34:19,200 --> 00:34:20,680
Speaker 1: is amazing on that song, and I gotta give it

693
00:34:20,719 --> 00:34:22,960
Speaker 1: to Paul worly Man. He is such a champion for

694
00:34:24,160 --> 00:34:27,319
Speaker 1: great art and he takes his time with it, and

695
00:34:27,360 --> 00:34:29,719
Speaker 1: that can be hard with patients and studio because we

696
00:34:29,719 --> 00:34:32,000
Speaker 1: all want to just pump out a track in one day.

697
00:34:32,040 --> 00:34:34,440
Speaker 1: But Paul will sit on it and work on it

698
00:34:34,480 --> 00:34:37,440
Speaker 1: and work on it, and then two months later you're like, wow,

699
00:34:37,600 --> 00:34:40,400
Speaker 1: this thing sounds timeless. So you write it and you

700
00:34:40,440 --> 00:34:43,239
Speaker 1: think it's a song. Then it's sitting there and you

701
00:34:43,280 --> 00:34:46,600
Speaker 1: think this is a song. Cut it. When do you

702
00:34:46,640 --> 00:34:50,399
Speaker 1: realize that it could be special? Um? Once we cut

703
00:34:50,440 --> 00:34:52,640
Speaker 1: it and we started showing it to people, so we

704
00:34:52,719 --> 00:34:55,160
Speaker 1: recorded it and we started playing it for you know,

705
00:34:55,320 --> 00:34:58,680
Speaker 1: our friends. Um. I mean I wasn't married at the time.

706
00:34:58,680 --> 00:35:02,279
Speaker 1: I wouldn't say my I put friends and people at

707
00:35:02,320 --> 00:35:05,040
Speaker 1: the label and management and they're like, man, that's like

708
00:35:05,520 --> 00:35:10,160
Speaker 1: that could be really a crazy cool kind of first single, um,

709
00:35:10,200 --> 00:35:11,880
Speaker 1: and we're like, no, we need to have a tempo.

710
00:35:12,040 --> 00:35:13,560
Speaker 1: Isn't that what you're supposed to do. You're supposed to

711
00:35:13,600 --> 00:35:15,239
Speaker 1: have like the rock and tempo is your first song.

712
00:35:15,840 --> 00:35:17,480
Speaker 1: And they were like, man, it just just feels like

713
00:35:17,480 --> 00:35:19,879
Speaker 1: a piece of art. It feels like art. And we

714
00:35:19,880 --> 00:35:21,279
Speaker 1: were all about it. We just thought it would be

715
00:35:21,320 --> 00:35:23,680
Speaker 1: the album track. But we were all about it. I

716
00:35:23,719 --> 00:35:25,759
Speaker 1: mean it was. It was all of our favorite song

717
00:35:26,560 --> 00:35:28,279
Speaker 1: that we had recorded for the Needs You Now for

718
00:35:28,320 --> 00:35:31,239
Speaker 1: that record. Derek's Bentley talked about his first number one

719
00:35:31,440 --> 00:35:33,719
Speaker 1: What Was I Thinking, which happened all the way back

720
00:35:33,760 --> 00:35:36,359
Speaker 1: in two thousand three. He told the story of how

721
00:35:36,400 --> 00:35:38,320
Speaker 1: he didn't even want this song to be his first single.

722
00:35:38,520 --> 00:35:41,359
Speaker 1: He originally wanted a different song, I Wish You Would

723
00:35:41,360 --> 00:35:43,640
Speaker 1: Break to be his first single, but it worked out

724
00:35:43,680 --> 00:35:46,560
Speaker 1: for him obviously because what was I thinking? It was

725
00:35:46,600 --> 00:35:49,160
Speaker 1: a massive song? Still is I have some songs here?

726
00:35:49,680 --> 00:35:51,920
Speaker 1: Oh man, it's play some other stuff? How about this

727
00:35:51,920 --> 00:35:55,000
Speaker 1: one right here? Put that cross my mind a little too,

728
00:35:55,800 --> 00:35:58,719
Speaker 1: because that was text first thought that comes when you

729
00:35:58,719 --> 00:36:01,799
Speaker 1: hear this up here. Weaver great songwriter here in town,

730
00:36:01,800 --> 00:36:04,840
Speaker 1: and really without Bread, I wouldn't have anything he Um

731
00:36:05,000 --> 00:36:07,080
Speaker 1: really took me under his wing as a writer, and

732
00:36:07,120 --> 00:36:09,040
Speaker 1: I learned so much from Bread about writing. And this

733
00:36:09,120 --> 00:36:11,000
Speaker 1: was back when, like when we had like the shoe

734
00:36:11,000 --> 00:36:14,480
Speaker 1: box tape recorders, you know, and and pen and paper,

735
00:36:14,520 --> 00:36:17,279
Speaker 1: and he thought I had to write. One of the

736
00:36:17,320 --> 00:36:20,239
Speaker 1: things he thought was just you think out loud on paper,

737
00:36:20,280 --> 00:36:21,920
Speaker 1: don't talk the whole time when you're writing songs, or

738
00:36:21,920 --> 00:36:24,880
Speaker 1: somebody just could work on something when you've got an idea. Maybe.

739
00:36:26,080 --> 00:36:28,040
Speaker 1: But I remember playing that for Autumn House, who was

740
00:36:28,200 --> 00:36:30,040
Speaker 1: an a R at a Capital. I found her outside

741
00:36:30,040 --> 00:36:32,279
Speaker 1: exit and I got my guitar, ran out to her

742
00:36:32,400 --> 00:36:34,759
Speaker 1: the exit in she came out of there. I sat

743
00:36:34,760 --> 00:36:36,960
Speaker 1: her down on my tailgate played her to that song acoustically.

744
00:36:37,040 --> 00:36:38,360
Speaker 1: I was going to the studio the next day, and

745
00:36:38,360 --> 00:36:40,239
Speaker 1: she's like, cut that song. That's great song. So you

746
00:36:40,320 --> 00:36:42,920
Speaker 1: run out to some prominent person here in town, say hey,

747
00:36:42,920 --> 00:36:45,319
Speaker 1: stop and have her watch you sing a song. She

748
00:36:45,360 --> 00:36:47,320
Speaker 1: was a and R. She still is over Capitol Records

749
00:36:47,400 --> 00:36:49,520
Speaker 1: and uh and I she was in the club, I

750
00:36:49,600 --> 00:36:52,279
Speaker 1: think exited and hearing listen to somebody. I texted her

751
00:36:52,520 --> 00:36:55,280
Speaker 1: text or I called her and she met me outside

752
00:36:55,280 --> 00:36:57,520
Speaker 1: and I played it for acoustically like outside the club,

753
00:36:57,960 --> 00:37:00,319
Speaker 1: and because I thought it was it could be a hit.

754
00:37:01,239 --> 00:37:03,040
Speaker 1: Oddly enough, I fought really hard that not to be

755
00:37:03,080 --> 00:37:05,360
Speaker 1: the first single, So what did you want to be?

756
00:37:05,400 --> 00:37:07,040
Speaker 1: The first song called Wish It Would Break, which is

757
00:37:07,160 --> 00:37:10,120
Speaker 1: more of a country thing. Um, you know, it's about

758
00:37:10,120 --> 00:37:12,319
Speaker 1: your wishing your your car stereoid break because every song

759
00:37:12,360 --> 00:37:15,000
Speaker 1: plays your mind of your girl wistening. This picture frame

760
00:37:15,040 --> 00:37:16,759
Speaker 1: would break, that keeps falling down, but you don't have

761
00:37:16,760 --> 00:37:18,160
Speaker 1: the heart to throw it away because it's the pictures

762
00:37:18,160 --> 00:37:20,239
Speaker 1: of two y'all. In the last verse is about wishing

763
00:37:20,320 --> 00:37:22,879
Speaker 1: your heart breaks, you just move on. It's a great song.

764
00:37:23,000 --> 00:37:26,200
Speaker 1: And I wrote that with Brett but Duncan Mike Dungan

765
00:37:26,239 --> 00:37:29,680
Speaker 1: from capitals like, we're going with those again, so and

766
00:37:29,680 --> 00:37:31,799
Speaker 1: you're glad it didn't. Yeah, all right, here we go,

767
00:37:32,719 --> 00:37:37,160
Speaker 1: come a little close. What makes me? Might hear that song?

768
00:37:37,200 --> 00:37:39,880
Speaker 1: Makes me think Chesney? I wrote that Brett Beavers, but

769
00:37:40,040 --> 00:37:42,080
Speaker 1: Chesney said that was a song that Um, when you

770
00:37:42,120 --> 00:37:43,480
Speaker 1: heard that come in the radio, that's the reason why

771
00:37:43,520 --> 00:37:48,080
Speaker 1: you take me back out on the road, man, and

772
00:37:48,120 --> 00:37:49,799
Speaker 1: you do so many Hey people do this to me too,

773
00:37:50,400 --> 00:37:52,040
Speaker 1: But I haven't heard that. I want to play this

774
00:37:52,040 --> 00:37:53,320
Speaker 1: song a love anymore. So I love hearing that in

775
00:37:53,400 --> 00:37:55,560
Speaker 1: a great song, you don't play you're talking it's a

776
00:37:55,600 --> 00:37:58,200
Speaker 1: little slow. Can you stay a little slow because you

777
00:37:58,200 --> 00:38:00,360
Speaker 1: feel like it takes the crowd down. You know, you

778
00:38:00,480 --> 00:38:02,759
Speaker 1: gotta make a rollercoaster out there when you're you gotta

779
00:38:02,760 --> 00:38:04,080
Speaker 1: find a way to take people on the ride. And

780
00:38:04,120 --> 00:38:06,560
Speaker 1: you can only have you gotta pick your you know,

781
00:38:06,560 --> 00:38:08,680
Speaker 1: our show is so high energy, and that's but what

782
00:38:08,760 --> 00:38:11,160
Speaker 1: makes this show great is what makes those high energy

783
00:38:11,160 --> 00:38:15,000
Speaker 1: songs work is the real moments and and and that

784
00:38:15,440 --> 00:38:16,959
Speaker 1: that you can only have so many in that song.

785
00:38:17,080 --> 00:38:19,239
Speaker 1: Just there's just no room for that one right now?

786
00:38:19,880 --> 00:38:26,640
Speaker 1: All right, how about this one man's part of my

787
00:38:26,680 --> 00:38:28,800
Speaker 1: favorite songs? Another song. I don't do the live show anymore,

788
00:38:28,840 --> 00:38:31,879
Speaker 1: but I do it usually earlier than night in acoustic show.

789
00:38:31,880 --> 00:38:35,560
Speaker 1: But uh, when I think of that video, and I

790
00:38:35,640 --> 00:38:37,400
Speaker 1: think that signed to the video port because there's a

791
00:38:37,440 --> 00:38:40,640
Speaker 1: scene where I'm getting rained on by the rain machine

792
00:38:40,840 --> 00:38:42,799
Speaker 1: and there but you can tell us nother rain like

793
00:38:43,680 --> 00:38:46,800
Speaker 1: anywhere else just coming on. It's like the cartoon whenever.

794
00:38:47,680 --> 00:38:49,560
Speaker 1: It's such a great video, there's just that one moment

795
00:38:49,600 --> 00:38:52,080
Speaker 1: because you know, if you're you care so much about

796
00:38:52,160 --> 00:38:54,320
Speaker 1: the work you do, You're like that one scene drives

797
00:38:54,320 --> 00:38:56,080
Speaker 1: you crazy. But Chris Stick, you do that video. It's

798
00:38:56,080 --> 00:38:58,400
Speaker 1: actually when the best videos we ever did. And uh,

799
00:38:58,480 --> 00:39:01,359
Speaker 1: that song is um. I love that song and it's

800
00:39:01,440 --> 00:39:03,719
Speaker 1: one of my favorite songs. But I usually do it.

801
00:39:03,760 --> 00:39:06,360
Speaker 1: I do a pre show acoustic performance for some folks.

802
00:39:06,360 --> 00:39:13,799
Speaker 1: I usually I'm doing that song a song. I wrote

803
00:39:13,800 --> 00:39:15,799
Speaker 1: that song and launched it blown the same day with

804
00:39:15,800 --> 00:39:20,640
Speaker 1: Brett Pevers and running Steve bogartan. Uh, you know, it's

805
00:39:20,680 --> 00:39:22,600
Speaker 1: a great song. I would say it's one of the

806
00:39:22,640 --> 00:39:26,440
Speaker 1: songs that it could say more. I mean, if that

807
00:39:26,560 --> 00:39:29,920
Speaker 1: was it, you know it was. It was a number one,

808
00:39:29,960 --> 00:39:32,600
Speaker 1: but it wasn't like a that was a lead single

809
00:39:32,640 --> 00:39:35,480
Speaker 1: off an album, and it just wouldn't do much. People

810
00:39:35,480 --> 00:39:37,080
Speaker 1: still love that song. I still do it live, but

811
00:39:37,360 --> 00:39:38,960
Speaker 1: I used that song for a lot of video content

812
00:39:39,040 --> 00:39:42,560
Speaker 1: of like our life on the Road. But that's a

813
00:39:42,600 --> 00:39:46,160
Speaker 1: song that, if I'm being totally honest and critiquing myself,

814
00:39:46,320 --> 00:39:48,680
Speaker 1: I just didn't say enough. You know. The verses need

815
00:39:48,719 --> 00:39:52,520
Speaker 1: to be more specific and more biting and more personal

816
00:39:52,560 --> 00:39:56,120
Speaker 1: and more um telling who you are or the story

817
00:39:56,160 --> 00:39:59,480
Speaker 1: you're trying to tell and just not so um interchangeable,

818
00:40:00,680 --> 00:40:02,840
Speaker 1: so that that I love that song, but that I

819
00:40:02,880 --> 00:40:05,799
Speaker 1: was listening to. That's one thing every song you put

820
00:40:05,800 --> 00:40:07,360
Speaker 1: out I put up in this one on has to

821
00:40:07,360 --> 00:40:12,000
Speaker 1: be like say, something really impact four or you know,

822
00:40:12,200 --> 00:40:19,919
Speaker 1: every line has to be just Perke Maddie and Tay

823
00:40:19,960 --> 00:40:22,680
Speaker 1: on their first number one, which was a Girl in

824
00:40:22,680 --> 00:40:26,080
Speaker 1: a Country Song, and how quickly their life got very crazy.

825
00:40:26,239 --> 00:40:28,640
Speaker 1: They talked about how things moved so fast and they

826
00:40:28,640 --> 00:40:30,600
Speaker 1: didn't even realize what was happening in the moment, and

827
00:40:30,640 --> 00:40:33,080
Speaker 1: they thought that having a smash number one was just

828
00:40:33,160 --> 00:40:35,879
Speaker 1: normal because it happened so fast. Tell me about this song,

829
00:40:35,920 --> 00:40:37,200
Speaker 1: so you guys kind of come on and you do

830
00:40:37,239 --> 00:40:39,880
Speaker 1: a Girl in the Country song? Played a little bit

831
00:40:39,920 --> 00:40:44,440
Speaker 1: Girl in the Country song? You guys still like the song?

832
00:40:45,280 --> 00:40:47,920
Speaker 1: I do? It's I was trying to think about how

833
00:40:47,920 --> 00:40:51,760
Speaker 1: many times we've played it, Like it's only been four years.

834
00:40:51,800 --> 00:40:53,759
Speaker 1: I mean, that's still a long time, But like I

835
00:40:53,840 --> 00:40:55,759
Speaker 1: was like, I wonder how many times, Like I would

836
00:40:55,800 --> 00:40:58,240
Speaker 1: be curious to know the number of thousands. With radio

837
00:40:58,280 --> 00:41:01,719
Speaker 1: tour doing like three shows a day for a year

838
00:41:01,719 --> 00:41:03,799
Speaker 1: and a half, we gotta be in that in the

839
00:41:03,880 --> 00:41:07,680
Speaker 1: thousand brackets somehow easily a thousand. Yeah, I would think

840
00:41:07,719 --> 00:41:10,920
Speaker 1: easily a thousand. But this song, so it was kind

841
00:41:10,920 --> 00:41:13,560
Speaker 1: of a rocket ship for you guys, at least from

842
00:41:13,600 --> 00:41:15,719
Speaker 1: my side of it. It was like and I kind

843
00:41:15,719 --> 00:41:17,680
Speaker 1: of just started too, you know, I just moved from

844
00:41:17,840 --> 00:41:20,440
Speaker 1: the world and I come over and I'm, you know,

845
00:41:20,880 --> 00:41:23,280
Speaker 1: the guy that's and everybody hates me because I'm so different,

846
00:41:23,320 --> 00:41:25,040
Speaker 1: and they're like ah, and I'm like, oh good, these

847
00:41:25,040 --> 00:41:27,640
Speaker 1: girls are different too, and you guys come in and

848
00:41:27,680 --> 00:41:30,160
Speaker 1: first of all, you're really good, but there there's a

849
00:41:30,200 --> 00:41:32,799
Speaker 1: novelty to this song too at the same thing. And

850
00:41:32,880 --> 00:41:36,520
Speaker 1: so but it was just like the video was like splash,

851
00:41:36,760 --> 00:41:40,840
Speaker 1: like here you are. And yeah, I watched that video recently,

852
00:41:40,920 --> 00:41:42,920
Speaker 1: like for the first time in years, and I was like,

853
00:41:43,160 --> 00:41:46,640
Speaker 1: I haven't we were some ballsy eighteen year old girls,

854
00:41:46,719 --> 00:41:50,960
Speaker 1: Like whoa. I guess I did not realize how big

855
00:41:51,000 --> 00:41:54,439
Speaker 1: of a deal this song was until like going through

856
00:41:54,440 --> 00:41:55,719
Speaker 1: what we've been through the past couple of years, and

857
00:41:55,800 --> 00:41:58,000
Speaker 1: I was like, you know what, like this is not

858
00:41:58,000 --> 00:42:01,160
Speaker 1: gonna happen, but if God forbid, everything like just like

859
00:42:01,760 --> 00:42:04,359
Speaker 1: fell apart or whatever, because I mean it has for us,

860
00:42:04,560 --> 00:42:07,080
Speaker 1: you know, last year. But if all of that happened

861
00:42:07,080 --> 00:42:10,160
Speaker 1: over again, at least like we said something like we

862
00:42:10,239 --> 00:42:12,640
Speaker 1: said something that was important and needed to be said,

863
00:42:12,800 --> 00:42:16,760
Speaker 1: and we would love to keep doing that obviously, but um,

864
00:42:16,800 --> 00:42:21,120
Speaker 1: just watching that bag, Oh my gosh, like we we're fearless?

865
00:42:21,200 --> 00:42:24,160
Speaker 1: How did that happen? This song comes out though, and

866
00:42:24,200 --> 00:42:27,239
Speaker 1: it sens it's your first song. Do you guys think

867
00:42:27,280 --> 00:42:29,560
Speaker 1: that's normal? Like was that norm? Was it? Like this

868
00:42:29,600 --> 00:42:31,160
Speaker 1: is oh, this is how it's done. We have a

869
00:42:31,239 --> 00:42:34,520
Speaker 1: song or a bit where you're like, whoa this is

870
00:42:36,160 --> 00:42:38,359
Speaker 1: It's kind of hard to compare it to something you've

871
00:42:38,360 --> 00:42:41,080
Speaker 1: never had something else that was That was the issue,

872
00:42:41,160 --> 00:42:43,200
Speaker 1: if I can say issue, It really wasn't an issue

873
00:42:43,200 --> 00:42:44,520
Speaker 1: because it was a blessing and it got us to

874
00:42:44,560 --> 00:42:47,800
Speaker 1: where we are now. But if there's anything the con

875
00:42:47,920 --> 00:42:51,399
Speaker 1: to that was just being so green and almost like

876
00:42:51,800 --> 00:42:53,600
Speaker 1: I mean, we were a baby artist. We like you said,

877
00:42:53,600 --> 00:42:55,799
Speaker 1: we had nothing to compare it to, and so our

878
00:42:55,800 --> 00:42:59,000
Speaker 1: whole team the entire time Girl was rising up the

879
00:42:59,080 --> 00:43:02,959
Speaker 1: charts and doing all these milestones. It was like they said,

880
00:43:03,000 --> 00:43:04,919
Speaker 1: this isn't normal. You're not. You're gonna have to work

881
00:43:05,000 --> 00:43:06,799
Speaker 1: much much harder on your next single. And they were

882
00:43:06,840 --> 00:43:10,279
Speaker 1: trying to warn us, but we still didn't have that

883
00:43:10,360 --> 00:43:12,719
Speaker 1: experience in our in our back pocket to kind of

884
00:43:12,800 --> 00:43:16,600
Speaker 1: draw from. So for us in a way at the time,

885
00:43:16,640 --> 00:43:18,840
Speaker 1: it was normal, which is crazy to think back and

886
00:43:18,880 --> 00:43:21,200
Speaker 1: look at, like I wish I would have had more

887
00:43:21,239 --> 00:43:23,920
Speaker 1: experience so I could cherish those moments more and not

888
00:43:24,000 --> 00:43:26,560
Speaker 1: just like like stop and smell the roses first, Like

889
00:43:26,600 --> 00:43:29,239
Speaker 1: even though it sounds so cliche, like I don't remember

890
00:43:29,280 --> 00:43:31,520
Speaker 1: a lot of that because it was just like onto

891
00:43:31,520 --> 00:43:33,160
Speaker 1: the next day, Okay, you did the Today's Show as

892
00:43:33,200 --> 00:43:35,920
Speaker 1: your first full band show. Great, Okay, let's go do

893
00:43:35,960 --> 00:43:38,719
Speaker 1: it again. It found like it was just nuts and

894
00:43:38,760 --> 00:43:40,640
Speaker 1: I'm like, I don't know how we did all that,

895
00:43:40,680 --> 00:43:43,600
Speaker 1: but um, I'm kind of glad that we were so

896
00:43:43,760 --> 00:43:47,920
Speaker 1: like green and like um just and it were fearless

897
00:43:47,960 --> 00:43:51,080
Speaker 1: because we would do anything like now we know better,

898
00:43:51,160 --> 00:43:53,959
Speaker 1: like don't play three shows in one day. You're gonna

899
00:43:53,960 --> 00:43:55,719
Speaker 1: wear yourself out and it's gonna mess you up. Like

900
00:43:55,800 --> 00:43:57,879
Speaker 1: don't do that, like you know, just stuff like that.

901
00:43:58,000 --> 00:44:00,279
Speaker 1: Or don't fly from Orlando to New York back to

902
00:44:00,320 --> 00:44:02,200
Speaker 1: Orlando in one day and do three shows. That's not

903
00:44:02,239 --> 00:44:04,360
Speaker 1: a good idea. Just just say no. Sometimes you have

904
00:44:04,400 --> 00:44:06,600
Speaker 1: to say no to things. But I'm glad that it

905
00:44:06,960 --> 00:44:11,440
Speaker 1: happened then, and it kind of gives us I don't know,

906
00:44:11,480 --> 00:44:14,040
Speaker 1: it gives us perspective on like we have done before.

907
00:44:14,200 --> 00:44:16,360
Speaker 1: It's not going to be as easy this next go round.

908
00:44:16,400 --> 00:44:20,840
Speaker 1: But it did it a little backwards. I sometimes I

909
00:44:20,880 --> 00:44:24,080
Speaker 1: wish it was slipped, but it's okay. So that song

910
00:44:25,239 --> 00:44:29,040
Speaker 1: did it hit one? Okay? So it goes to number one,

911
00:44:29,800 --> 00:44:33,000
Speaker 1: and what's the next single after that? Fly? Okay? So

912
00:44:33,120 --> 00:44:36,520
Speaker 1: Fly comes out and doesn't go number one. It was

913
00:44:36,520 --> 00:44:40,000
Speaker 1: a number seven, but it impacted really well, which was

914
00:44:40,160 --> 00:44:44,000
Speaker 1: kind of cool. Yeah, we knew the the hardness of

915
00:44:44,040 --> 00:44:45,880
Speaker 1: what was to come with that song too, and it

916
00:44:45,960 --> 00:44:48,919
Speaker 1: was a ballad. If it were in the summer, they're

917
00:44:48,920 --> 00:44:52,400
Speaker 1: all these rules. But so this song comes out. I

918
00:44:52,480 --> 00:44:54,480
Speaker 1: love you the song by the way about I'm only

919
00:44:54,520 --> 00:44:57,480
Speaker 1: asking this backward, but it doesn't go number one. So

920
00:44:57,480 --> 00:44:59,600
Speaker 1: you've had a number one, then you have one that

921
00:44:59,719 --> 00:45:02,279
Speaker 1: does go number one? What do you think after that?

922
00:45:02,880 --> 00:45:06,120
Speaker 1: I was really happy because people were The way I

923
00:45:06,160 --> 00:45:10,080
Speaker 1: measured it personally was how people were singing back when

924
00:45:10,120 --> 00:45:12,680
Speaker 1: we were on stage and they were singing Fly. And

925
00:45:12,719 --> 00:45:16,520
Speaker 1: still do just as loud as girl. So to me

926
00:45:16,640 --> 00:45:19,319
Speaker 1: that was a number one song, like maybe not on

927
00:45:19,360 --> 00:45:23,600
Speaker 1: the charts, but from for our fans and for my spirit,

928
00:45:23,760 --> 00:45:27,359
Speaker 1: I was like, we landed another one. Joe Diffy talked

929
00:45:27,360 --> 00:45:30,840
Speaker 1: about his debut single Home going number one back. He

930
00:45:30,880 --> 00:45:33,120
Speaker 1: also shared stories behind his other big hits like John

931
00:45:33,160 --> 00:45:36,680
Speaker 1: dere Green, which oddly never went number one and is

932
00:45:36,719 --> 00:45:40,360
Speaker 1: such a massive song from Joe Diffy. Here is Joe Diffy,

933
00:45:40,640 --> 00:45:43,719
Speaker 1: rest in peace? Joe, what song of yours? When you

934
00:45:43,760 --> 00:45:46,839
Speaker 1: play it gets the biggest response? And you know what's

935
00:45:46,840 --> 00:45:48,719
Speaker 1: funny about that it was not a number one song,

936
00:45:49,239 --> 00:45:52,160
Speaker 1: And it's you know, I talked with a lot of

937
00:45:52,200 --> 00:45:53,680
Speaker 1: young artists now and they're like, I just want that

938
00:45:53,760 --> 00:45:56,920
Speaker 1: number one, Like I get it, you do. But and

939
00:45:56,920 --> 00:45:58,680
Speaker 1: and in Keith Or and I have talked about this

940
00:45:58,719 --> 00:46:01,680
Speaker 1: where his a lot of his songs weren't number one

941
00:46:02,400 --> 00:46:04,319
Speaker 1: and then we were to have you know, of course

942
00:46:04,320 --> 00:46:06,879
Speaker 1: back in those days, I mean there were several over

943
00:46:06,960 --> 00:46:08,880
Speaker 1: like four or five different charts, so I think it

944
00:46:08,960 --> 00:46:10,839
Speaker 1: did go number one and one of them I don't

945
00:46:10,840 --> 00:46:14,560
Speaker 1: know which one, but but yeah, uh that's always that

946
00:46:14,719 --> 00:46:17,040
Speaker 1: is a strange phenomena. Some of your some songs that

947
00:46:17,080 --> 00:46:20,400
Speaker 1: do go number one don't sell as as well, etcetery.

948
00:46:20,440 --> 00:46:22,680
Speaker 1: You know. So for me when I think about your music,

949
00:46:23,080 --> 00:46:26,560
Speaker 1: like my favorite song has propped me out, and that

950
00:46:26,600 --> 00:46:28,520
Speaker 1: was not a number one song on the on the

951
00:46:28,600 --> 00:46:31,839
Speaker 1: radio chart. I mean when I think, Joe Diffy, this

952
00:46:31,960 --> 00:46:34,120
Speaker 1: is the song for man. Know every word. I remember

953
00:46:34,120 --> 00:46:37,080
Speaker 1: when it came out. I bought the CD and I

954
00:46:37,120 --> 00:46:39,080
Speaker 1: memorized every word so I could sing all of I

955
00:46:39,120 --> 00:46:40,920
Speaker 1: did that and third Rock because the third rock is

956
00:46:41,480 --> 00:46:44,560
Speaker 1: a little harder, the words are a lot faster. But this,

957
00:46:44,560 --> 00:46:46,840
Speaker 1: this is the song for me that if someone's like,

958
00:46:46,840 --> 00:46:48,680
Speaker 1: what your favorite A matter of fact, when you came in,

959
00:46:48,719 --> 00:46:50,880
Speaker 1: I was like, Joe, you gotta play problem me up?

960
00:46:51,480 --> 00:46:54,440
Speaker 1: And you did. And again is it peaked a number

961
00:46:54,440 --> 00:46:57,319
Speaker 1: three on the radio chart. It's weird. There's a big

962
00:46:57,320 --> 00:47:00,279
Speaker 1: record from the video though for this song. Is what

963
00:47:00,840 --> 00:47:02,960
Speaker 1: I really remember from this song as well, because back

964
00:47:03,000 --> 00:47:04,560
Speaker 1: in the day we used to really watch CMT from

965
00:47:04,600 --> 00:47:07,120
Speaker 1: music video right a lot. Yeah, all you know what

966
00:47:07,160 --> 00:47:09,719
Speaker 1: I remember about the video mostly filming the video. It

967
00:47:09,800 --> 00:47:12,719
Speaker 1: was so hot, man, it was, and they had this

968
00:47:12,880 --> 00:47:15,920
Speaker 1: these buckets of like Sea bree member Sea Breeze. It

969
00:47:15,960 --> 00:47:18,160
Speaker 1: was kind of like a facial cleanser or some kind

970
00:47:18,160 --> 00:47:20,040
Speaker 1: of deal. And it was like but it had like

971
00:47:20,120 --> 00:47:23,279
Speaker 1: an aromatic kind of effect and they were dabbing all

972
00:47:23,320 --> 00:47:26,120
Speaker 1: of us with it stuff. You know that's judge member

973
00:47:26,160 --> 00:47:28,839
Speaker 1: was so hot and and plus the dead guy. Yeah,

974
00:47:28,880 --> 00:47:31,520
Speaker 1: it was so funny. Man, I mean that that that

975
00:47:31,640 --> 00:47:34,480
Speaker 1: to me is those two songs. And again as I

976
00:47:34,480 --> 00:47:36,080
Speaker 1: started deep diving, and I was like, man, my favorite

977
00:47:36,080 --> 00:47:39,719
Speaker 1: two songs number five and a number three. And you

978
00:47:39,760 --> 00:47:41,759
Speaker 1: say that John der Green gets the biggest. When you

979
00:47:41,800 --> 00:47:43,319
Speaker 1: do your set list, what do you start with? What's

980
00:47:43,320 --> 00:47:45,239
Speaker 1: the first song? A third Rock from the sun? You

981
00:47:45,280 --> 00:47:48,120
Speaker 1: come out of high energy, huh, Which this wasn't number

982
00:47:48,120 --> 00:47:50,440
Speaker 1: one song for you? Yeah, I just would have a

983
00:47:50,480 --> 00:47:52,920
Speaker 1: problem going out and doing the fast up quick cause

984
00:47:52,960 --> 00:47:54,400
Speaker 1: I'd be had of breath for the next three songs.

985
00:47:55,080 --> 00:47:59,200
Speaker 1: That has happened, like especially I said where it happened

986
00:47:59,239 --> 00:48:00,960
Speaker 1: to me a lot as if I'm you know, on

987
00:48:01,120 --> 00:48:04,120
Speaker 1: the opry for some reason makes you nervous, and boy,

988
00:48:04,120 --> 00:48:06,640
Speaker 1: if you ever get backwards during your breathing in that song,

989
00:48:06,760 --> 00:48:09,479
Speaker 1: you're screwed. I mean it's it's over, you know. Tell

990
00:48:09,480 --> 00:48:11,759
Speaker 1: me about this song third Rock? So you heard it

991
00:48:11,880 --> 00:48:15,680
Speaker 1: were you like, what's this about? Like? What? Um? I

992
00:48:15,680 --> 00:48:18,680
Speaker 1: always thought it was like a little mini movie, you know,

993
00:48:19,400 --> 00:48:21,279
Speaker 1: which I heard a lot of songwriters say, you try

994
00:48:21,320 --> 00:48:22,960
Speaker 1: to dude, right, I try to write a little three

995
00:48:22,960 --> 00:48:26,520
Speaker 1: minute movie, you know. But honestly, this was one that

996
00:48:26,640 --> 00:48:28,560
Speaker 1: I mean, even though I liked it, they there was

997
00:48:28,640 --> 00:48:31,960
Speaker 1: the same Polisher had played two different songs for us,

998
00:48:32,640 --> 00:48:35,560
Speaker 1: and uh and I like the other one better actually,

999
00:48:36,239 --> 00:48:39,920
Speaker 1: and so uh you know. So anyway I ended up

1000
00:48:39,960 --> 00:48:42,120
Speaker 1: getting both of them. Had to do to the Wheeland

1001
00:48:42,120 --> 00:48:44,920
Speaker 1: and dealing some some guy apparently that I don't know.

1002
00:48:45,040 --> 00:48:48,000
Speaker 1: I can't verify this, but I was told this. Garth

1003
00:48:48,080 --> 00:48:51,799
Speaker 1: Brooks wanted third rock as well. So and how did

1004
00:48:51,840 --> 00:48:54,000
Speaker 1: you get third rock? And what was the wheel? We

1005
00:48:54,160 --> 00:48:56,920
Speaker 1: cut both? We would do both of their songs. Do

1006
00:48:56,960 --> 00:48:58,760
Speaker 1: you know what the other song was? It was called

1007
00:49:00,280 --> 00:49:03,319
Speaker 1: uh something? But if you're having to think, I guess

1008
00:49:03,320 --> 00:49:05,399
Speaker 1: it really was. Never There was never a single. Yeah,

1009
00:49:05,600 --> 00:49:07,799
Speaker 1: did you put it on the record? Yeah, it's on there.

1010
00:49:07,840 --> 00:49:10,080
Speaker 1: I'm gonna run through your number one's real quick. Let's

1011
00:49:10,120 --> 00:49:17,879
Speaker 1: do home. Yeah, your first debut is that right? First

1012
00:49:17,920 --> 00:49:21,000
Speaker 1: song out and you go number one for six, number

1013
00:49:21,000 --> 00:49:24,279
Speaker 1: one six in a Row. So do you think after

1014
00:49:24,360 --> 00:49:27,839
Speaker 1: let's say two or three, do you have a figured out? Um?

1015
00:49:27,960 --> 00:49:30,160
Speaker 1: You know what I felt like? Such I was. I

1016
00:49:30,200 --> 00:49:31,880
Speaker 1: felt a little bit like a rube. I was so

1017
00:49:32,040 --> 00:49:34,680
Speaker 1: naive about the whole process. I mean even though I

1018
00:49:34,760 --> 00:49:37,919
Speaker 1: kind of knew. I kind of knew about stuff. But man,

1019
00:49:37,920 --> 00:49:39,560
Speaker 1: when you know when you get it, when you when

1020
00:49:39,560 --> 00:49:41,759
Speaker 1: you start off like what I did. I mean, I

1021
00:49:41,800 --> 00:49:43,520
Speaker 1: was on the road three hundred days of a year,

1022
00:49:43,960 --> 00:49:46,560
Speaker 1: and so I didn't really have time to think about stuff.

1023
00:49:46,600 --> 00:49:49,880
Speaker 1: I was busy, you know, traveling and doing shows and

1024
00:49:49,920 --> 00:49:52,400
Speaker 1: me doing meet and greets and all that stuff. You know,

1025
00:49:53,040 --> 00:49:56,760
Speaker 1: So what brought you to Nashville? Meaning I know the music,

1026
00:49:56,880 --> 00:50:00,319
Speaker 1: I know that the thought of country music. But there's

1027
00:50:00,360 --> 00:50:03,040
Speaker 1: always something where something you get that push or you

1028
00:50:03,040 --> 00:50:05,520
Speaker 1: can kind of the itch. Well, I got laid off

1029
00:50:05,520 --> 00:50:07,920
Speaker 1: from my job I had. I was working on a

1030
00:50:08,000 --> 00:50:11,759
Speaker 1: foundry back in Duncan, Oklahoma, and they shut the plant down,

1031
00:50:12,280 --> 00:50:14,239
Speaker 1: laid us all off, and you know, and I've been

1032
00:50:14,400 --> 00:50:20,239
Speaker 1: singing a little VFWS and twenty moved. I moved to

1033
00:50:20,280 --> 00:50:24,240
Speaker 1: Nasville when I also a little bit older, Yeah, compared

1034
00:50:24,239 --> 00:50:26,800
Speaker 1: to like the nineteen two years are moving here now? Exactly,

1035
00:50:26,800 --> 00:50:28,759
Speaker 1: so you get laid off, yeah, and I said, And

1036
00:50:28,880 --> 00:50:31,240
Speaker 1: I had been to Nashville once before with my aunt

1037
00:50:31,280 --> 00:50:34,040
Speaker 1: and a friend of mine. We had we we did

1038
00:50:34,040 --> 00:50:36,000
Speaker 1: this little thing as a trio and we came in

1039
00:50:36,160 --> 00:50:39,440
Speaker 1: and my aunt had known somebody here in Nashville, and

1040
00:50:40,040 --> 00:50:42,719
Speaker 1: so anyway, we met with him, and I spent in

1041
00:50:42,760 --> 00:50:45,040
Speaker 1: love with the city then. But I didn't have the

1042
00:50:45,040 --> 00:50:47,640
Speaker 1: opportunity because I still had a job at the time,

1043
00:50:47,719 --> 00:50:49,080
Speaker 1: you know. But when I got to laid off, I

1044
00:50:49,120 --> 00:50:50,960
Speaker 1: was like, well, you know what, I think, I'm just

1045
00:50:50,960 --> 00:50:52,920
Speaker 1: gonna try it. So I just loaded up everything I

1046
00:50:52,960 --> 00:50:55,279
Speaker 1: could get in this whole beat up car I had,

1047
00:50:55,320 --> 00:50:59,359
Speaker 1: and off I went. So at home, you know, you're

1048
00:50:59,360 --> 00:51:00,920
Speaker 1: you're playing around bar? Are you playing on bars at

1049
00:51:00,960 --> 00:51:04,960
Speaker 1: home at all? Not a lot, Honestly. My background was

1050
00:51:05,040 --> 00:51:07,359
Speaker 1: more of a I sang in a gospel group then

1051
00:51:07,360 --> 00:51:10,040
Speaker 1: I then I went from that to a bluegrass group.

1052
00:51:10,080 --> 00:51:13,359
Speaker 1: I played bluegrass for six years with this group called

1053
00:51:13,400 --> 00:51:16,080
Speaker 1: the Special Edition. Were you known as the guy that

1054
00:51:16,160 --> 00:51:19,359
Speaker 1: was doing music while working at the plant by your workers? Yeah?

1055
00:51:19,440 --> 00:51:21,399
Speaker 1: Are your co workers? Yeah? They'd always ask me to sing,

1056
00:51:21,880 --> 00:51:23,839
Speaker 1: you know, would you ever sing at work? I don't

1057
00:51:23,840 --> 00:51:26,640
Speaker 1: remember gather them around and be like, all right, boys, yeah,

1058
00:51:26,680 --> 00:51:29,120
Speaker 1: I mean it just they sing that song, you know whatever.

1059
00:51:29,280 --> 00:51:30,880
Speaker 1: Isn't it funny how the things at the time that

1060
00:51:30,960 --> 00:51:33,439
Speaker 1: seemed this happened over my career in my life too.

1061
00:51:33,680 --> 00:51:36,480
Speaker 1: We're really I put finger quotes up. Unfortunate things that

1062
00:51:36,520 --> 00:51:39,320
Speaker 1: happened to us turn out to really be blessing, dude, blessing,

1063
00:51:39,400 --> 00:51:42,000
Speaker 1: the biggest blessing ever. Yeah, because if I hadn't got

1064
00:51:42,040 --> 00:51:44,520
Speaker 1: laid off, I probably would have never left there. You know.

1065
00:51:44,640 --> 00:51:46,239
Speaker 1: So when you get laid off, do you remember how

1066
00:51:46,239 --> 00:51:48,080
Speaker 1: that happened? Did you did your your boss your form

1067
00:51:48,080 --> 00:51:50,440
Speaker 1: and come in and go all right, you're done? No,

1068
00:51:50,600 --> 00:51:52,719
Speaker 1: it was just more of a I got a phone call,

1069
00:51:52,880 --> 00:51:55,839
Speaker 1: I think, and they said, yeah, playing shut down, don't

1070
00:51:55,880 --> 00:51:58,960
Speaker 1: go out there. And then immediately do you go? All right?

1071
00:51:59,000 --> 00:52:00,520
Speaker 1: Time to go to Nashville? Like was it kind of

1072
00:52:00,560 --> 00:52:03,640
Speaker 1: in the chamber already? Know? It took a took a

1073
00:52:03,680 --> 00:52:06,879
Speaker 1: couple of months, you know, drawing unemployment, and I thought, well,

1074
00:52:07,440 --> 00:52:10,200
Speaker 1: you know, I might as well think of something. I

1075
00:52:10,200 --> 00:52:11,960
Speaker 1: had a good friend of mine and we used to

1076
00:52:12,040 --> 00:52:14,879
Speaker 1: discuss thing he wanted. He moved to Dallas and became

1077
00:52:14,920 --> 00:52:17,200
Speaker 1: an accountant, and you know, and that's what I want

1078
00:52:17,200 --> 00:52:19,479
Speaker 1: to he said. Yet, you know, you gotta try music.

1079
00:52:19,520 --> 00:52:21,120
Speaker 1: You're really good at it and all that stuff. So

1080
00:52:22,200 --> 00:52:24,719
Speaker 1: and when you got to town, did you feel like

1081
00:52:24,760 --> 00:52:28,080
Speaker 1: you were good enough to get in the mix immediately? Um?

1082
00:52:28,239 --> 00:52:31,200
Speaker 1: I just felt really lost, honestly when I first got

1083
00:52:31,239 --> 00:52:33,720
Speaker 1: to town, because I just gotten divorced and I missed

1084
00:52:33,719 --> 00:52:35,279
Speaker 1: my kids and you know, and I was just in

1085
00:52:35,320 --> 00:52:37,200
Speaker 1: this new place and I didn't have a place to live,

1086
00:52:37,239 --> 00:52:39,399
Speaker 1: and you know, and all this kind of stuff. Would

1087
00:52:39,400 --> 00:52:41,600
Speaker 1: you do what you I finally moved in with a

1088
00:52:41,719 --> 00:52:44,400
Speaker 1: with a musician, a guy named David Greer, and we

1089
00:52:44,400 --> 00:52:48,840
Speaker 1: we rented a house with no heater and for for

1090
00:52:48,880 --> 00:52:50,799
Speaker 1: about a year. And what are you doing when you

1091
00:52:50,800 --> 00:52:53,680
Speaker 1: first moved to Nashville? Meaning are you out trying to

1092
00:52:53,800 --> 00:52:57,840
Speaker 1: meet people? Play right around? Like? What what what happens

1093
00:52:57,840 --> 00:52:59,400
Speaker 1: with the new artists? With me? I was trying I

1094
00:52:59,400 --> 00:53:01,080
Speaker 1: needed to man count. So I got a job. I

1095
00:53:01,160 --> 00:53:03,200
Speaker 1: knew a guy that worked at Gifts and Guitars, and

1096
00:53:03,280 --> 00:53:06,359
Speaker 1: so they hired me out there too to work in

1097
00:53:05,760 --> 00:53:10,759
Speaker 1: the warehouse shipping guitars everywhere. So and then after that

1098
00:53:10,880 --> 00:53:13,160
Speaker 1: I would just do whatever I could. I'd go to

1099
00:53:13,360 --> 00:53:17,000
Speaker 1: two showcases and you know, just go hang out, just

1100
00:53:17,000 --> 00:53:19,360
Speaker 1: just to get my get out there and meet people.

1101
00:53:19,400 --> 00:53:22,640
Speaker 1: You know, it's so interesting to hear about because, like

1102
00:53:22,719 --> 00:53:24,360
Speaker 1: I know, you was the country music legend. But I

1103
00:53:24,400 --> 00:53:26,960
Speaker 1: love hearing like the origin story of the hustle because

1104
00:53:26,960 --> 00:53:29,000
Speaker 1: I think so many people don't know that there's a

1105
00:53:29,080 --> 00:53:31,200
Speaker 1: hustle for everyone. Man, I tell you what there was.

1106
00:53:31,280 --> 00:53:34,680
Speaker 1: There was days seriously, Uh you know, we didn't have

1107
00:53:34,719 --> 00:53:37,040
Speaker 1: anything in the house to eat. I mean nothing. One

1108
00:53:37,080 --> 00:53:39,160
Speaker 1: time I had I think I had like I don't know,

1109
00:53:39,360 --> 00:53:41,600
Speaker 1: seventy five cents on me and I went by this

1110
00:53:42,080 --> 00:53:45,520
Speaker 1: funniest thing ever. I didn't know they didn't have white

1111
00:53:45,560 --> 00:53:49,640
Speaker 1: castles in the duncan. So I saw instead of Hamburgers,

1112
00:53:49,680 --> 00:53:52,000
Speaker 1: I thought, oh, yeah, I've got I can you know?

1113
00:53:52,040 --> 00:53:54,880
Speaker 1: So I stopped. Yeah, so I know, I said the

1114
00:53:54,880 --> 00:53:57,120
Speaker 1: guys canna help you? I said, I like a Hamburger police.

1115
00:53:57,160 --> 00:54:00,840
Speaker 1: He goes, uh, just one. I said, yeah, I didn't

1116
00:54:00,840 --> 00:54:10,000
Speaker 1: know they were, you know, tiny Hardy on his first

1117
00:54:10,080 --> 00:54:12,839
Speaker 1: number one one beer. That's his first number one as

1118
00:54:12,840 --> 00:54:15,000
Speaker 1: an artist. He had Lauren Alena and Devin Dawson on it.

1119
00:54:15,200 --> 00:54:17,000
Speaker 1: He also talked about his first number one as a

1120
00:54:17,040 --> 00:54:21,359
Speaker 1: songwriter Up Down, which he wrote for Morgan Wallen and

1121
00:54:21,360 --> 00:54:25,040
Speaker 1: how was the first time he made any money writing songs. Yeah,

1122
00:54:25,120 --> 00:54:37,600
Speaker 1: let me play this first. Here is one beer on

1123
00:54:37,640 --> 00:54:41,920
Speaker 1: the record. This hits slightly different than the rest of

1124
00:54:42,000 --> 00:54:46,080
Speaker 1: the songs. So whenever this was decided to go to

1125
00:54:46,680 --> 00:54:51,359
Speaker 1: you know, radio, conventional radio, was someone really pushing that

1126
00:54:51,520 --> 00:54:53,000
Speaker 1: and it was like, Wow, we can't believe we're gonna

1127
00:54:53,040 --> 00:54:54,719
Speaker 1: do this or was that kind of the consensus to

1128
00:54:54,760 --> 00:54:56,640
Speaker 1: go with that song? Yeah, it was just the internet.

1129
00:54:57,320 --> 00:55:00,280
Speaker 1: It was data of it stood, I mean as oddly

1130
00:55:00,360 --> 00:55:01,839
Speaker 1: enough to It was on Hicks tape. It wasn't even

1131
00:55:01,840 --> 00:55:06,360
Speaker 1: originally on my um My Rock, my actual record. It

1132
00:55:06,360 --> 00:55:09,240
Speaker 1: was a Higgs tape song. And of all the songs,

1133
00:55:09,280 --> 00:55:11,680
Speaker 1: we knew we were probably gonna do a single from

1134
00:55:11,840 --> 00:55:15,600
Speaker 1: Higgs tape and Seth England kept saying like, dude, it's

1135
00:55:15,600 --> 00:55:18,840
Speaker 1: gonna be one beer you just watch and I was like, okay,

1136
00:55:19,000 --> 00:55:23,040
Speaker 1: and uh, sure enough, I mean exponentially beat everything else

1137
00:55:23,080 --> 00:55:26,160
Speaker 1: on the record. And and I've always been uh I

1138
00:55:26,200 --> 00:55:28,040
Speaker 1: say always, I've only been doing this a couple of years.

1139
00:55:28,040 --> 00:55:31,320
Speaker 1: But like anything that I cut, I would be willing

1140
00:55:31,360 --> 00:55:34,040
Speaker 1: to do to have as a single. So whatever that they,

1141
00:55:34,160 --> 00:55:38,640
Speaker 1: you know, say, is blowing up on you know whatever Internet,

1142
00:55:39,160 --> 00:55:41,920
Speaker 1: any app or whatever, I'm good to go with. So

1143
00:55:42,200 --> 00:55:45,120
Speaker 1: I just said, let's let's do it. I know it's different,

1144
00:55:45,160 --> 00:55:47,080
Speaker 1: but go for it. There's only ever been one of

1145
00:55:47,080 --> 00:55:48,680
Speaker 1: the persons and say that in that way to me

1146
00:55:49,320 --> 00:55:52,000
Speaker 1: when when doing these long form conversations, and he said,

1147
00:55:52,280 --> 00:55:54,920
Speaker 1: you know what, I write almost all my stuff, not

1148
00:55:54,920 --> 00:55:56,280
Speaker 1: a love of these. I'll take a couple of songs

1149
00:55:56,280 --> 00:55:57,880
Speaker 1: that that I don't write because I'm a songwriter and

1150
00:55:57,880 --> 00:56:00,719
Speaker 1: I appreciate songwriters. And he said, but if I cut it,

1151
00:56:01,080 --> 00:56:03,080
Speaker 1: I just go, it's good enough to put out. So

1152
00:56:03,160 --> 00:56:05,000
Speaker 1: you decide, because I wouldn't cut it if I didn't

1153
00:56:05,000 --> 00:56:07,600
Speaker 1: think it was good. And that that was Chris Stapleton. Ye,

1154
00:56:08,440 --> 00:56:10,640
Speaker 1: who goes, I cut it. I gotta believe in it,

1155
00:56:10,680 --> 00:56:13,040
Speaker 1: so label you take it and do what you're good at,

1156
00:56:13,040 --> 00:56:15,600
Speaker 1: because I already did what I'm good at. That's how

1157
00:56:15,640 --> 00:56:18,560
Speaker 1: I feel pretty much exactly the same. I'm cool with anything.

1158
00:56:18,760 --> 00:56:21,160
Speaker 1: And I know there's kind of a whole spectrum of

1159
00:56:21,160 --> 00:56:23,560
Speaker 1: of sonically of of stuff that I put out, but

1160
00:56:23,600 --> 00:56:27,439
Speaker 1: I'm cool with anything going out there. Your first money

1161
00:56:27,520 --> 00:56:31,320
Speaker 1: making song was up Down. Yeah, yeah, yeah, it was that.

1162
00:56:31,440 --> 00:56:35,640
Speaker 1: The first song that ever got cut. No, my first

1163
00:56:35,640 --> 00:56:38,640
Speaker 1: cut was, but that was actually so I sold two cuts.

1164
00:56:38,680 --> 00:56:41,440
Speaker 1: Up Down was on my old deal. Um I should

1165
00:56:41,440 --> 00:56:44,800
Speaker 1: go to Church sometime by Tyler Farr. Oh yeah, that

1166
00:56:44,880 --> 00:56:46,960
Speaker 1: was my first cut and it was my first single

1167
00:56:47,120 --> 00:56:50,080
Speaker 1: and died like in the sixties. I remember it. Yeah, yeah,

1168
00:56:50,560 --> 00:56:52,960
Speaker 1: but still exciting to get that first single when you

1169
00:56:52,960 --> 00:56:54,279
Speaker 1: get the call and they go, hey, it's a single.

1170
00:56:54,280 --> 00:56:56,960
Speaker 1: Are you pumped? Yeah, oh dude, yeah, I mean I

1171
00:56:56,960 --> 00:56:59,319
Speaker 1: thought it was gonna be rich. Not that that's why

1172
00:56:59,400 --> 00:57:02,680
Speaker 1: I do it, but um, yeah I was. Yeah, I

1173
00:57:02,719 --> 00:57:05,160
Speaker 1: mean that's yeah, it's a it's a huge milestone and

1174
00:57:05,160 --> 00:57:07,560
Speaker 1: and and uh, you know, just a confidence booster and

1175
00:57:07,560 --> 00:57:09,960
Speaker 1: it's like you are doing this and somebody legitimate cut

1176
00:57:10,000 --> 00:57:12,560
Speaker 1: your song, and yeah, it's it was. It was all

1177
00:57:12,600 --> 00:57:14,520
Speaker 1: the wind and the sales I think that I needed.

1178
00:57:14,560 --> 00:57:16,720
Speaker 1: And then after that everything just kind of started happening,

1179
00:57:16,720 --> 00:57:19,240
Speaker 1: which is everybody says like you get one and you

1180
00:57:19,320 --> 00:57:21,600
Speaker 1: get X amount or whatever. And I've seen that happen

1181
00:57:21,680 --> 00:57:23,440
Speaker 1: with a ton of my friends too. It's just funny

1182
00:57:23,440 --> 00:57:26,000
Speaker 1: how that works. So as much wind gets put in

1183
00:57:26,040 --> 00:57:27,920
Speaker 1: your sales when they say, hey, it's gonna be a single,

1184
00:57:28,480 --> 00:57:31,600
Speaker 1: did as much get taken out when it didn't hit, Yes,

1185
00:57:32,080 --> 00:57:36,160
Speaker 1: but up Down kind of cross faded with that, so

1186
00:57:36,240 --> 00:57:39,360
Speaker 1: I had a little hope there. Um, But around the

1187
00:57:39,400 --> 00:57:43,680
Speaker 1: time it died was when Morgen cut it, so we

1188
00:57:43,760 --> 00:57:45,640
Speaker 1: just still didn't know and he had only had the

1189
00:57:45,680 --> 00:57:48,600
Speaker 1: way I talked, um, So it's hard to you know,

1190
00:57:48,840 --> 00:57:52,040
Speaker 1: really gauge that, but um, yeah, it was a good

1191
00:57:52,120 --> 00:57:54,000
Speaker 1: It was enough cross fade for me to not like

1192
00:57:54,120 --> 00:57:56,320
Speaker 1: be super down and think maybe that was my shot.

1193
00:57:56,640 --> 00:57:59,520
Speaker 1: There had to be too a bit of excitement whenever

1194
00:57:59,680 --> 00:58:02,400
Speaker 1: it's not only Morrigan who who at the time was

1195
00:58:02,440 --> 00:58:06,240
Speaker 1: an unknown artist on a label who had no history

1196
00:58:06,400 --> 00:58:08,440
Speaker 1: at all, not even if success or not success, but

1197
00:58:08,480 --> 00:58:10,840
Speaker 1: no history, big lad of no history. But then when

1198
00:58:10,880 --> 00:58:14,200
Speaker 1: fgl gets on the song, you gotta go, oh man,

1199
00:58:14,240 --> 00:58:16,520
Speaker 1: I got another bullet for the gun inside of the song. Yeah,

1200
00:58:16,720 --> 00:58:19,920
Speaker 1: it was a huge um booster for him, and that

1201
00:58:20,040 --> 00:58:22,640
Speaker 1: was kind of a sigh of relief for you. I'm saying,

1202
00:58:22,680 --> 00:58:24,560
Speaker 1: like to write a song, you know, I f GL

1203
00:58:24,640 --> 00:58:28,640
Speaker 1: is on the song It's not Gonna die at sixty Uh. Yeah,

1204
00:58:28,680 --> 00:58:31,400
Speaker 1: And that was that was kind of the Okay, this

1205
00:58:31,520 --> 00:58:33,000
Speaker 1: is gonna be a hit. There's no way it's not

1206
00:58:33,040 --> 00:58:36,720
Speaker 1: gonna be a hit, and uh, that was definitely a

1207
00:58:36,880 --> 00:58:39,960
Speaker 1: huge thing for all of that. That was all me,

1208
00:58:40,080 --> 00:58:43,000
Speaker 1: Brad Clawson and c J. Soler was our first really

1209
00:58:43,160 --> 00:58:45,680
Speaker 1: a few of our first cut or maybe minding somebody

1210
00:58:45,680 --> 00:58:48,880
Speaker 1: else's like first or second cut, and our first hit

1211
00:58:48,960 --> 00:58:50,400
Speaker 1: together too, So it was good for all of us.

1212
00:58:50,480 --> 00:58:56,000
Speaker 1: Let me play this here is Morgan walling up, down down, Damn,

1213
00:58:56,960 --> 00:59:03,200
Speaker 1: We're down. You mentioned Brad Lawson. So when I heard

1214
00:59:03,200 --> 00:59:06,480
Speaker 1: about you the songwriter about to start turning into you

1215
00:59:06,560 --> 00:59:08,560
Speaker 1: the artist, it was from Nicole Galley and who's a friend,

1216
00:59:09,040 --> 00:59:12,560
Speaker 1: and she was like, yeah, hard he's he's gonna try

1217
00:59:12,600 --> 00:59:15,760
Speaker 1: to be an artist. And I didn't know who you were.

1218
00:59:15,840 --> 00:59:18,160
Speaker 1: I just yeah, nobody did. If She was talking about

1219
00:59:18,200 --> 00:59:19,920
Speaker 1: the songs she'd written, and she was like, I don't know,

1220
00:59:20,080 --> 00:59:23,320
Speaker 1: I tried that. You know, because a lot of songwriters

1221
00:59:23,360 --> 00:59:26,520
Speaker 1: in town have either tried and it was unsuccessful and

1222
00:59:26,560 --> 00:59:28,400
Speaker 1: not a good experience, or they just don't want to

1223
00:59:28,440 --> 00:59:30,720
Speaker 1: do it. Yeah, you see all their friends do it

1224
00:59:30,720 --> 00:59:32,760
Speaker 1: and they're like, I don't know a by that, you

1225
00:59:32,880 --> 00:59:34,920
Speaker 1: never have someone who's a songwriter who hits it big

1226
00:59:34,920 --> 00:59:35,920
Speaker 1: for a couple of songs, it goes, you know what,

1227
00:59:35,960 --> 00:59:37,720
Speaker 1: I'm good. I don't want to do it. It's never

1228
00:59:37,840 --> 00:59:40,080
Speaker 1: that way. So you know if with the songwriter mostly

1229
00:59:40,120 --> 00:59:41,520
Speaker 1: they're they're like, I don't know, I want to live

1230
00:59:41,600 --> 00:59:45,320
Speaker 1: the artist lifestyle. But for you, was I always kind

1231
00:59:45,360 --> 00:59:49,280
Speaker 1: of the goal on the No, it was not. When

1232
00:59:49,320 --> 00:59:51,040
Speaker 1: I was in college, like I kind of wanted to.

1233
00:59:51,360 --> 00:59:53,560
Speaker 1: And then I signed a pub deal and I was

1234
00:59:53,600 --> 00:59:55,520
Speaker 1: just like, this is awesome, and all I gotta do

1235
00:59:55,560 --> 00:59:58,240
Speaker 1: is write a song every day. And and uh no

1236
00:59:58,720 --> 01:00:00,919
Speaker 1: I had, I had. I had reached to the point

1237
01:00:00,960 --> 01:00:04,240
Speaker 1: where I had zero intentions of being an artist or

1238
01:00:04,240 --> 01:00:08,160
Speaker 1: at least like signing a record deal and like doing

1239
01:00:08,240 --> 01:00:11,240
Speaker 1: the thing. I might have had aspirations to put music

1240
01:00:11,320 --> 01:00:14,480
Speaker 1: out or something, but no, I had no. I had

1241
01:00:14,560 --> 01:00:17,760
Speaker 1: no plans to to do it. Tracy Lawrence talked about

1242
01:00:17,800 --> 01:00:20,040
Speaker 1: his debut single Sticks and Stones, going number one in

1243
01:00:21,560 --> 01:00:23,960
Speaker 1: but how one of his most famous songs, pay Me

1244
01:00:24,000 --> 01:00:29,080
Speaker 1: a Birmingham, never went number one. Here is Sticks and Stones.

1245
01:00:37,760 --> 01:00:40,640
Speaker 1: So when this song starts to get some traction, you're

1246
01:00:40,640 --> 01:00:43,600
Speaker 1: a brand new artist. I mean, is the record label

1247
01:00:43,680 --> 01:00:45,720
Speaker 1: like we knew it we knew you are a guy

1248
01:00:46,000 --> 01:00:49,080
Speaker 1: like are you treated differently? Rick Blackburn didn't believe in

1249
01:00:49,160 --> 01:00:51,840
Speaker 1: that song. Elroy Kahanak, who found me up in Days

1250
01:00:51,840 --> 01:00:54,040
Speaker 1: Will Kentucky, believe in that song. He literally got in

1251
01:00:54,160 --> 01:00:56,560
Speaker 1: his car. He was the head of promotions in Atlantic

1252
01:00:56,640 --> 01:00:58,880
Speaker 1: and he would drive all over the place and bring

1253
01:00:59,000 --> 01:01:00,600
Speaker 1: pets out and stick him in the car in the

1254
01:01:00,640 --> 01:01:02,920
Speaker 1: parking lot and make him listen to it. L Reconne

1255
01:01:03,040 --> 01:01:05,800
Speaker 1: made that a hit. He shived it down everybody's throat.

1256
01:01:06,000 --> 01:01:07,800
Speaker 1: But it was so different when it came on the radio.

1257
01:01:07,880 --> 01:01:09,880
Speaker 1: There was nothing else that was like it. And that

1258
01:01:10,040 --> 01:01:13,560
Speaker 1: was the thing that that change in musical style when

1259
01:01:13,600 --> 01:01:16,480
Speaker 1: I was trying to figure out and the summer of

1260
01:01:16,640 --> 01:01:18,880
Speaker 1: ninety when I was living in Louisiana, what do I

1261
01:01:18,960 --> 01:01:20,720
Speaker 1: need to do? Because you gotta think about all the

1262
01:01:20,760 --> 01:01:22,840
Speaker 1: stuff that would happen had that happened. In eighty nine,

1263
01:01:22,920 --> 01:01:25,760
Speaker 1: you had Alan Jackson that came out, Mark Chestnut, Vince

1264
01:01:25,840 --> 01:01:29,880
Speaker 1: gil Uh, Garth Brooks as all this new music, this

1265
01:01:30,000 --> 01:01:32,760
Speaker 1: new sound that was happening, and it was exciting back then,

1266
01:01:32,840 --> 01:01:34,440
Speaker 1: and I was like, I've got to go be a

1267
01:01:34,520 --> 01:01:35,920
Speaker 1: part of that. I've got to be gona be a

1268
01:01:35,960 --> 01:01:38,680
Speaker 1: part of it now. So when I got the shot

1269
01:01:38,760 --> 01:01:40,920
Speaker 1: to cut my record and James Stroud and I were

1270
01:01:40,960 --> 01:01:43,040
Speaker 1: put together and all the wheel started turning on that

1271
01:01:43,120 --> 01:01:44,919
Speaker 1: kind of stuff. I mean, James had cut that first

1272
01:01:44,960 --> 01:01:47,640
Speaker 1: record on Clinton Black, so I was with part of

1273
01:01:47,680 --> 01:01:50,520
Speaker 1: that new sound that was making that change in country music.

1274
01:01:50,560 --> 01:01:53,200
Speaker 1: That's when the young country slogan, that whole thing just

1275
01:01:53,440 --> 01:01:55,959
Speaker 1: exploded out of Nashville. It was it was awesome time.

1276
01:01:56,280 --> 01:01:58,680
Speaker 1: Did you get any pushback since your sound was different

1277
01:01:58,840 --> 01:02:02,040
Speaker 1: and every kind of different generation gets a pushback, was

1278
01:02:02,120 --> 01:02:05,960
Speaker 1: there any there? You know? I never felt it personally

1279
01:02:06,000 --> 01:02:08,680
Speaker 1: towards me, and I know a lot of the older guys.

1280
01:02:09,240 --> 01:02:13,320
Speaker 1: I heard the Whalens and the haggard grumbling underneath the surface,

1281
01:02:13,400 --> 01:02:14,800
Speaker 1: you know that they weren' getting there to play on

1282
01:02:14,800 --> 01:02:17,600
Speaker 1: the radio anymore. And there was there was not It

1283
01:02:17,720 --> 01:02:20,040
Speaker 1: was not a there's not a love a lot of

1284
01:02:20,160 --> 01:02:22,680
Speaker 1: love toward us from those guys early on. I think

1285
01:02:22,720 --> 01:02:24,760
Speaker 1: it kind of eased up as time went on. But

1286
01:02:24,920 --> 01:02:26,760
Speaker 1: the one person that I never felt that from was

1287
01:02:26,800 --> 01:02:30,800
Speaker 1: George Jones. Never uh. And you know, George and Nancy

1288
01:02:30,880 --> 01:02:33,640
Speaker 1: they found a way to embrace that change, and so

1289
01:02:33,840 --> 01:02:36,320
Speaker 1: they just they gathered us all up and made us

1290
01:02:36,360 --> 01:02:38,040
Speaker 1: part of I don't need no rocking chair and all

1291
01:02:38,120 --> 01:02:39,960
Speaker 1: that stuff, and he I went on tour with Jones,

1292
01:02:40,600 --> 01:02:42,360
Speaker 1: so it was it was. It was a great time.

1293
01:02:42,600 --> 01:02:46,320
Speaker 1: But George, they just approached it from a different perspective.

1294
01:02:46,560 --> 01:02:48,640
Speaker 1: But yeah, there was there was some pushback. But you know,

1295
01:02:48,720 --> 01:02:50,320
Speaker 1: these guys have been getting there and played for thirty

1296
01:02:50,360 --> 01:02:52,360
Speaker 1: plus years, and then all of a sudden, all these

1297
01:02:52,440 --> 01:02:54,400
Speaker 1: young kids are coming in town, the music change and

1298
01:02:54,480 --> 01:02:56,520
Speaker 1: taking over, and they're not getting airplay anymore. They're they're

1299
01:02:56,520 --> 01:02:58,640
Speaker 1: a little bit better at times. It's funny you bring

1300
01:02:58,760 --> 01:03:01,600
Speaker 1: up I don't need your rock and ship. I mean

1301
01:03:01,640 --> 01:03:04,040
Speaker 1: that to me. I can remember singing that, and I

1302
01:03:04,280 --> 01:03:06,840
Speaker 1: George Jones was a bit before me. As I got older,

1303
01:03:06,880 --> 01:03:08,920
Speaker 1: I started to listen to more George Jones because I

1304
01:03:09,000 --> 01:03:10,520
Speaker 1: love the format. I wanted to learn as much about

1305
01:03:10,520 --> 01:03:13,040
Speaker 1: county music as I could. But when that song came out,

1306
01:03:13,040 --> 01:03:15,000
Speaker 1: I remember all you guys being on that song. I mean,

1307
01:03:15,080 --> 01:03:16,960
Speaker 1: it was every country superstar I could have ever imagined

1308
01:03:17,000 --> 01:03:19,280
Speaker 1: on that song with him and the ones of us

1309
01:03:19,320 --> 01:03:20,560
Speaker 1: that weren't on it. I didn't get to sing on

1310
01:03:20,600 --> 01:03:21,880
Speaker 1: the record, but I got to do it every now

1311
01:03:21,960 --> 01:03:26,080
Speaker 1: at the confer there were so many. I was looking

1312
01:03:26,160 --> 01:03:28,360
Speaker 1: at um the c m A s or that song

1313
01:03:28,480 --> 01:03:30,440
Speaker 1: was nominated for a c m A and it was

1314
01:03:30,520 --> 01:03:33,280
Speaker 1: just like seventeen people on that song, and I thought

1315
01:03:33,320 --> 01:03:35,600
Speaker 1: it was so cool because every all those people love

1316
01:03:35,640 --> 01:03:38,720
Speaker 1: George Jones. Respected George Jones. They did, But do you

1317
01:03:38,800 --> 01:03:42,280
Speaker 1: know what, how could you not respect George? Look at

1318
01:03:42,320 --> 01:03:44,160
Speaker 1: look at what he had been through. He lived alive.

1319
01:03:45,400 --> 01:03:49,640
Speaker 1: I mean he survived himself and uh and and lived

1320
01:03:49,680 --> 01:03:52,360
Speaker 1: to a place where he was able to still be

1321
01:03:52,480 --> 01:03:54,760
Speaker 1: relevant in a time where the music business was changing

1322
01:03:54,800 --> 01:03:56,560
Speaker 1: all around. You gotta have a lot of respect for that.

1323
01:03:56,960 --> 01:04:00,360
Speaker 1: That first number one was now We're There. Single that

1324
01:04:00,440 --> 01:04:03,200
Speaker 1: happened after that that did not hit his heart. Six

1325
01:04:03,280 --> 01:04:06,160
Speaker 1: and Stones hit hard, uh, the couple of big ones

1326
01:04:06,200 --> 01:04:08,720
Speaker 1: off that record. So Sticks and Stones, the four off

1327
01:04:08,800 --> 01:04:11,240
Speaker 1: that album were Sticks and Stones. Today's Lonely Fool running

1328
01:04:11,240 --> 01:04:14,280
Speaker 1: behind that were number ones, and then Somebody Paints the

1329
01:04:14,320 --> 01:04:16,200
Speaker 1: Wall was a top five, So we had three number

1330
01:04:16,240 --> 01:04:19,160
Speaker 1: ones on top five. And now as we progressed into Alibis,

1331
01:04:19,200 --> 01:04:22,080
Speaker 1: which was my second release, we had four number ones

1332
01:04:22,120 --> 01:04:23,720
Speaker 1: off of it. But there was some friction there because

1333
01:04:23,720 --> 01:04:26,360
Speaker 1: I was wanting to grow. By this time, Indian Outlaw

1334
01:04:26,360 --> 01:04:28,600
Speaker 1: had popped and I was wanting to do a heavier

1335
01:04:28,640 --> 01:04:30,600
Speaker 1: guitar sound, and James and I were on board that.

1336
01:04:30,720 --> 01:04:33,080
Speaker 1: James Stroud who produced the album, so we were we

1337
01:04:33,160 --> 01:04:35,320
Speaker 1: were pushing things. Alibis was a massive hit. When I

1338
01:04:35,440 --> 01:04:38,160
Speaker 1: remember being in the studio, we cut can't Break It

1339
01:04:38,240 --> 01:04:41,000
Speaker 1: to My Heart, which was a single, and uh, that

1340
01:04:41,160 --> 01:04:43,640
Speaker 1: track was originally cut with a screaming rock and roll

1341
01:04:43,680 --> 01:04:45,360
Speaker 1: guitar on it, and I thought the head of the

1342
01:04:45,440 --> 01:04:47,840
Speaker 1: label was gonna blow us top and he lost his mind,

1343
01:04:48,000 --> 01:04:49,680
Speaker 1: made us go back in and put a fiddle solo

1344
01:04:49,720 --> 01:04:51,520
Speaker 1: on it. There's too much rock and roll guitar that

1345
01:04:51,560 --> 01:04:53,960
Speaker 1: couldn't stand it. Another song that was the number two

1346
01:04:54,000 --> 01:04:55,760
Speaker 1: air placed song of the year called Can't Break It

1347
01:04:55,840 --> 01:04:57,280
Speaker 1: to My Heart, that I was a co writer on.

1348
01:04:58,040 --> 01:04:59,760
Speaker 1: I thought he's gonna drop me off the label because

1349
01:04:59,760 --> 01:05:01,440
Speaker 1: he me not to cut it, not cut it anyway.

1350
01:05:01,680 --> 01:05:03,480
Speaker 1: It's wild to hear those stories about songs that I

1351
01:05:03,560 --> 01:05:07,320
Speaker 1: just associate being so freaking country. I mean, now I

1352
01:05:07,440 --> 01:05:11,120
Speaker 1: look at those and I'll play some Alibis. Here's Alibis

1353
01:05:14,240 --> 01:05:18,680
Speaker 1: and here is Can't Break It to My Heart. Where

1354
01:05:19,960 --> 01:05:22,880
Speaker 1: this is as country as I could as the country

1355
01:05:22,880 --> 01:05:25,080
Speaker 1: of a song can be. Absolutely, he hated this song,

1356
01:05:25,200 --> 01:05:28,440
Speaker 1: hated it, hated everything about it. Why I have no

1357
01:05:28,600 --> 01:05:30,480
Speaker 1: idea because he told me not to do it, and

1358
01:05:30,520 --> 01:05:33,480
Speaker 1: I did it, and that's why didn't really like it.

1359
01:05:33,640 --> 01:05:37,000
Speaker 1: But you know, there's you know, I always say, people

1360
01:05:37,040 --> 01:05:39,520
Speaker 1: ask how you know when you're get in the music business,

1361
01:05:39,560 --> 01:05:41,160
Speaker 1: when can you push? How do you know when to push?

1362
01:05:41,440 --> 01:05:43,720
Speaker 1: When you get momentum, you better push because if you don't,

1363
01:05:43,760 --> 01:05:45,480
Speaker 1: you'll never get it. When you get an opportunity to

1364
01:05:45,560 --> 01:05:47,880
Speaker 1: take advantage of a situation, or you will never have

1365
01:05:47,960 --> 01:05:50,600
Speaker 1: any creative control your whole life. And I took advantage

1366
01:05:50,600 --> 01:05:52,800
Speaker 1: of the opportunity and I pushed back a little bit.

1367
01:05:52,880 --> 01:05:54,520
Speaker 1: And I don't think they knew quite what to do

1368
01:05:54,640 --> 01:05:56,440
Speaker 1: with that. And I had managers that stood behind me

1369
01:05:56,480 --> 01:05:58,439
Speaker 1: to I wasn't out there by myself. My manager fat

1370
01:05:58,440 --> 01:06:00,560
Speaker 1: the fight for me. It's funny when I was walking

1371
01:06:00,640 --> 01:06:03,920
Speaker 1: over here, I was I was like, God, Tracy's over,

1372
01:06:04,480 --> 01:06:05,640
Speaker 1: come over and talk to you. And I started in

1373
01:06:05,720 --> 01:06:07,120
Speaker 1: my head as I was walking to the front door,

1374
01:06:07,600 --> 01:06:10,200
Speaker 1: I just started going, pay me, you burn me. It's

1375
01:06:10,240 --> 01:06:13,480
Speaker 1: like I think about you and that's the song that

1376
01:06:13,560 --> 01:06:15,560
Speaker 1: comes to my mind when I think about you. It's

1377
01:06:15,600 --> 01:06:17,880
Speaker 1: when that iconic song. When it was it was a

1378
01:06:18,000 --> 01:06:20,320
Speaker 1: massive record. You know, I've been blessed with a lot

1379
01:06:20,400 --> 01:06:22,960
Speaker 1: of number one in the business. That one only got

1380
01:06:23,040 --> 01:06:26,120
Speaker 1: top five, which we were talking about before you got here,

1381
01:06:26,600 --> 01:06:29,640
Speaker 1: because I'm always fascinated by songs that become an artist's,

1382
01:06:30,240 --> 01:06:34,480
Speaker 1: you know, one of your career songs. But and it

1383
01:06:34,560 --> 01:06:37,000
Speaker 1: doesn't matter if it was number one now because everybody

1384
01:06:37,080 --> 01:06:39,800
Speaker 1: knows it and an associated with you. But that wasn't

1385
01:06:39,800 --> 01:06:41,680
Speaker 1: a number one song. Do you remember what beat it out?

1386
01:06:42,280 --> 01:06:46,840
Speaker 1: I don't remember. You know it was. Uh. It was

1387
01:06:46,920 --> 01:06:48,560
Speaker 1: the first thing that we had released when I moved

1388
01:06:48,600 --> 01:06:51,080
Speaker 1: over to DreamWorks from Warner Brothers, So there was there

1389
01:06:51,160 --> 01:06:53,680
Speaker 1: was a political shuffle that had happened that whole time frame.

1390
01:06:53,760 --> 01:06:57,960
Speaker 1: That album was actually cut on Warner Brothers and uh uh,

1391
01:06:58,280 --> 01:07:00,960
Speaker 1: James Stroud was running DreamWorks at the time. Scared Boardshadow

1392
01:07:01,040 --> 01:07:03,000
Speaker 1: was the head of promotion. So we had our own

1393
01:07:03,080 --> 01:07:05,160
Speaker 1: deal worked out and we couldn't get one of birth

1394
01:07:05,240 --> 01:07:07,400
Speaker 1: and Brothers to release us. They wouldn't get the paperwork done.

1395
01:07:07,480 --> 01:07:09,480
Speaker 1: We waited and waited, wait, and we're trying to be patient,

1396
01:07:09,520 --> 01:07:11,480
Speaker 1: getting all the tease crossed and eyes dotted and all

1397
01:07:11,480 --> 01:07:13,960
Speaker 1: that stuff, and then low and behold, if Ken Melons

1398
01:07:13,960 --> 01:07:17,560
Speaker 1: didn't drop a single the same song, and uh, then

1399
01:07:17,600 --> 01:07:19,800
Speaker 1: the lawyers got involved, then it's like, okay, we're done.

1400
01:07:19,800 --> 01:07:21,720
Speaker 1: We've been waiting to release a single and here here's

1401
01:07:21,760 --> 01:07:23,480
Speaker 1: somebody else has got their hands on it. So we

1402
01:07:23,640 --> 01:07:26,320
Speaker 1: we came and got aggressive and it Uh. I think

1403
01:07:26,400 --> 01:07:30,360
Speaker 1: there was just some some things going on around DreamWorks

1404
01:07:30,360 --> 01:07:32,360
Speaker 1: at the time, and then it was probably Toby that

1405
01:07:32,480 --> 01:07:34,000
Speaker 1: was ahead of us that kept us from going in.

1406
01:07:34,560 --> 01:07:36,360
Speaker 1: But they just felt like it was time to let

1407
01:07:36,440 --> 01:07:38,400
Speaker 1: it go and move on. But it but it was

1408
01:07:38,480 --> 01:07:40,760
Speaker 1: a massive hit man. That thing impacted hard. Yeah, I

1409
01:07:40,840 --> 01:07:44,680
Speaker 1: was gonna ask is it massive because it's lasted or

1410
01:07:44,840 --> 01:07:46,920
Speaker 1: was it massive then? And for some reason You're like,

1411
01:07:46,960 --> 01:07:48,680
Speaker 1: why can't we get this the number one? Because I'm

1412
01:07:48,680 --> 01:07:52,240
Speaker 1: feeling it when I'm playing shows. You know, Uh, it

1413
01:07:52,400 --> 01:07:55,240
Speaker 1: was massive because it was massive, it really, and you

1414
01:07:55,320 --> 01:07:58,320
Speaker 1: know all number ones aren't aren't that way. I've had

1415
01:07:58,320 --> 01:08:01,440
Speaker 1: a lot of them that you know, they they manipulated

1416
01:08:01,440 --> 01:08:03,720
Speaker 1: the numbers. They went in on a dying breath, some

1417
01:08:03,840 --> 01:08:06,880
Speaker 1: things fell out at the top. Whatever the reasons were, Uh,

1418
01:08:07,240 --> 01:08:09,880
Speaker 1: I don't think. I don't think the longevity of the

1419
01:08:09,960 --> 01:08:11,760
Speaker 1: song needs to be determined by how far it went

1420
01:08:11,840 --> 01:08:13,960
Speaker 1: up on the charts. And there's a there's a there's

1421
01:08:13,960 --> 01:08:16,240
Speaker 1: a you know, a markey to all that stuff too.

1422
01:08:16,520 --> 01:08:19,160
Speaker 1: But I think the longevity of it speaks for itself.

1423
01:08:19,240 --> 01:08:20,960
Speaker 1: I mean, it's it's one of those songs that just

1424
01:08:21,040 --> 01:08:23,360
Speaker 1: connected with people. You know, Hank. I don't think Hank

1425
01:08:23,439 --> 01:08:25,439
Speaker 1: Junior had a number one song for years and years

1426
01:08:25,520 --> 01:08:27,439
Speaker 1: all that early stuff that was so massive for him.

1427
01:08:27,479 --> 01:08:29,360
Speaker 1: I mean most of those were just top tens, but

1428
01:08:29,479 --> 01:08:33,080
Speaker 1: they impacted, they left up, they left an indelible mark

1429
01:08:33,120 --> 01:08:36,160
Speaker 1: in people's mind. I remember, and I didn't know at

1430
01:08:36,200 --> 01:08:38,720
Speaker 1: the time. As a kid listening to that song, I

1431
01:08:38,760 --> 01:08:40,400
Speaker 1: didn't know what a key change was. It was only

1432
01:08:40,479 --> 01:08:42,880
Speaker 1: later in my life when I learned a bit about

1433
01:08:42,960 --> 01:08:45,400
Speaker 1: music to understand what a key change watch was and

1434
01:08:45,479 --> 01:08:46,880
Speaker 1: how hard it was to do. But there's a key

1435
01:08:47,000 --> 01:08:49,400
Speaker 1: change in pay Me at Birmingham that you do that

1436
01:08:50,240 --> 01:08:52,559
Speaker 1: when listening back to it, I still get chill bumps

1437
01:08:52,840 --> 01:08:54,439
Speaker 1: because it's like it goes to the next level when

1438
01:08:55,160 --> 01:08:57,120
Speaker 1: steps up and what we do live. I closed the

1439
01:08:57,200 --> 01:08:58,680
Speaker 1: show with it have been closing the show with it

1440
01:08:58,720 --> 01:09:01,160
Speaker 1: for a long time, so we've built this big power

1441
01:09:01,200 --> 01:09:03,960
Speaker 1: of pop guitar solo into it that just really elevates it.

1442
01:09:04,080 --> 01:09:06,840
Speaker 1: When you hit that nod, it just won't you know.

1443
01:09:06,880 --> 01:09:08,479
Speaker 1: I think one of the things that made that record

1444
01:09:08,520 --> 01:09:11,640
Speaker 1: so special too is nobody really knew what a Birmingham was.

1445
01:09:12,080 --> 01:09:13,760
Speaker 1: They thought, you know, you had people that thought I

1446
01:09:13,840 --> 01:09:15,640
Speaker 1: was talking about the city that I left my love

1447
01:09:15,680 --> 01:09:18,280
Speaker 1: in Birmingham. You had people thought about, you know, it's

1448
01:09:18,360 --> 01:09:22,280
Speaker 1: a uh, whatever the scenario was. But what I found

1449
01:09:22,320 --> 01:09:24,320
Speaker 1: out later on it maybe I didn't really even know

1450
01:09:24,360 --> 01:09:26,519
Speaker 1: what it was until later on. But the song is

1451
01:09:26,520 --> 01:09:28,920
Speaker 1: actually written about a house called a Birmingham. It's a

1452
01:09:28,960 --> 01:09:30,680
Speaker 1: style of house and we've talked about that in the

1453
01:09:30,720 --> 01:09:34,519
Speaker 1: past before. So I think the being able to interpret

1454
01:09:34,640 --> 01:09:37,880
Speaker 1: that song and be something that anybody wanted it to

1455
01:09:37,960 --> 01:09:39,560
Speaker 1: be made was one of the things that made it

1456
01:09:39,640 --> 01:09:42,160
Speaker 1: so special. It wasn't locked into just being what it was.

1457
01:09:42,280 --> 01:09:45,639
Speaker 1: You can interpret it many different ways, which a lot

1458
01:09:45,720 --> 01:09:48,840
Speaker 1: of great songs have. That absolutely, because what makes it

1459
01:09:49,000 --> 01:09:51,760
Speaker 1: great is so many people can relate and sometimes so

1460
01:09:51,880 --> 01:09:54,840
Speaker 1: many people find their own relationship with the song. And

1461
01:09:54,920 --> 01:09:56,840
Speaker 1: I think that's what this song does. Like everyone finds

1462
01:09:56,880 --> 01:10:00,040
Speaker 1: in a relationship with this song absolutely, and then I

1463
01:10:00,080 --> 01:10:02,080
Speaker 1: get fifth our own mental picture of what that is.

1464
01:10:02,360 --> 01:10:05,160
Speaker 1: Another song that that was locked that for me was

1465
01:10:05,240 --> 01:10:08,560
Speaker 1: Texas Tornado and all the things that I've had. I

1466
01:10:08,640 --> 01:10:11,639
Speaker 1: think Texas Tornado impacted the young kids more than anything

1467
01:10:11,680 --> 01:10:14,080
Speaker 1: else that I ever did. And and the only thing

1468
01:10:14,200 --> 01:10:16,719
Speaker 1: that I can correlate that too is how many times

1469
01:10:16,800 --> 01:10:18,840
Speaker 1: as a kid did your mother say your room looks

1470
01:10:18,880 --> 01:10:21,040
Speaker 1: like a tornado hit it? So I think that it

1471
01:10:21,160 --> 01:10:23,680
Speaker 1: had that perception to young kids, and they were they

1472
01:10:24,000 --> 01:10:25,759
Speaker 1: found a way to relate to it on a different

1473
01:10:25,840 --> 01:10:28,559
Speaker 1: level because I never saw that that that correlation when

1474
01:10:28,600 --> 01:10:31,800
Speaker 1: I cut that song either. Jody Messina, on when she

1475
01:10:31,920 --> 01:10:35,760
Speaker 1: finally landed her first number one in with Bye Bye,

1476
01:10:36,200 --> 01:10:40,320
Speaker 1: two years after her debut single Heads Carolina, tells California

1477
01:10:40,360 --> 01:10:42,960
Speaker 1: peaked at only number two and it would have been

1478
01:10:43,000 --> 01:10:45,120
Speaker 1: a number one, but my Maria was ahead of it

1479
01:10:45,479 --> 01:10:47,559
Speaker 1: as a tough one to beat. Here you go, Jody Messina,

1480
01:10:48,280 --> 01:11:04,240
Speaker 1: your first number one here is Bye Bye. So was

1481
01:11:04,400 --> 01:11:07,280
Speaker 1: this your first single or was it your first single

1482
01:11:07,320 --> 01:11:09,040
Speaker 1: that went number one? Did you have one before this?

1483
01:11:09,160 --> 01:11:11,080
Speaker 1: It didn't We're just gonna love this one. One of

1484
01:11:11,160 --> 01:11:14,920
Speaker 1: my teammates. Um, My first single was heads Carolina Tales California,

1485
01:11:15,320 --> 01:11:20,559
Speaker 1: which is which is bizarre, was gonna get around by Maria.

1486
01:11:20,720 --> 01:11:22,720
Speaker 1: I was gonna talk about it. That's the wildest song

1487
01:11:22,800 --> 01:11:25,519
Speaker 1: to never go number one. Heads Carolina tells California like

1488
01:11:25,640 --> 01:11:28,240
Speaker 1: I can't did on some charts, like the smaller charts,

1489
01:11:28,320 --> 01:11:30,559
Speaker 1: but Billboard and I think are and are It's set

1490
01:11:30,800 --> 01:11:34,320
Speaker 1: behind my Maria forever. That is just some bad luck

1491
01:11:34,600 --> 01:11:36,639
Speaker 1: that two of the biggest country songs of all time

1492
01:11:37,120 --> 01:11:40,120
Speaker 1: are on the chart at the exact same time. They

1493
01:11:40,200 --> 01:11:42,040
Speaker 1: just want to kick Ronnie and Kicks in the ship

1494
01:11:42,080 --> 01:11:44,240
Speaker 1: and be like, hey, guys, come on, let me hop up.

1495
01:11:44,240 --> 01:11:47,400
Speaker 1: There is five. They were my first major tour, so no,

1496
01:11:48,240 --> 01:11:51,080
Speaker 1: I learned a lot from them touring with them, and

1497
01:11:51,200 --> 01:11:52,800
Speaker 1: they were just so kind to me, and their crew

1498
01:11:52,920 --> 01:11:55,360
Speaker 1: was kind to me, and they they gave everybody the

1499
01:11:55,439 --> 01:11:58,080
Speaker 1: speech you know when we first started, like whatever whatever

1500
01:11:58,160 --> 01:12:00,639
Speaker 1: they need, you know, just see two that they haven't

1501
01:12:00,680 --> 01:12:03,760
Speaker 1: take care of him and we were just spoiled rotten

1502
01:12:03,840 --> 01:12:07,400
Speaker 1: on their tour. So no, but we did have bad luck,

1503
01:12:07,520 --> 01:12:09,360
Speaker 1: or not bad luck, but we did have that same

1504
01:12:09,439 --> 01:12:14,559
Speaker 1: luck again with Lesson and Leavin and that song that's

1505
01:12:14,600 --> 01:12:16,880
Speaker 1: for a few years after that. Who sat at number

1506
01:12:16,920 --> 01:12:25,439
Speaker 1: one that time one Star Amazed eight weeks eight weeks

1507
01:12:25,520 --> 01:12:29,640
Speaker 1: we were at number one and two. That's crazy. So

1508
01:12:30,320 --> 01:12:33,439
Speaker 1: let me rewind for a second. So heads Carolina tells California, um,

1509
01:12:33,479 --> 01:12:35,240
Speaker 1: which we still play on our show, because I mean,

1510
01:12:35,280 --> 01:12:38,559
Speaker 1: that song just transcends every form of music, every form

1511
01:12:38,600 --> 01:12:41,200
Speaker 1: of it doesn't matter. It's such a good song that

1512
01:12:41,760 --> 01:12:44,800
Speaker 1: thank you. Was that your first ever single and if so,

1513
01:12:44,920 --> 01:12:47,160
Speaker 1: it must have felt like a rocket ship. Well here's

1514
01:12:47,200 --> 01:12:49,679
Speaker 1: the deal. We were done with the album and Tim Nichols,

1515
01:12:49,680 --> 01:12:51,680
Speaker 1: who's one of the writers on there, had called me

1516
01:12:51,840 --> 01:12:53,439
Speaker 1: and said because he saw me at a showcase and

1517
01:12:53,479 --> 01:12:56,240
Speaker 1: he's seen me around town singing and um, he called

1518
01:12:56,320 --> 01:12:59,760
Speaker 1: me and said, hey, I wrote this song and I

1519
01:12:59,880 --> 01:13:02,080
Speaker 1: was wondering if you would listen to it. I'm like, dude,

1520
01:13:02,120 --> 01:13:05,160
Speaker 1: we're done, we're done with the record finally. And he's like, please,

1521
01:13:05,240 --> 01:13:07,760
Speaker 1: let me just leave it in your mailbox. Listen to

1522
01:13:07,920 --> 01:13:09,920
Speaker 1: it and then let me know what you think. And

1523
01:13:10,120 --> 01:13:11,920
Speaker 1: so he did. He left in the mailbox and I

1524
01:13:12,000 --> 01:13:14,200
Speaker 1: was like, man, this song is really catchy. I love

1525
01:13:14,320 --> 01:13:17,719
Speaker 1: the chorus. I'm not crazy about the opening two lines,

1526
01:13:18,360 --> 01:13:19,960
Speaker 1: but I'm going to play it for my producers. And

1527
01:13:19,960 --> 01:13:21,880
Speaker 1: I played it for my producers and they're like, which

1528
01:13:21,920 --> 01:13:24,320
Speaker 1: is Byron Gallimore and to mccroth, And they were like,

1529
01:13:24,920 --> 01:13:27,000
Speaker 1: oh man, we gotta cut this. And I was like, yeah,

1530
01:13:27,040 --> 01:13:29,640
Speaker 1: but I don't like the first couple of lines, and

1531
01:13:29,800 --> 01:13:31,680
Speaker 1: so they're like, well, ask him to change it, and

1532
01:13:31,760 --> 01:13:34,839
Speaker 1: I was like okay. So they did. The only studio

1533
01:13:34,920 --> 01:13:38,200
Speaker 1: time that was available then was on the fourth of July,

1534
01:13:38,720 --> 01:13:41,120
Speaker 1: so we actually cut it the fourth of July before

1535
01:13:41,160 --> 01:13:44,000
Speaker 1: it was released. And so as you cut it, were

1536
01:13:44,040 --> 01:13:46,719
Speaker 1: you already this is a single? Like in your mind?

1537
01:13:46,840 --> 01:13:48,320
Speaker 1: Were you cutting it to be a single? Are you

1538
01:13:48,360 --> 01:13:49,519
Speaker 1: cutting it just to get it on the record and

1539
01:13:49,520 --> 01:13:51,560
Speaker 1: see what would happen? We're cutting it to get it

1540
01:13:51,640 --> 01:13:53,439
Speaker 1: on the record. And then as soon as we passed

1541
01:13:53,479 --> 01:13:54,960
Speaker 1: the record in, as soon as we passed it in,

1542
01:13:55,040 --> 01:13:57,240
Speaker 1: there like okay, this would be the first single. Do

1543
01:13:57,280 --> 01:14:00,720
Speaker 1: you remember what the lines were that we're changed? We

1544
01:14:01,120 --> 01:14:04,280
Speaker 1: two have known it the day they cut that paper

1545
01:14:04,400 --> 01:14:07,439
Speaker 1: mill down, or shut the paper mill down. Sorry, there'd

1546
01:14:07,479 --> 01:14:11,320
Speaker 1: be no future for us no more in our little town.

1547
01:14:12,320 --> 01:14:15,640
Speaker 1: I've got people in Austin, ain't your daddy still in

1548
01:14:15,760 --> 01:14:17,400
Speaker 1: the morning? And I was like, oh, and can we

1549
01:14:17,520 --> 01:14:24,040
Speaker 1: change Austin to Boston? People in Boston. So yeah, So

1550
01:14:24,200 --> 01:14:27,760
Speaker 1: that's Peaks at two and then you okay, So then

1551
01:14:27,840 --> 01:14:30,880
Speaker 1: bye Bye comes out? And did you feel like a

1552
01:14:30,920 --> 01:14:32,680
Speaker 1: little bit because bye Bye again such a great song?

1553
01:14:32,840 --> 01:14:35,040
Speaker 1: Did you feel like a little bit that the chart?

1554
01:14:35,640 --> 01:14:38,080
Speaker 1: The chart people felt like, Okay, we need to make

1555
01:14:38,320 --> 01:14:40,439
Speaker 1: because she got such a raw deal with Heads Carolina

1556
01:14:40,439 --> 01:14:42,519
Speaker 1: Tellas California, we need to make sure there's nothing else

1557
01:14:42,560 --> 01:14:44,439
Speaker 1: in the way with this one. I don't think they

1558
01:14:44,479 --> 01:14:48,160
Speaker 1: were aware. I think it was just the song itself. Um,

1559
01:14:48,280 --> 01:14:51,200
Speaker 1: I saw they pitched m I pitched it to me.

1560
01:14:51,720 --> 01:14:57,000
Speaker 1: It was a film of aster song and they I

1561
01:14:57,120 --> 01:14:58,640
Speaker 1: loved it as soon as we heard it, and so

1562
01:14:59,200 --> 01:15:01,320
Speaker 1: and that, and then I had a different first line

1563
01:15:01,360 --> 01:15:04,559
Speaker 1: to the opening line for that was girly, you sure

1564
01:15:04,720 --> 01:15:07,720
Speaker 1: look pretty. They're standing in the doorway in the sunset light.

1565
01:15:07,880 --> 01:15:09,880
Speaker 1: And when I sing, and it's like, boy, you sure

1566
01:15:10,000 --> 01:15:12,679
Speaker 1: look good. They're standing in the doorway. And I remember

1567
01:15:12,960 --> 01:15:14,920
Speaker 1: before we cut it, Phil Bash was like, it's not

1568
01:15:15,040 --> 01:15:17,560
Speaker 1: a song or a girl, it's a guy's song. And

1569
01:15:17,760 --> 01:15:21,000
Speaker 1: so he still says that today it's like, that's not

1570
01:15:21,080 --> 01:15:23,600
Speaker 1: a girl's song that was written for a guy. So

1571
01:15:24,479 --> 01:15:27,439
Speaker 1: but we we love each other. But he's yeah, we

1572
01:15:27,560 --> 01:15:32,080
Speaker 1: got bye bye that came out and then I'm all right, yeah,

1573
01:15:32,280 --> 01:15:35,240
Speaker 1: same year. Thanks for listening to episode three sixty one

1574
01:15:35,280 --> 01:15:38,760
Speaker 1: of the Bobby Cast. Famous firsts now, go out and

1575
01:15:38,800 --> 01:15:41,120
Speaker 1: write your own number one song. And since I inspired you,

1576
01:15:41,240 --> 01:15:43,680
Speaker 1: give me five percent publishing or just make sure that

1577
01:15:43,720 --> 01:15:46,439
Speaker 1: you subscribe to the Bobby Cast wherever you're listening. Rate

1578
01:15:46,479 --> 01:15:49,440
Speaker 1: at five stars please, And if you're looking for more podcasts,

1579
01:15:49,640 --> 01:15:51,719
Speaker 1: I want to suggest two of them. Twenty five Whistles.

1580
01:15:52,040 --> 01:15:55,280
Speaker 1: It is our football podcast or movie mix movie podcast

1581
01:15:55,400 --> 01:15:57,240
Speaker 1: if you love movies. We're back next week with a

1582
01:15:57,240 --> 01:15:59,840
Speaker 1: brand new episode. Thank you guys, this episode was awesome.

1583
01:15:59,880 --> 01:16:02,120
Speaker 1: Good job Mike, thank you a great episode. There you go,

1584
01:16:02,280 --> 01:16:09,880
Speaker 1: thank you, See you next time. H m hm