1 00:00:15,520 --> 00:00:18,680 Speaker 1: What's up. It's Granger Smith and this is the Granger 2 00:00:18,720 --> 00:00:22,920 Speaker 1: Smith Podcast, Episode seven. It seems like every time I'm 3 00:00:22,960 --> 00:00:25,840 Speaker 1: talking about music now people are asking me about this podcast, 4 00:00:26,280 --> 00:00:29,080 Speaker 1: which blows me away because I never thought it would 5 00:00:29,120 --> 00:00:33,680 Speaker 1: become something that I love to do this much. Episode seven. 6 00:00:35,200 --> 00:00:37,680 Speaker 1: So five episodes I've done now in the back of 7 00:00:37,720 --> 00:00:40,520 Speaker 1: my bus. I did one in the Lonely hotel room, 8 00:00:40,960 --> 00:00:46,280 Speaker 1: and then today I'm a home. Our home is outside 9 00:00:46,320 --> 00:00:50,000 Speaker 1: of Georgetown, Texas. We live out in the country, and 10 00:00:50,080 --> 00:00:52,239 Speaker 1: I have a couple days off. We're gonna leave here 11 00:00:52,640 --> 00:00:55,520 Speaker 1: tomorrow night. I'm gonna go to New York City. The 12 00:00:55,560 --> 00:00:58,520 Speaker 1: band is going to Albuquerque, and then we all meet 13 00:00:58,680 --> 00:01:03,320 Speaker 1: in Las Vegas the day after that. And then things 14 00:01:03,360 --> 00:01:06,840 Speaker 1: get really crazy, really crazy, because we have an album 15 00:01:06,880 --> 00:01:10,560 Speaker 1: coming out October the twenty seventh, that's in a few weeks, 16 00:01:11,360 --> 00:01:13,600 Speaker 1: and I thought it would be pretty cool for this 17 00:01:13,680 --> 00:01:17,560 Speaker 1: episode to tell you the stories behind the songs and 18 00:01:17,240 --> 00:01:20,600 Speaker 1: not you know, fancy stories like I would say on 19 00:01:20,640 --> 00:01:26,040 Speaker 1: the radio. I'm talking about digging deep and telling you 20 00:01:26,160 --> 00:01:30,240 Speaker 1: where these came from, how they were built, crafted, created, 21 00:01:30,319 --> 00:01:32,880 Speaker 1: and why these are the ones that made the cut. 22 00:01:33,640 --> 00:01:37,680 Speaker 1: I'll tell you now this album called When the Good 23 00:01:37,680 --> 00:01:41,520 Speaker 1: Guys Win. The theme of it is living for today 24 00:01:41,800 --> 00:01:45,199 Speaker 1: because tomorrow is not guaranteed. That's been the theme all along. 25 00:01:45,240 --> 00:01:47,800 Speaker 1: It started about a year ago when I fell off 26 00:01:47,840 --> 00:01:50,240 Speaker 1: the stage, broke a couple of ribs, punctured a lung, 27 00:01:51,120 --> 00:01:56,720 Speaker 1: and so much of that made me think about life 28 00:01:56,720 --> 00:02:01,320 Speaker 1: and made me wonder why we all always worry about 29 00:02:01,320 --> 00:02:03,480 Speaker 1: tomorrow and the next show and the next album and 30 00:02:03,480 --> 00:02:05,960 Speaker 1: the next tour. And I've been preaching to my band 31 00:02:06,000 --> 00:02:09,160 Speaker 1: and crew this whole year. Let's enjoy this tour that 32 00:02:09,160 --> 00:02:11,680 Speaker 1: we're on today. Let's enjoy the show we're about to 33 00:02:11,680 --> 00:02:16,080 Speaker 1: play tonight, because that's all we have, right. And so 34 00:02:16,120 --> 00:02:18,480 Speaker 1: as I tell these stories, as I talk about these songs, 35 00:02:18,639 --> 00:02:20,120 Speaker 1: I have some help here in the room with me. 36 00:02:20,440 --> 00:02:26,160 Speaker 1: Say hi everybody, Hi everybody. These are my two kids, 37 00:02:26,160 --> 00:02:28,600 Speaker 1: Lincoln in London, and they know these songs better than anyone, 38 00:02:28,639 --> 00:02:30,919 Speaker 1: So it only makes sense that they help with the podcast. Right, 39 00:02:31,240 --> 00:02:34,560 Speaker 1: do you guys like this album? Yeah? All right, let's 40 00:02:34,560 --> 00:02:53,720 Speaker 1: get started. Hey DJ, Hey Sunset, Hey full Moon Creeping 41 00:02:53,880 --> 00:02:59,280 Speaker 1: up over then find in the Distance, Hey Summer Breeze, 42 00:03:01,040 --> 00:03:05,240 Speaker 1: Hey to Lane Road. I Got a girl that means 43 00:03:05,280 --> 00:03:08,120 Speaker 1: the world to mean, if you wanna help me, let 44 00:03:08,160 --> 00:03:11,080 Speaker 1: her know. Gimme Something is the first song on the album, 45 00:03:11,120 --> 00:03:13,200 Speaker 1: track one, and I think it's a great way to 46 00:03:13,280 --> 00:03:16,120 Speaker 1: lead into the songs because here we have this very innocent, 47 00:03:16,280 --> 00:03:19,760 Speaker 1: descriptive narrative from a guy out on a date with 48 00:03:19,800 --> 00:03:21,919 Speaker 1: a girl and he really likes this girl, and he's 49 00:03:21,919 --> 00:03:24,519 Speaker 1: calling for help through all the signs in the night, 50 00:03:25,639 --> 00:03:28,040 Speaker 1: the stars, the moon, the radio, as if they're all 51 00:03:28,080 --> 00:03:30,160 Speaker 1: friends of his and they can help have influence on 52 00:03:30,240 --> 00:03:33,040 Speaker 1: her and how she feels about him. Gimme something, she 53 00:03:33,160 --> 00:03:36,520 Speaker 1: convanced to throw up her hands to hunt through her hair, 54 00:03:36,640 --> 00:03:40,520 Speaker 1: falling down, Jimmy, Something that'll take your breath to win 55 00:03:40,640 --> 00:03:43,760 Speaker 1: and make or think that Heaven dry here right now. 56 00:03:44,240 --> 00:03:48,280 Speaker 1: Something that'll get those eyes something at me back. She's 57 00:03:48,320 --> 00:03:52,240 Speaker 1: falling Carter down, the stars tonight, anything in turn the 58 00:03:52,280 --> 00:03:56,360 Speaker 1: space that's in between us in and nothing come will 59 00:03:56,400 --> 00:04:00,760 Speaker 1: give me something. Yeah. One of the on the song's 60 00:04:00,800 --> 00:04:02,800 Speaker 1: name is Justin Wilson. You're going to hear that name 61 00:04:02,800 --> 00:04:05,200 Speaker 1: a lot because he had a hand in six of 62 00:04:05,240 --> 00:04:08,280 Speaker 1: the songs on this album. He's a genius writer, he's 63 00:04:08,840 --> 00:04:11,360 Speaker 1: a brilliant singer, and he sang the demo on the 64 00:04:11,400 --> 00:04:13,400 Speaker 1: song originally, and it freaked me out because then I 65 00:04:13,440 --> 00:04:16,880 Speaker 1: had to go in make this record and sing it 66 00:04:17,480 --> 00:04:18,960 Speaker 1: and know that I wasn't going to be able to 67 00:04:18,960 --> 00:04:21,800 Speaker 1: do any justice to what Justin did. But man, he 68 00:04:21,920 --> 00:04:24,039 Speaker 1: makes me better and I feel lucky to be able 69 00:04:24,080 --> 00:04:33,960 Speaker 1: to soak up anything I can from him. Gimmy something, givy. 70 00:04:34,120 --> 00:04:37,800 Speaker 1: Some said this album is number nine for me, and 71 00:04:38,320 --> 00:04:40,600 Speaker 1: people want to know what makes this album different from 72 00:04:40,640 --> 00:04:43,400 Speaker 1: the others. Well, that's pretty easy. See. I was touring 73 00:04:43,480 --> 00:04:47,960 Speaker 1: constantly during twenty sixteen and seventeen, so the only way 74 00:04:48,000 --> 00:04:51,280 Speaker 1: I could make this album was on the road, writing, editing. 75 00:04:51,480 --> 00:04:53,680 Speaker 1: A lot of the recording, believe it or not, was 76 00:04:53,720 --> 00:04:55,840 Speaker 1: all done on the road. I sang every song at 77 00:04:55,839 --> 00:04:59,200 Speaker 1: home and it's not a studio, it's really a closet, 78 00:04:59,480 --> 00:05:04,560 Speaker 1: and and I recorded the drums and the bass and 79 00:05:04,560 --> 00:05:06,960 Speaker 1: some of the bigger guitars in the big studio, but 80 00:05:07,080 --> 00:05:10,000 Speaker 1: everything else was on the road. And I think that's 81 00:05:10,040 --> 00:05:13,040 Speaker 1: really going to reflect back on the songs, because here 82 00:05:13,080 --> 00:05:14,560 Speaker 1: I am sitting on the back of the bus and 83 00:05:14,560 --> 00:05:16,840 Speaker 1: I'm parked in a parking lot watching people pull in 84 00:05:16,880 --> 00:05:18,560 Speaker 1: and they're getting out and they're lining up in the 85 00:05:18,640 --> 00:05:21,160 Speaker 1: venue that I'm about to play, and I get to 86 00:05:21,240 --> 00:05:25,039 Speaker 1: look at the exact people that I'll eventually deliver these 87 00:05:25,240 --> 00:05:28,719 Speaker 1: songs to. What better way to do it? And on 88 00:05:28,800 --> 00:05:30,640 Speaker 1: top of that, I get to have writers out on 89 00:05:30,680 --> 00:05:33,559 Speaker 1: the road with me and we go and they watched 90 00:05:33,600 --> 00:05:36,599 Speaker 1: the show that I'm about to play, and then we 91 00:05:36,640 --> 00:05:39,400 Speaker 1: go back to the bus and we say things like, A, 92 00:05:41,279 --> 00:05:43,800 Speaker 1: you did this and it was amazing, Let's do more 93 00:05:43,800 --> 00:05:46,120 Speaker 1: of that, or be you know, I watched the whole 94 00:05:46,120 --> 00:05:48,840 Speaker 1: show and I didn't see very much of this. Let's 95 00:05:48,839 --> 00:05:51,120 Speaker 1: write that, And I think that's how I ended up 96 00:05:51,120 --> 00:06:06,280 Speaker 1: recording You're in It. You're in at this track two 97 00:06:06,279 --> 00:06:09,000 Speaker 1: on the album, and it's got this beat that's perfect 98 00:06:09,000 --> 00:06:11,520 Speaker 1: for a live show. It has energy, it has some 99 00:06:11,640 --> 00:06:13,920 Speaker 1: mystery around it, and yet it's still a country love song, 100 00:06:14,720 --> 00:06:17,080 Speaker 1: just as that bojo that you know on a Saturday 101 00:06:17,160 --> 00:06:19,120 Speaker 1: night a packed house and the lights come on in 102 00:06:19,160 --> 00:06:22,400 Speaker 1: the front of the stage. It works. You read it 103 00:06:23,279 --> 00:06:28,320 Speaker 1: every single good time. We're in a redvine in my mind, 104 00:06:28,560 --> 00:06:34,080 Speaker 1: jam fine, you read it every down of what could beat? All? 105 00:06:34,160 --> 00:06:39,560 Speaker 1: I see you and me not reading everything. I don't 106 00:06:39,600 --> 00:06:42,760 Speaker 1: know what the USU hoes all. I know is Gerl 107 00:06:42,880 --> 00:06:56,560 Speaker 1: you're in One of the writers on this song. His 108 00:06:56,640 --> 00:06:59,120 Speaker 1: name is Justin Adams, and he's an artist himself, a 109 00:06:59,240 --> 00:07:02,320 Speaker 1: great dude and a great artist, and this is his 110 00:07:02,360 --> 00:07:05,359 Speaker 1: first major cut as a songwriter. So I'm so proud 111 00:07:05,360 --> 00:07:07,360 Speaker 1: of him for that. And you know, that brings up 112 00:07:07,400 --> 00:07:11,000 Speaker 1: something that I've never felt before, and that's the responsibility 113 00:07:11,040 --> 00:07:14,680 Speaker 1: of singing another songwriter's song. And as a songwriter myself, 114 00:07:15,400 --> 00:07:17,120 Speaker 1: I know how impactful that could be, and I know 115 00:07:17,160 --> 00:07:21,080 Speaker 1: how important every cut is. And so here I am 116 00:07:21,120 --> 00:07:23,880 Speaker 1: out on the road writing and bringing guys out with me, 117 00:07:24,920 --> 00:07:27,720 Speaker 1: and inevitably that one of the writers would say, hey, Granger, 118 00:07:27,800 --> 00:07:30,160 Speaker 1: you know, I want to play something we wrote a 119 00:07:30,160 --> 00:07:31,920 Speaker 1: couple weeks ago and see if you dig it, maybe 120 00:07:31,920 --> 00:07:34,560 Speaker 1: you could help finish it for me, And so they 121 00:07:34,560 --> 00:07:38,240 Speaker 1: would play it, and several times I would think that 122 00:07:38,440 --> 00:07:40,640 Speaker 1: song is amazing, and no, I'm not going to help 123 00:07:40,640 --> 00:07:43,360 Speaker 1: you finish because it's already done, but I want to 124 00:07:43,400 --> 00:07:45,680 Speaker 1: record it. And then I kind of get this new 125 00:07:45,720 --> 00:07:47,480 Speaker 1: ownership in the song in a way that I've never 126 00:07:47,520 --> 00:07:52,120 Speaker 1: felt before, and I feel this responsibility of thank you 127 00:07:52,160 --> 00:07:55,000 Speaker 1: for allowing me to be the voice of your idea, 128 00:07:55,280 --> 00:07:58,920 Speaker 1: your baby, and they're thinking, thank you for giving my 129 00:07:59,000 --> 00:08:02,680 Speaker 1: song a chance. And so it's this mutual camaraderie that's 130 00:08:02,880 --> 00:08:05,560 Speaker 1: such an amazing feeling. It's like having a teammate in 131 00:08:05,600 --> 00:08:13,920 Speaker 1: this crazy music business, and that's awesome. This podcast is 132 00:08:13,920 --> 00:08:17,080 Speaker 1: brought to you by EEE Energy. My name is Granger Smith, 133 00:08:17,120 --> 00:08:19,600 Speaker 1: and I'm talking about my brand new album that comes 134 00:08:19,600 --> 00:08:23,080 Speaker 1: out October twenty seventh to the world called When the 135 00:08:23,080 --> 00:08:25,600 Speaker 1: Good Guys Win. And I got to tell you guys, 136 00:08:25,600 --> 00:08:28,720 Speaker 1: in case you didn't know, I understand in this crazy 137 00:08:28,760 --> 00:08:31,880 Speaker 1: world of streaming music, which is great. You know. I'm 138 00:08:31,880 --> 00:08:34,720 Speaker 1: all about people hearing the music however they can, and 139 00:08:34,800 --> 00:08:37,199 Speaker 1: streaming is very important because it gets my name out there. 140 00:08:37,360 --> 00:08:39,200 Speaker 1: It spreads the message so that hopefully you and your 141 00:08:39,200 --> 00:08:41,840 Speaker 1: friends could come see me in concert. But I also 142 00:08:41,920 --> 00:08:44,840 Speaker 1: want to talk about the few people that actually still 143 00:08:44,840 --> 00:08:47,160 Speaker 1: buy records and what that does to an artist and 144 00:08:47,200 --> 00:08:50,520 Speaker 1: the team around them. You see, it helps build our story, 145 00:08:50,800 --> 00:08:53,480 Speaker 1: it helps build our reputation. It allows us to have 146 00:08:53,559 --> 00:08:57,080 Speaker 1: bigger tours and deeper spots on festivals. Buying the CD 147 00:08:57,160 --> 00:08:59,240 Speaker 1: itself is actually a really cool piece of memorabilia you 148 00:08:59,280 --> 00:09:00,880 Speaker 1: could bring to the show. When we could sign for 149 00:09:00,920 --> 00:09:02,600 Speaker 1: you too. So if you're one of those people that 150 00:09:02,720 --> 00:09:05,480 Speaker 1: still buys records, God bless you, and I hope you 151 00:09:05,520 --> 00:09:08,719 Speaker 1: know that you're keeping our dream alive. I want to 152 00:09:08,760 --> 00:09:10,960 Speaker 1: get back to this track listing on my brand new 153 00:09:10,960 --> 00:09:14,000 Speaker 1: album When the Good Guys Win, and to talk about 154 00:09:14,040 --> 00:09:15,880 Speaker 1: that a little bit more. I have two people sitting 155 00:09:15,880 --> 00:09:18,800 Speaker 1: with me right now that know these songs better than 156 00:09:18,840 --> 00:09:21,120 Speaker 1: most because they've been listening to these songs since they 157 00:09:21,120 --> 00:09:24,080 Speaker 1: were just demos. They're my two kids, Lincoln in London. 158 00:09:24,240 --> 00:09:26,920 Speaker 1: They're six and three. Okay, so you guys can sit 159 00:09:27,000 --> 00:09:30,640 Speaker 1: on my lap. Wait, first of all, do you guys 160 00:09:30,760 --> 00:09:35,360 Speaker 1: like all my new songs? Yes? What's your favorite song 161 00:09:35,480 --> 00:09:38,360 Speaker 1: of mine on the new album? Ooh ooh? I know what? 162 00:09:42,320 --> 00:09:44,960 Speaker 1: They rocket you out? You're in it? What do you 163 00:09:45,040 --> 00:09:49,920 Speaker 1: like about your in it? I like it because Lincoln 164 00:09:50,080 --> 00:09:53,000 Speaker 1: always gets me and dance moves and he always says 165 00:09:54,160 --> 00:09:58,040 Speaker 1: MoMA on the front porch rocket. Yeah, Lincoln seems to 166 00:09:58,080 --> 00:10:00,680 Speaker 1: be like in rocket ships. Right now. That's a battery, Boddy. 167 00:10:00,720 --> 00:10:04,120 Speaker 1: You can't put batteries in your mouth. Why do you 168 00:10:04,200 --> 00:10:07,640 Speaker 1: like that one? Because? I like it because it's funny 169 00:10:07,640 --> 00:10:10,240 Speaker 1: and it has lots of dance moves. Well, that's the 170 00:10:10,320 --> 00:10:14,000 Speaker 1: second time you liked the song because of the dance moves. 171 00:10:15,840 --> 00:10:18,000 Speaker 1: I'll be honest with you. On track number three called 172 00:10:18,080 --> 00:10:20,959 Speaker 1: raise your Glass, dance moves is not the first thing 173 00:10:21,000 --> 00:10:24,360 Speaker 1: that comes to my mind, but a really cool song 174 00:10:24,440 --> 00:10:27,880 Speaker 1: with a great message about celebrating the good times is 175 00:10:41,800 --> 00:10:44,760 Speaker 1: could be in me on it song, Boys, I got 176 00:10:44,800 --> 00:10:50,720 Speaker 1: the first round, could be the last second, hell Mary, 177 00:10:50,840 --> 00:10:57,240 Speaker 1: game winning touchdom, could be hitting it off with the 178 00:10:57,280 --> 00:11:00,880 Speaker 1: one that you're hitting on, turning the page new day, 179 00:11:01,160 --> 00:11:06,840 Speaker 1: finally moving on. Whatever it is, Yeah, whatever it is, 180 00:11:08,280 --> 00:11:12,120 Speaker 1: Raising your Class made the coast to all of the 181 00:11:12,280 --> 00:11:16,280 Speaker 1: times and me the most. Go on and let you 182 00:11:16,480 --> 00:11:22,560 Speaker 1: worries roll out off your beasts. Still got some man 183 00:11:23,720 --> 00:11:27,520 Speaker 1: to make, a whole lot of shots love to take, 184 00:11:28,040 --> 00:11:33,240 Speaker 1: so let's hold them high, lil tonight like it's out last, 185 00:11:34,920 --> 00:11:42,760 Speaker 1: Raising your Class. So this whole album was produced by 186 00:11:43,120 --> 00:11:47,360 Speaker 1: Frank Rodgers, Derek Wells, some stupidly talented guys that are 187 00:11:47,720 --> 00:11:51,679 Speaker 1: some of my good friends and me. I'm way too 188 00:11:51,720 --> 00:11:54,240 Speaker 1: OCD and way too too much of a control freak 189 00:11:54,320 --> 00:11:56,920 Speaker 1: to not also produce all my albums too. And I 190 00:11:56,960 --> 00:11:59,480 Speaker 1: remember on raise up your glass and keep in mind 191 00:11:59,480 --> 00:12:01,439 Speaker 1: that this is all edited on the back of my bus. 192 00:12:02,000 --> 00:12:03,959 Speaker 1: I'm talking to the to the guy building the beats, 193 00:12:03,960 --> 00:12:05,880 Speaker 1: and I was like, I wanted some kind of Grandfather 194 00:12:05,960 --> 00:12:09,840 Speaker 1: clock like and he found it and it worked. This 195 00:12:09,920 --> 00:12:11,480 Speaker 1: song is one of those songs that could have been 196 00:12:11,520 --> 00:12:14,080 Speaker 1: about it. It could have been stripped down one guy 197 00:12:14,120 --> 00:12:17,760 Speaker 1: and a guitar, but we gave it this energy. So 198 00:12:17,840 --> 00:12:20,760 Speaker 1: it's strong and powerful, and I think the message is 199 00:12:20,800 --> 00:12:23,200 Speaker 1: strong and powerful. And we're gonna be able to stand 200 00:12:23,280 --> 00:12:25,960 Speaker 1: up there and play this live and although it may 201 00:12:26,000 --> 00:12:28,439 Speaker 1: be a little sentimental lyrically, sometimes we're gonna be able 202 00:12:28,480 --> 00:12:31,240 Speaker 1: to stand up there on stage and deliver with power 203 00:12:31,840 --> 00:12:34,000 Speaker 1: and I love raise up your glass. What a good 204 00:12:34,040 --> 00:13:06,520 Speaker 1: message to take mess? All right, what's next? Track number four? 205 00:13:07,080 --> 00:13:10,640 Speaker 1: It's the first time I get to talk about SGOP. Now. 206 00:13:10,720 --> 00:13:13,240 Speaker 1: There's a group of buddies that I've developed a relationship 207 00:13:13,559 --> 00:13:16,199 Speaker 1: with over the last few years, starting with at the 208 00:13:16,200 --> 00:13:20,640 Speaker 1: boot fits announced these guys Andy Albert, Jordan Schmidt, my 209 00:13:20,679 --> 00:13:23,480 Speaker 1: buddy Justin Wilson, who we talked about at the beginning, 210 00:13:23,720 --> 00:13:26,199 Speaker 1: and me. The first tour that we took together US 211 00:13:26,240 --> 00:13:28,880 Speaker 1: four was when I was on the Florida Georgia line 212 00:13:28,960 --> 00:13:32,439 Speaker 1: tour in Canada last fall. We brought these guys out 213 00:13:32,520 --> 00:13:36,360 Speaker 1: and we hit it off immediately creatively and as friends. 214 00:13:36,520 --> 00:13:38,760 Speaker 1: So when we got together on the bus with some guitars, 215 00:13:39,480 --> 00:13:41,960 Speaker 1: it just felt right. We wrote a bunch of really 216 00:13:41,960 --> 00:13:45,120 Speaker 1: good songs, back to back to back. At one point 217 00:13:45,400 --> 00:13:48,760 Speaker 1: we decided we needed a name for our group. You know, 218 00:13:48,800 --> 00:13:51,439 Speaker 1: every great group of songwriters. Not that we're great yet, 219 00:13:51,559 --> 00:13:53,920 Speaker 1: we're trying to be, but every great group of songwriters 220 00:13:53,960 --> 00:13:56,400 Speaker 1: has a name. After a bunch of beers and a 221 00:13:56,440 --> 00:13:59,240 Speaker 1: bunch of songs and a good day of writing. We 222 00:13:59,240 --> 00:14:02,920 Speaker 1: were at dinner and talking about how we're wanting to 223 00:14:02,960 --> 00:14:05,920 Speaker 1: make a name for ourselves and we haven't established anything yet. 224 00:14:06,360 --> 00:14:08,920 Speaker 1: Somebody said we're just a small group of people, and 225 00:14:09,040 --> 00:14:13,640 Speaker 1: for whatever reason, that stupid name became stop and it stuck, 226 00:14:13,760 --> 00:14:15,720 Speaker 1: and we've been saying it ever since now. Out on 227 00:14:15,760 --> 00:14:18,120 Speaker 1: this tour, one of the members of Florida Georgia Lyon 228 00:14:18,200 --> 00:14:21,160 Speaker 1: Tyler Hubbard. I think it was a little bit jealous 229 00:14:21,160 --> 00:14:23,000 Speaker 1: because we were writing songs and he wasn't. And he's 230 00:14:23,200 --> 00:14:25,080 Speaker 1: just a very, very creative guy. He loves to be 231 00:14:25,160 --> 00:14:28,120 Speaker 1: right at the center of creation, so he came to 232 00:14:28,160 --> 00:14:30,840 Speaker 1: me one morning. He goes, hey, hey, Grange, if you 233 00:14:30,880 --> 00:14:33,520 Speaker 1: guys are writing songs and you get on something today, 234 00:14:33,560 --> 00:14:35,240 Speaker 1: will you please let me know? Will you send me 235 00:14:35,280 --> 00:14:38,680 Speaker 1: a text? I said, sure so, sure enough. After breakfast 236 00:14:38,760 --> 00:14:40,520 Speaker 1: we came back, we started writing a little bit, and 237 00:14:40,960 --> 00:14:42,480 Speaker 1: as soon as we got a groove and we got 238 00:14:42,480 --> 00:14:44,880 Speaker 1: something feeling right and we got a few words, I 239 00:14:44,920 --> 00:14:47,640 Speaker 1: texted Tyler and I said, hey, man, we're on something. 240 00:14:47,720 --> 00:14:50,520 Speaker 1: And thirty seconds later he was coming in the bus, 241 00:14:50,960 --> 00:14:53,520 Speaker 1: put his reading glasses on, pulled out his phone, pulled 242 00:14:53,600 --> 00:14:55,840 Speaker 1: up his notepad, and we were off to the races. 243 00:14:56,040 --> 00:14:59,280 Speaker 1: Here's what we wrote, in order a drink. It goes 244 00:14:59,320 --> 00:15:03,120 Speaker 1: down smooth before you can blame. It turned into the 245 00:15:03,200 --> 00:15:05,720 Speaker 1: first single on the record. Happens like that. It started 246 00:15:05,720 --> 00:15:07,680 Speaker 1: with the first line, It led to the second line, 247 00:15:07,720 --> 00:15:10,080 Speaker 1: and then the third, and it was just some guys 248 00:15:10,120 --> 00:15:13,320 Speaker 1: with guitars, grooving, not knowing where it was gonna go. 249 00:15:13,480 --> 00:15:17,000 Speaker 1: And sometimes good songs happen like that. It happens love 250 00:15:17,240 --> 00:15:21,480 Speaker 1: that out of the Blue scatters in the blood lash. Yeah, 251 00:15:21,600 --> 00:15:27,080 Speaker 1: when it happens like that, nothing the loss right into you. Judy. 252 00:15:27,240 --> 00:15:29,920 Speaker 1: All you can do just to keep her around soil, 253 00:15:30,000 --> 00:15:32,640 Speaker 1: The moon goes down in your back at your house. 254 00:15:33,120 --> 00:15:36,040 Speaker 1: One thing will do another. You love each other when 255 00:15:36,120 --> 00:15:40,160 Speaker 1: looking you never loved back. It happens like that. This 256 00:15:40,280 --> 00:15:42,080 Speaker 1: song will always be special to me because for the 257 00:15:42,160 --> 00:15:45,280 Speaker 1: music video I used my wife and our little baby boy, River, 258 00:15:45,520 --> 00:15:47,960 Speaker 1: who was one year old at the time. So happens 259 00:15:48,000 --> 00:15:58,400 Speaker 1: like that is a very personal song for me. I'm 260 00:15:59,120 --> 00:16:02,760 Speaker 1: die Kanja the kiddy Cat. Well, I don't. I don't 261 00:16:02,800 --> 00:16:05,360 Speaker 1: have a kitty cat song on this album, but a 262 00:16:05,440 --> 00:16:10,200 Speaker 1: candy cat song. Well, what we're talking about cats? Oh, 263 00:16:10,240 --> 00:16:13,960 Speaker 1: it happens like cats. Yeah, well that's a parody about 264 00:16:14,120 --> 00:16:17,160 Speaker 1: happens like that. So it happens like that, your favorite cat? 265 00:16:18,000 --> 00:16:20,160 Speaker 1: All right, what they're talking about is I made a 266 00:16:20,160 --> 00:16:23,080 Speaker 1: parody if my own happens like that, called I happened 267 00:16:23,120 --> 00:16:25,680 Speaker 1: to like cats? Trying to make the kids laugh, being silly. 268 00:16:26,040 --> 00:16:28,480 Speaker 1: I'll make a funny video one day it goes like this. 269 00:16:28,880 --> 00:16:32,960 Speaker 1: It's Saturday night. What could be better than crocheting cat 270 00:16:33,120 --> 00:16:36,240 Speaker 1: names all over in my sweater. I've never been a 271 00:16:36,400 --> 00:16:39,760 Speaker 1: dog kind of got chet's in their tails, scratching themselves 272 00:16:39,760 --> 00:16:43,360 Speaker 1: and barking all night. My best friends are at my house, 273 00:16:43,960 --> 00:16:47,440 Speaker 1: are in around cloning my cats ride me out. I 274 00:16:47,720 --> 00:16:51,320 Speaker 1: happen to like cats, the ones with the blue, blue lives, 275 00:16:51,400 --> 00:16:56,000 Speaker 1: even the green. Yeah, I happen to like cats. Give 276 00:16:56,080 --> 00:16:59,000 Speaker 1: me a feed line over a cane and they got 277 00:16:59,120 --> 00:17:02,720 Speaker 1: nine lives. You need to spouse when you got putsy 278 00:17:02,800 --> 00:17:06,879 Speaker 1: Katz all over the house, Milo and sprinkled snowball and 279 00:17:06,960 --> 00:17:10,320 Speaker 1: mister Dingles. Yeah, it's a matter of fact. I happen 280 00:17:10,400 --> 00:17:25,760 Speaker 1: to like the care it goes on. But I'll spare you. 281 00:17:26,040 --> 00:17:28,160 Speaker 1: I'll spare you from the rest of it. But it's 282 00:17:28,240 --> 00:17:30,760 Speaker 1: kind of sad that my son Lincoln, that's his favorite 283 00:17:30,760 --> 00:17:33,080 Speaker 1: song on the album, even though it's not on the album. 284 00:17:33,119 --> 00:17:35,119 Speaker 1: But I'll put it out one day. I'll make a 285 00:17:35,200 --> 00:17:38,520 Speaker 1: I'll make a video one day for it. Speaking of Lincoln, 286 00:17:38,520 --> 00:17:41,560 Speaker 1: he has his singing debut on this album. And this 287 00:17:41,640 --> 00:17:44,479 Speaker 1: is a song that I wrote with SGOP. It's one 288 00:17:44,520 --> 00:17:46,639 Speaker 1: of my favorite songs I wrote with them, and one 289 00:17:46,640 --> 00:17:48,879 Speaker 1: of my favorite songs now to play live. We've been 290 00:17:48,880 --> 00:17:51,320 Speaker 1: playing it live and it's a song about the good 291 00:17:51,320 --> 00:17:54,479 Speaker 1: old things in life, the things that no matter how 292 00:17:54,520 --> 00:17:57,600 Speaker 1: much time goes by, they still hold up. Now. When 293 00:17:57,640 --> 00:18:00,320 Speaker 1: I first made the demo of this song. Lincoln loved 294 00:18:00,359 --> 00:18:02,280 Speaker 1: it and he sang it all the time, so I 295 00:18:02,320 --> 00:18:05,359 Speaker 1: thought he deserved to start the whole song off on 296 00:18:05,400 --> 00:18:28,000 Speaker 1: the album goes like this, that red paint good bad tractor, 297 00:18:29,040 --> 00:18:32,520 Speaker 1: massy red paint takes a couple more cranks these days, 298 00:18:32,560 --> 00:18:39,680 Speaker 1: but it still holds up. Yeah, still holds up. Bat 299 00:18:39,840 --> 00:18:44,439 Speaker 1: forty five wax wheeling song. Every time it comes on. 300 00:18:44,680 --> 00:18:47,439 Speaker 1: If mind having a little crackle in the bottle, but 301 00:18:47,600 --> 00:18:50,040 Speaker 1: give a little time and it'll get you down deep 302 00:18:50,119 --> 00:18:54,000 Speaker 1: in the gut. It still holds up. It feels good, 303 00:18:54,760 --> 00:18:57,760 Speaker 1: still turn like a kitten, like a deep draw edge 304 00:18:57,800 --> 00:19:01,720 Speaker 1: and like a cold last bottle cold, and my chicking 305 00:19:01,840 --> 00:19:04,720 Speaker 1: in the kitchen man and never get sold my shoe 306 00:19:04,840 --> 00:19:09,119 Speaker 1: I am, and where I'm from? Damn right? Sure know 307 00:19:09,840 --> 00:19:16,240 Speaker 1: you old country music. I love the way this one feels. 308 00:19:16,440 --> 00:19:18,960 Speaker 1: And the idea was very simple. I was with Sgop. 309 00:19:19,480 --> 00:19:21,520 Speaker 1: We were on the bus and we were listening to 310 00:19:21,520 --> 00:19:23,720 Speaker 1: the songs we wrote the day before, you know, test 311 00:19:23,760 --> 00:19:26,480 Speaker 1: them out, see how they were. And sure enough, Andy 312 00:19:26,480 --> 00:19:29,400 Speaker 1: Albert goes, hey, they still hold up, and I said, 313 00:19:29,480 --> 00:19:31,680 Speaker 1: yes they do, and that's the title we need to 314 00:19:31,720 --> 00:19:34,280 Speaker 1: write today. And recording it, we put some good old 315 00:19:34,320 --> 00:19:37,320 Speaker 1: Waylon Jennings Phaser guitars, and I hope that in thirty 316 00:19:37,400 --> 00:19:40,840 Speaker 1: years people could look back on this song too and say, still, 317 00:19:54,520 --> 00:19:57,439 Speaker 1: you know, music has always been healing for me, and 318 00:19:57,480 --> 00:19:59,560 Speaker 1: no matter what event I'm going through in my life, 319 00:19:59,600 --> 00:20:03,200 Speaker 1: good or it seems like music is the first thing 320 00:20:03,200 --> 00:20:06,720 Speaker 1: I turned to, especially songs that make me feel good. 321 00:20:06,760 --> 00:20:09,280 Speaker 1: And that's what this next song is, track number six. 322 00:20:09,320 --> 00:20:11,760 Speaker 1: It's it's a song that every time I hear it, it 323 00:20:11,680 --> 00:20:14,320 Speaker 1: it just makes me smile. And so much of this 324 00:20:14,400 --> 00:20:17,679 Speaker 1: music business is about getting more people to listen to 325 00:20:17,760 --> 00:20:21,760 Speaker 1: you and evolving your sound. But this song is about 326 00:20:21,800 --> 00:20:24,040 Speaker 1: the good guys, and it makes me think about all 327 00:20:24,040 --> 00:20:27,200 Speaker 1: the good guys in my life. Dad, uncle's, brothers, Grandpa, 328 00:20:27,240 --> 00:20:29,159 Speaker 1: and I think there's something to say for cutting a 329 00:20:29,200 --> 00:20:31,480 Speaker 1: song on a record that that, if not for any 330 00:20:31,520 --> 00:20:35,760 Speaker 1: other reason, just makes me feel good. He's a greasy 331 00:20:35,880 --> 00:20:40,439 Speaker 1: ranch turning on a big black Chevrolet first in, last 332 00:20:40,560 --> 00:20:43,760 Speaker 1: out every day. He's a mega dollar give a dollar 333 00:20:43,880 --> 00:20:46,480 Speaker 1: if you need me hot or kind of good old boy. 334 00:20:48,480 --> 00:20:51,760 Speaker 1: There's a single white trainer, couple lakers on the edge 335 00:20:51,760 --> 00:20:56,000 Speaker 1: of town front for Sun Going Down and Matth Brooded, 336 00:20:56,119 --> 00:20:59,320 Speaker 1: Thanks Swinging and the swing like a dream is where 337 00:20:59,359 --> 00:21:03,480 Speaker 1: it is? Don't you love it? Win the Good Guys Men. 338 00:21:04,480 --> 00:21:08,639 Speaker 1: Don't you love it? When and shit comes in? Yeah? Man, 339 00:21:08,800 --> 00:21:13,200 Speaker 1: every now and then what goes around comes around again? 340 00:21:14,640 --> 00:21:18,840 Speaker 1: Don't you love it? Long Shot? Prayer on your Dog 341 00:21:19,000 --> 00:21:22,280 Speaker 1: on a hill of a tear, he wants to kiss 342 00:21:22,320 --> 00:21:26,399 Speaker 1: and she leans. Don't you love him? Win? The Good 343 00:21:26,560 --> 00:21:29,960 Speaker 1: Guys Win? I think this song has got my favorite 344 00:21:30,000 --> 00:21:32,639 Speaker 1: line of the whole album. He's a make a dollar, 345 00:21:32,720 --> 00:21:34,639 Speaker 1: give a dollar if you need me holler kind of 346 00:21:34,640 --> 00:21:37,800 Speaker 1: good old boy. I know some guys like that. I'm 347 00:21:37,800 --> 00:21:40,240 Speaker 1: sure we all do. When the Good Guys Win. Is 348 00:21:40,280 --> 00:21:43,320 Speaker 1: also the title of the album, but it wasn't always 349 00:21:43,359 --> 00:21:46,800 Speaker 1: the title. It actually happened last minute albums in the past. 350 00:21:47,080 --> 00:21:49,080 Speaker 1: A lot of times I've known what the title was 351 00:21:49,119 --> 00:21:51,520 Speaker 1: gonna be before I wrote the first song. This one 352 00:21:51,600 --> 00:21:53,960 Speaker 1: was different. I had a title, I had a working title, 353 00:21:53,960 --> 00:21:56,200 Speaker 1: and we were just about to go public with a 354 00:21:56,280 --> 00:21:59,680 Speaker 1: press release, and just a few days before something happened 355 00:21:59,680 --> 00:22:03,520 Speaker 1: that changed the course of this record Forever. Hurricane Harvey 356 00:22:03,600 --> 00:22:06,199 Speaker 1: hit the coast of Texas. We all watched it on 357 00:22:06,240 --> 00:22:09,679 Speaker 1: the news, and we saw the strength of people. We 358 00:22:09,720 --> 00:22:12,280 Speaker 1: saw the strength of my home state. We saw the 359 00:22:12,320 --> 00:22:15,440 Speaker 1: good guys. We needed to recognize the good guys. Right 360 00:22:15,440 --> 00:22:17,879 Speaker 1: then and there, watching the news, it became very clear 361 00:22:18,480 --> 00:22:30,480 Speaker 1: I would now rename the album When the Good Guys Win. 362 00:22:39,800 --> 00:22:44,760 Speaker 1: February seventeenth, twenty seventeen. I'll never forget that day. We 363 00:22:44,800 --> 00:22:48,680 Speaker 1: were on tour in Riodoso, New Mexico, playing a show 364 00:22:48,760 --> 00:22:51,879 Speaker 1: at a casino called Inn of the Mountain Gods. At 365 00:22:51,920 --> 00:22:53,840 Speaker 1: that point, it was about two and a half months 366 00:22:53,880 --> 00:22:56,280 Speaker 1: after I had fallen off the stage in New Jersey, 367 00:22:56,280 --> 00:22:59,440 Speaker 1: broke my ribs and punctured a lungk I spent three 368 00:22:59,480 --> 00:23:02,879 Speaker 1: weeks on the couch, in six weeks recovering before I 369 00:23:02,880 --> 00:23:06,720 Speaker 1: could start playing again. Now, the reason this date was 370 00:23:06,760 --> 00:23:08,840 Speaker 1: important to me is because I was gonna go snow skiin. 371 00:23:09,680 --> 00:23:12,159 Speaker 1: And this is a truly redemption thing for me because 372 00:23:12,640 --> 00:23:14,520 Speaker 1: snow skin is one of my favorite hobbies. And as 373 00:23:14,600 --> 00:23:17,760 Speaker 1: much as everyone said, man, you just broke some ribs, 374 00:23:17,760 --> 00:23:20,360 Speaker 1: you're still kind of recovering, you probably shouldn't go get 375 00:23:20,400 --> 00:23:23,960 Speaker 1: on a mountain, I needed to. You see, snow skin 376 00:23:24,080 --> 00:23:26,439 Speaker 1: is one of those things where I could shut the 377 00:23:26,480 --> 00:23:29,160 Speaker 1: world off. I could feel the cold wind in my face, 378 00:23:29,240 --> 00:23:32,479 Speaker 1: and the snow under my boots. I could see views 379 00:23:33,200 --> 00:23:35,800 Speaker 1: that I feel like, man, it's not supposed to see 380 00:23:35,840 --> 00:23:38,240 Speaker 1: at that kind of temperature and that kind of altitude. 381 00:23:38,760 --> 00:23:42,760 Speaker 1: It's God's gift. And no matter what people said about 382 00:23:42,760 --> 00:23:44,520 Speaker 1: my ribs at the time, I needed to be on 383 00:23:44,560 --> 00:23:48,520 Speaker 1: that mountain. And that morning was cold. It was really cold. 384 00:23:48,560 --> 00:23:51,560 Speaker 1: There was a snowstorm that had moved in. The visibility 385 00:23:51,640 --> 00:23:55,040 Speaker 1: was pretty much nothing there in the blizzard, and I 386 00:23:55,119 --> 00:23:56,560 Speaker 1: was at the very top of the mountain, which is 387 00:23:56,600 --> 00:23:59,399 Speaker 1: twelve thousand feet. I decided that I should wait out 388 00:23:59,440 --> 00:24:01,600 Speaker 1: the blizzard or twenty minutes, so I found a lodge 389 00:24:01,600 --> 00:24:03,480 Speaker 1: at the top of the mountain and cruised on in. 390 00:24:03,680 --> 00:24:07,600 Speaker 1: Kicked off my skis, found a fireplace in the corner 391 00:24:07,640 --> 00:24:10,720 Speaker 1: and a table, sat down, took off my goggles and 392 00:24:11,040 --> 00:24:13,760 Speaker 1: kind of shook off the snowpowder and then brushed away 393 00:24:13,800 --> 00:24:16,040 Speaker 1: the drops of water that had formed on the table 394 00:24:16,080 --> 00:24:19,679 Speaker 1: from my hat. I pulled out my phone. There was 395 00:24:19,800 --> 00:24:24,040 Speaker 1: barely any service. I noticed that I had an email 396 00:24:24,080 --> 00:24:28,200 Speaker 1: for my producer, Frank Rogers. I can't make this story up, y'all, 397 00:24:28,520 --> 00:24:30,439 Speaker 1: this is exactly how it happened. I pulled up the 398 00:24:30,480 --> 00:24:32,720 Speaker 1: email and he had sent me a song. He said, 399 00:24:32,920 --> 00:24:35,720 Speaker 1: I know we're not looking for songs right now, but 400 00:24:35,800 --> 00:24:38,520 Speaker 1: I think you need to hear this. Now. Keep in mind, 401 00:24:38,560 --> 00:24:41,719 Speaker 1: Frank doesn't send me songs very often, but he's got 402 00:24:41,760 --> 00:24:43,600 Speaker 1: a good ear. And when he does, I'm gonna listen. 403 00:24:43,760 --> 00:24:45,159 Speaker 1: And I've got some time. I was sitting here by 404 00:24:45,200 --> 00:24:49,040 Speaker 1: this fireplace, put in my headphones. The download takes forever, 405 00:24:49,080 --> 00:24:52,320 Speaker 1: but I finally get it. I hit play, and there 406 00:24:52,359 --> 00:24:55,639 Speaker 1: it was the moment when the perfect song meets the 407 00:24:55,640 --> 00:24:59,080 Speaker 1: perfect moment and the perfect time when the listener was 408 00:24:59,160 --> 00:25:01,960 Speaker 1: needing to hear them message. And right there at twelve 409 00:25:01,960 --> 00:25:17,680 Speaker 1: thousand feet sitting by that fire, I started crying. Everybody's 410 00:25:17,720 --> 00:25:22,800 Speaker 1: got a first kiss, but not everybody makes it last. 411 00:25:23,000 --> 00:25:28,440 Speaker 1: Everybody's got a long list. Some someday I'm gonna do 412 00:25:28,640 --> 00:25:35,359 Speaker 1: that boom, but nobody needs time to let run's out. 413 00:25:36,119 --> 00:25:40,760 Speaker 1: Oh so why take a left when you can take 414 00:25:40,800 --> 00:25:47,240 Speaker 1: a ride now. Everybody's got a beuture, but not everybody 415 00:25:47,359 --> 00:25:51,600 Speaker 1: makes a beast. Everybody's got a chastity, but some don't 416 00:25:51,640 --> 00:25:55,200 Speaker 1: take until it's too late to take it back. Everybody's 417 00:25:55,240 --> 00:26:01,520 Speaker 1: got a last friend, but not everybody brings it. Everybody 418 00:26:01,680 --> 00:26:17,160 Speaker 1: does but not everybody lives. Not everybody lives. Everybody lives 419 00:26:17,200 --> 00:26:20,760 Speaker 1: hit me like a ton of bricks, and I needed 420 00:26:20,760 --> 00:26:24,200 Speaker 1: to hear that. I struggle so many times with being 421 00:26:24,200 --> 00:26:29,760 Speaker 1: a musician, and is what I'm doing worth the cause, 422 00:26:29,840 --> 00:26:33,480 Speaker 1: worth the effort, worth the travel. And there on that mountain, 423 00:26:33,560 --> 00:26:36,960 Speaker 1: I got that message again that I'm on the right path, 424 00:26:37,320 --> 00:26:41,160 Speaker 1: I'm living, I'm following the dream. And although I didn't 425 00:26:41,160 --> 00:26:44,159 Speaker 1: write this song, I feel such a huge responsibility and 426 00:26:44,160 --> 00:26:46,959 Speaker 1: a big ownership than this because it impacted me. And 427 00:26:47,000 --> 00:26:51,320 Speaker 1: now I have to deliver the message because if there's 428 00:26:51,359 --> 00:26:54,720 Speaker 1: someone out there that needs to hear it, and I 429 00:26:54,720 --> 00:26:59,920 Speaker 1: could be the one that gets that to them, someone 430 00:27:00,080 --> 00:27:02,320 Speaker 1: that might be on that mountain my guy was at 431 00:27:02,320 --> 00:27:07,640 Speaker 1: the time, then it's all worth it. It's worth it. 432 00:27:40,080 --> 00:27:42,600 Speaker 1: Track number eight is a song called Stutter. I wrote 433 00:27:42,600 --> 00:27:45,680 Speaker 1: this with SGOP and I was wandering from the very 434 00:27:45,680 --> 00:27:48,680 Speaker 1: beginning to write something different, something that was a whole 435 00:27:48,680 --> 00:27:50,919 Speaker 1: new flavor for my live show. I mean, it was 436 00:27:50,960 --> 00:27:52,680 Speaker 1: so different when I wrote it that even the guys 437 00:27:52,680 --> 00:27:54,760 Speaker 1: in the stop said, hey, we got a bunch of 438 00:27:54,840 --> 00:27:57,119 Speaker 1: good songs that are you sure you want Stutter? And 439 00:27:57,119 --> 00:27:59,480 Speaker 1: then they heard the final version of my recording. They said, 440 00:27:59,520 --> 00:28:07,119 Speaker 1: oh I love it now who I'm stumbling, bumming, bumbling 441 00:28:07,359 --> 00:28:14,480 Speaker 1: my words like wood, Yeah, I'm ben slipping up girl. 442 00:28:15,040 --> 00:28:25,679 Speaker 1: You're making me stutter, stutter, Yeah, you're making me stutter, 443 00:28:27,000 --> 00:28:32,520 Speaker 1: stutter and the studio stutter was a challenge for me 444 00:28:32,560 --> 00:28:35,320 Speaker 1: because there's so many moving parts. I could produce a 445 00:28:35,320 --> 00:28:37,879 Speaker 1: song like still holds Up in my Sleep, but this 446 00:28:37,960 --> 00:28:40,600 Speaker 1: one is a lot more involved and it challenges me. 447 00:28:41,080 --> 00:28:43,640 Speaker 1: And I like that about Stutter. I'm very proud of 448 00:28:43,640 --> 00:28:45,720 Speaker 1: the way this turned out. I'm glad I fought for it, 449 00:28:45,800 --> 00:28:48,840 Speaker 1: and I still think there's something really really special about 450 00:28:48,840 --> 00:28:57,400 Speaker 1: this track. You're making me stutter, stutter, Yeah, you're making 451 00:28:57,520 --> 00:29:18,120 Speaker 1: me stuttered. My question is do you think anybody else 452 00:29:18,160 --> 00:29:23,640 Speaker 1: out there needs to listen to this album? Me? Lincoln 453 00:29:23,640 --> 00:29:30,280 Speaker 1: has an answer, go, I know what elephants. You know 454 00:29:30,320 --> 00:29:36,000 Speaker 1: what elephants eat water? Well, they eat water. Yeah. So 455 00:29:36,200 --> 00:29:43,680 Speaker 1: the question was with their trunk, But the question was 456 00:29:43,720 --> 00:29:47,479 Speaker 1: do you think anybody should listen to this album? I 457 00:29:47,480 --> 00:29:52,520 Speaker 1: would say yes, why because you're a singer and you 458 00:29:52,600 --> 00:29:55,320 Speaker 1: have fans. Shouldn't there be more than just me being 459 00:29:55,360 --> 00:29:57,600 Speaker 1: a singer and have fans that someone should listen to 460 00:29:57,640 --> 00:30:05,800 Speaker 1: this album Hold on a second, Lincolns got go ahead, buddy, 461 00:30:07,200 --> 00:30:09,320 Speaker 1: Thank you Lincoln. I'm glad we got that straight anyway. 462 00:30:09,440 --> 00:30:12,240 Speaker 1: Track number nine is another SGOP song, and the story 463 00:30:12,240 --> 00:30:15,120 Speaker 1: behind this one is we were in Vancouver, British Columbia, 464 00:30:15,240 --> 00:30:17,840 Speaker 1: and it was Andy Albert's birthday and I told him 465 00:30:17,840 --> 00:30:19,680 Speaker 1: that day I said, hey, man, we got to write 466 00:30:19,640 --> 00:30:23,560 Speaker 1: your birthday song. And everyone kind of giggled. I said, no, 467 00:30:23,600 --> 00:30:26,760 Speaker 1: I'm serious. Need we need to write Andy a birthday song. 468 00:30:27,640 --> 00:30:29,280 Speaker 1: And they're like, well, what, how do you write a 469 00:30:29,320 --> 00:30:31,800 Speaker 1: birthday song? Where do you put birthday candles in it? 470 00:30:31,840 --> 00:30:33,920 Speaker 1: And I said, yeah, we can. I said, what if 471 00:30:33,920 --> 00:30:36,560 Speaker 1: we write a song about living life to the fullest 472 00:30:36,600 --> 00:30:38,800 Speaker 1: no matter how old you are, And we certainly feel 473 00:30:38,800 --> 00:30:40,480 Speaker 1: young at heart, So what if we had a song 474 00:30:40,560 --> 00:30:43,720 Speaker 1: called never too old to Die Young. They never too 475 00:30:43,800 --> 00:30:48,360 Speaker 1: old to die young, never too tall, never too lad 476 00:30:48,440 --> 00:30:52,160 Speaker 1: to get to living cause you only kid one, never 477 00:30:52,200 --> 00:30:55,040 Speaker 1: too good to be back, They never too scared to 478 00:30:55,120 --> 00:30:58,720 Speaker 1: be tough. Don't count them candles on the cake, over 479 00:30:58,800 --> 00:31:02,760 Speaker 1: the trips through around the world. I never do old 480 00:31:02,840 --> 00:31:21,440 Speaker 1: die jump. I never do old jump. Don't count the 481 00:31:21,520 --> 00:31:24,040 Speaker 1: candles on the cake or the trips around the Sun. 482 00:31:24,600 --> 00:31:26,920 Speaker 1: There it is Andy. We got your birthday song and 483 00:31:27,000 --> 00:31:29,280 Speaker 1: we even got candles in the cake in the lyrics. 484 00:31:29,720 --> 00:31:32,120 Speaker 1: That's not easy to do. And I love this song 485 00:31:32,160 --> 00:31:33,920 Speaker 1: that the message is part of the backbone of this 486 00:31:33,960 --> 00:31:36,760 Speaker 1: whole album Live for Today. No matter your age, you're 487 00:31:36,840 --> 00:31:46,200 Speaker 1: never too old. I never do olda die jump. Yeah, 488 00:31:46,480 --> 00:32:12,200 Speaker 1: I never do old jump never. Justin Wilson is part 489 00:32:12,200 --> 00:32:14,160 Speaker 1: of s g OP. But if you remember, he also 490 00:32:14,240 --> 00:32:16,800 Speaker 1: wrote the very first track give Me Something Now, the 491 00:32:16,840 --> 00:32:18,600 Speaker 1: first time I ever had him out on the road 492 00:32:18,640 --> 00:32:22,120 Speaker 1: with me. We're gonna sit down and write and he said, so, man, 493 00:32:22,520 --> 00:32:24,440 Speaker 1: what are we gonna write about? And I said, Justin, 494 00:32:24,480 --> 00:32:26,680 Speaker 1: do me a favor. Watch the show tonight. They were 495 00:32:26,720 --> 00:32:29,920 Speaker 1: about to play study the show and see if you 496 00:32:30,000 --> 00:32:33,000 Speaker 1: if you see anything that I'm missing. He said, okay, 497 00:32:33,320 --> 00:32:36,160 Speaker 1: good plan. That night. I get back on the bus 498 00:32:36,160 --> 00:32:38,760 Speaker 1: after the show and he's like, man, he had he 499 00:32:38,800 --> 00:32:40,600 Speaker 1: had a guitar out ready to go. He goes, I 500 00:32:40,640 --> 00:32:44,760 Speaker 1: got something. I watched your whole show and man, I 501 00:32:44,800 --> 00:32:48,000 Speaker 1: dig it. I dig the energy. But you know, I 502 00:32:48,040 --> 00:32:50,240 Speaker 1: know you and your wife, and I know the love 503 00:32:50,280 --> 00:32:52,640 Speaker 1: that y'all have. That that innocent love that you guys have. 504 00:32:53,080 --> 00:32:54,760 Speaker 1: And I don't see that at all in the show. 505 00:32:55,480 --> 00:32:57,960 Speaker 1: I don't see you stand up and delivered that very 506 00:32:58,040 --> 00:33:00,960 Speaker 1: personal love song. And I've got an idea for you. 507 00:33:01,160 --> 00:33:06,360 Speaker 1: And I said, what he goes, Love ain't blind? Because 508 00:33:06,400 --> 00:33:09,680 Speaker 1: I see you. I said, brother, you're a genius. And 509 00:33:09,720 --> 00:33:16,360 Speaker 1: we got to work. Loving blind and I see it 510 00:33:16,480 --> 00:33:20,920 Speaker 1: all the time and night. It's wearing a dress making 511 00:33:21,040 --> 00:33:26,720 Speaker 1: me smile, stealing my breend. I used to think it 512 00:33:26,800 --> 00:33:33,600 Speaker 1: was true. I but baby, it's a lie. Loving blind 513 00:33:35,480 --> 00:33:38,480 Speaker 1: because I see it was the perfect song. But I 514 00:33:38,520 --> 00:33:40,720 Speaker 1: needed one more thing. I needed to convince my wife 515 00:33:40,760 --> 00:33:43,880 Speaker 1: Amber to make an appearance. I see, and I got her. 516 00:33:43,880 --> 00:34:25,960 Speaker 1: Here she is at the end. You know. Putting the 517 00:34:26,000 --> 00:34:29,000 Speaker 1: songs in order on an album is called sequencing. It's 518 00:34:29,080 --> 00:34:31,040 Speaker 1: kind of a lost art. It used to be really 519 00:34:31,080 --> 00:34:34,480 Speaker 1: be important when the only way to consume music was 520 00:34:34,520 --> 00:34:37,319 Speaker 1: on an album starting at number one and going all 521 00:34:37,320 --> 00:34:40,000 Speaker 1: the way down the bottom. It's not like that anymore. 522 00:34:40,000 --> 00:34:42,080 Speaker 1: Because of streaming. You could pick the single that you 523 00:34:42,120 --> 00:34:44,239 Speaker 1: want and you play them all out of order, so 524 00:34:45,280 --> 00:34:47,960 Speaker 1: the sequence doesn't matter as much. But it does to me. 525 00:34:49,160 --> 00:34:51,879 Speaker 1: And maybe I'm just old school, but I still think 526 00:34:51,880 --> 00:34:55,040 Speaker 1: it's important on what songs go and what order on 527 00:34:55,080 --> 00:34:56,960 Speaker 1: this album. I took a piece of paper and I 528 00:34:57,000 --> 00:34:59,839 Speaker 1: wrote fourteen titles on it, and I cut them into 529 00:34:59,880 --> 00:35:02,600 Speaker 1: four fourteen different rectangles, put them on the table, and 530 00:35:02,600 --> 00:35:06,359 Speaker 1: then move the order around until I found the right 531 00:35:06,520 --> 00:35:10,680 Speaker 1: order of moments, right the peaks and valleys of the 532 00:35:10,719 --> 00:35:13,319 Speaker 1: story that I wanted to be told, whether it was 533 00:35:13,440 --> 00:35:18,040 Speaker 1: music or lyrics. The order is very specific. I put 534 00:35:18,040 --> 00:35:20,800 Speaker 1: it there on purpose. I wrote in the album notes 535 00:35:20,800 --> 00:35:23,560 Speaker 1: on this record that a few of these songs will 536 00:35:23,560 --> 00:35:26,719 Speaker 1: be heard by many, and many of these songs will 537 00:35:26,719 --> 00:35:30,600 Speaker 1: be heard by only a few. And that's okay. That's 538 00:35:30,640 --> 00:35:33,160 Speaker 1: something I've accepted because that's the reality of the world 539 00:35:33,160 --> 00:35:36,720 Speaker 1: that we live in today. People want one single, maybe two, 540 00:35:36,880 --> 00:35:38,839 Speaker 1: and they don't consume the record. But if you did, 541 00:35:38,880 --> 00:35:40,560 Speaker 1: and if you listen to the whole album, and if 542 00:35:40,560 --> 00:35:43,520 Speaker 1: you listened in order, you're one of the rare few, 543 00:35:43,719 --> 00:35:46,799 Speaker 1: and you're someone close to my heart. Thank you for that, 544 00:35:47,440 --> 00:36:08,360 Speaker 1: and I really hope you enjoy it. We been lost 545 00:36:08,400 --> 00:36:12,600 Speaker 1: in streets and me on a concrete cree then in 546 00:36:12,800 --> 00:36:16,680 Speaker 1: somewhere up there is a sky full of stars, but 547 00:36:16,840 --> 00:36:22,279 Speaker 1: we can't see Homan. Enough is enough. Let's pack up 548 00:36:22,320 --> 00:36:27,720 Speaker 1: in point this truck where the moon shines down on 549 00:36:27,760 --> 00:36:31,279 Speaker 1: a little tin move too, cabin in the pines and 550 00:36:31,400 --> 00:36:36,160 Speaker 1: the joy sound. It's just me and you setting too 551 00:36:36,520 --> 00:36:40,760 Speaker 1: large offside. Let's move we out where the black side fens, 552 00:36:40,920 --> 00:36:45,240 Speaker 1: where it takes my time to get us in the paradise. 553 00:36:46,320 --> 00:36:49,480 Speaker 1: There's a little house and a battery life at the 554 00:36:49,600 --> 00:36:53,400 Speaker 1: end of a four wheel drive. Or here's a moment 555 00:36:53,440 --> 00:36:55,479 Speaker 1: on the album called four wheel Drive, and it really 556 00:36:55,560 --> 00:36:59,400 Speaker 1: speaks to that longing to get out, to get away 557 00:36:59,400 --> 00:37:02,520 Speaker 1: from the creeld and to start over. I love the 558 00:37:02,520 --> 00:37:04,640 Speaker 1: piece that it brings a thinking about this cabin out 559 00:37:04,640 --> 00:37:07,160 Speaker 1: in the woods in the middle of nowhere. I wrote 560 00:37:07,200 --> 00:37:10,600 Speaker 1: it with Frank Rogers and Mike Fiorentino in College Station, Texas. 561 00:37:11,000 --> 00:37:13,840 Speaker 1: This was Frank Rogers saying, man, what if we have 562 00:37:13,840 --> 00:37:18,359 Speaker 1: a song called four wheel drive? And I said, I mean, 563 00:37:18,440 --> 00:37:20,719 Speaker 1: I'm not really interested in a song called four wheel drive. 564 00:37:21,280 --> 00:37:23,480 Speaker 1: Haven't we already done that. We've had a backgroud song, 565 00:37:23,520 --> 00:37:24,719 Speaker 1: we have a lot of songs like that. And he 566 00:37:24,719 --> 00:37:27,200 Speaker 1: get says, no, no no, no, no, it's not about a 567 00:37:27,239 --> 00:37:30,760 Speaker 1: four wheel drive truck. This is about a house that's 568 00:37:30,800 --> 00:37:34,000 Speaker 1: out somewhere so far off the beaten path that you 569 00:37:34,080 --> 00:37:36,919 Speaker 1: need four wheel drive to get there. But the hook 570 00:37:37,040 --> 00:37:41,480 Speaker 1: is referring to the driveway the house at the end 571 00:37:41,480 --> 00:37:45,640 Speaker 1: of a four wheel drive. I thought that was so cool. 572 00:37:46,200 --> 00:37:47,840 Speaker 1: I got out my guitar and I started playing the 573 00:37:47,840 --> 00:37:51,960 Speaker 1: little lick da you know, and it became the thing. 574 00:37:52,160 --> 00:37:54,080 Speaker 1: And at the very end, if you listen close enough, 575 00:37:54,120 --> 00:37:56,120 Speaker 1: I talked to Amber into singing one more time. Here 576 00:37:56,160 --> 00:38:03,160 Speaker 1: it is four wheel drive at the end of a 577 00:38:03,320 --> 00:38:15,959 Speaker 1: four weeks trn boy Slave, little Fine wait to dip back. 578 00:38:21,120 --> 00:38:28,480 Speaker 1: Take me to the end of the four wheel bang 579 00:38:29,280 --> 00:38:47,560 Speaker 1: take me. I'm glad I'm doing this podcast. It reminds 580 00:38:47,600 --> 00:38:51,360 Speaker 1: me that I love these songs. I know that sounds funny, 581 00:38:51,360 --> 00:38:54,040 Speaker 1: but not to get caught up in music business and 582 00:38:54,160 --> 00:38:57,319 Speaker 1: industry and I forget that. The reason I'm doing all 583 00:38:57,400 --> 00:39:01,319 Speaker 1: this is because I love these songs, and I hope 584 00:39:01,360 --> 00:39:03,640 Speaker 1: that you love them too, And I hope that by 585 00:39:03,760 --> 00:39:07,560 Speaker 1: me talking about it and explaining them helps you understand 586 00:39:07,600 --> 00:39:11,279 Speaker 1: them on a deeper level. And that's pretty cool. Moving 587 00:39:11,320 --> 00:39:14,840 Speaker 1: on to track twelve, this one has the most different 588 00:39:14,920 --> 00:39:17,440 Speaker 1: path of any of the other creations on this record. 589 00:39:17,760 --> 00:39:20,080 Speaker 1: Now there's four writers on this song. I'm one of them, 590 00:39:20,320 --> 00:39:22,759 Speaker 1: but I was never in the same room with any 591 00:39:22,840 --> 00:39:26,400 Speaker 1: of them at any point of writing this song. Jordan Schmidt, 592 00:39:26,480 --> 00:39:28,920 Speaker 1: a member of SUOP, had been working on the song 593 00:39:29,040 --> 00:39:31,440 Speaker 1: called Repping My Roots. He emailed me what he'd been 594 00:39:31,480 --> 00:39:33,040 Speaker 1: working on and he said, hey, man, I was thinking 595 00:39:33,080 --> 00:39:35,319 Speaker 1: about you when I was writing this song. It kind 596 00:39:35,360 --> 00:39:37,960 Speaker 1: of feels like something you would do. What do you think, 597 00:39:38,680 --> 00:39:40,080 Speaker 1: To be honest with you, I didn't listen to it 598 00:39:40,200 --> 00:39:43,600 Speaker 1: right away. It took a while, and then my brother 599 00:39:43,719 --> 00:39:45,879 Speaker 1: Tyler heard it and he said, hey, man, that song 600 00:39:45,960 --> 00:39:47,800 Speaker 1: Wrapping my Roots, Man, I think you could do that. 601 00:39:48,080 --> 00:39:50,320 Speaker 1: So I was like, okay, let me dig into it. 602 00:39:50,520 --> 00:39:52,360 Speaker 1: So I pulled it up. I listened to it, and 603 00:39:52,480 --> 00:39:55,960 Speaker 1: immediately I started envisioning my version of the song, my 604 00:39:56,400 --> 00:39:58,720 Speaker 1: lyrics of the song, which was a completely new second 605 00:39:58,800 --> 00:40:02,719 Speaker 1: verse full of new lines in the chorus, and a 606 00:40:02,800 --> 00:40:05,920 Speaker 1: new first verse. So you know, he got to this 607 00:40:06,000 --> 00:40:08,600 Speaker 1: point where I'm thinking, I'm about to change this whole song. 608 00:40:09,440 --> 00:40:11,600 Speaker 1: I hope these guys, the other three writers, aren't going 609 00:40:11,680 --> 00:40:13,719 Speaker 1: to be mad. But the compromise is that if I 610 00:40:13,840 --> 00:40:16,399 Speaker 1: make it my song, then I can cut it, put 611 00:40:16,440 --> 00:40:18,920 Speaker 1: on the album and if I don't cut it, then 612 00:40:18,960 --> 00:40:20,920 Speaker 1: they could have their version back and go pitch it 613 00:40:21,000 --> 00:40:23,440 Speaker 1: to anybody else they want to. So here I am 614 00:40:23,480 --> 00:40:25,600 Speaker 1: sat in the back of the bus and I pulled 615 00:40:25,640 --> 00:40:28,600 Speaker 1: up the microphone and I didn't even have to use 616 00:40:28,640 --> 00:40:30,839 Speaker 1: a pen and paper. It was just all in my head. 617 00:40:30,920 --> 00:40:33,239 Speaker 1: I turned on the mic and I started singing, and 618 00:40:33,320 --> 00:40:37,960 Speaker 1: I sang my version sent it to Jordan and he said, dude, 619 00:40:38,719 --> 00:40:41,680 Speaker 1: that sounds like a smash, and I was relieved. I 620 00:40:41,800 --> 00:40:45,200 Speaker 1: were that read and wide on a Friday night, when 621 00:40:45,280 --> 00:40:49,359 Speaker 1: my hometown takes the field, I say, yes, sir, Yes, 622 00:40:49,520 --> 00:40:53,200 Speaker 1: ma'am trying to beat the bench man. That's how I feel. 623 00:40:53,680 --> 00:40:57,520 Speaker 1: No matter where my heart runs, I remember where I 624 00:40:57,640 --> 00:41:02,520 Speaker 1: came from. Still got that rais ride, that's small down 625 00:41:02,680 --> 00:41:06,760 Speaker 1: bride that flag red, blat and blue. Got that trust 626 00:41:06,800 --> 00:41:10,480 Speaker 1: from my handshake. Thats from a long base, hard work gone, 627 00:41:10,600 --> 00:41:14,360 Speaker 1: my boots. It's those friends still don't got with me? 628 00:41:14,920 --> 00:41:18,160 Speaker 1: Is that down? It mean those memories still don't got 629 00:41:18,280 --> 00:41:20,799 Speaker 1: a feezing me? Yeah? I got a piece of ban too. 630 00:41:21,480 --> 00:41:27,600 Speaker 1: In everything I do, fpen my rooms. I'm reveen my room. 631 00:41:29,160 --> 00:41:31,120 Speaker 1: I love it red and white from my old high 632 00:41:31,120 --> 00:41:34,520 Speaker 1: school football team made this song my grandpa's Les Paul guitar, 633 00:41:35,000 --> 00:41:37,200 Speaker 1: my dad's old truck I fixed up when I was sixteen, 634 00:41:37,680 --> 00:41:40,759 Speaker 1: And I love that we talk about trust from a handshake, 635 00:41:40,800 --> 00:41:42,680 Speaker 1: which is something that's so important to me. You can 636 00:41:42,800 --> 00:41:45,400 Speaker 1: learn so much from a handshake. I love all the 637 00:41:45,520 --> 00:41:48,439 Speaker 1: images that at colored are wrapping my roots. It's those 638 00:41:48,560 --> 00:41:52,560 Speaker 1: friends still don't got with me. It's that down it made, 639 00:41:52,680 --> 00:41:55,560 Speaker 1: those memories. Still don't got a feezing me. Yeah, I 640 00:41:55,680 --> 00:41:59,080 Speaker 1: got a piece of bin too. In everything I do, 641 00:42:19,360 --> 00:42:21,520 Speaker 1: besides playing all these songs, I feel like I need 642 00:42:21,640 --> 00:42:24,279 Speaker 1: to also explain the cover of this album, the cover 643 00:42:24,440 --> 00:42:27,600 Speaker 1: of When the Good Guys Win, because it's a little 644 00:42:27,600 --> 00:42:31,400 Speaker 1: bit different for me. It's two gloves, two work gloves. 645 00:42:31,480 --> 00:42:35,880 Speaker 1: If you haven't seen it, black and white laying on 646 00:42:35,960 --> 00:42:38,239 Speaker 1: a table, and a lot of you are probably thinking, 647 00:42:38,280 --> 00:42:40,600 Speaker 1: what the heck did the gloves mean? Well, let me 648 00:42:40,680 --> 00:42:44,520 Speaker 1: tell you. We were in New Mexico. This was actually 649 00:42:44,640 --> 00:42:47,120 Speaker 1: the day before I went to Riodoso when I heard 650 00:42:47,440 --> 00:42:50,359 Speaker 1: everybody Lives remember that story. Well, we went to New 651 00:42:50,400 --> 00:42:53,240 Speaker 1: Mexico to shoot the album cover, to shoot the pictures, 652 00:42:53,719 --> 00:42:56,160 Speaker 1: and we got with our favorite photographer, Eric Ryan Anderson, 653 00:42:56,200 --> 00:42:57,920 Speaker 1: my brother and I and we went out to the 654 00:42:57,960 --> 00:43:02,040 Speaker 1: middle of nowhere and we started snapping away, taking some 655 00:43:02,160 --> 00:43:04,880 Speaker 1: pictures that we hoped would be the cover of this album. 656 00:43:05,840 --> 00:43:07,880 Speaker 1: When we got back, we looked at him and we 657 00:43:08,000 --> 00:43:10,000 Speaker 1: kind of got with our graphic designer and we put 658 00:43:10,080 --> 00:43:12,520 Speaker 1: some things together and we put the you know my 659 00:43:12,680 --> 00:43:15,640 Speaker 1: name on there, and we laid it out and we 660 00:43:15,760 --> 00:43:18,359 Speaker 1: had about three different choices of what could have been 661 00:43:18,400 --> 00:43:20,560 Speaker 1: the album cover, all with my face on it, and 662 00:43:20,800 --> 00:43:23,440 Speaker 1: you know, they were okay. I could have gone with 663 00:43:23,520 --> 00:43:25,399 Speaker 1: any of the three. And I told Tyler, I said, 664 00:43:26,000 --> 00:43:28,239 Speaker 1: you name it, that it could be. Okay, it looks 665 00:43:28,280 --> 00:43:31,239 Speaker 1: like another Granger album, but I wondered if there was 666 00:43:31,320 --> 00:43:35,040 Speaker 1: something more, something cooler. And I started thinking that night, 667 00:43:35,040 --> 00:43:37,680 Speaker 1: and I started thinking, you know, my parents. My parents' 668 00:43:37,680 --> 00:43:39,759 Speaker 1: place is out in central Texas. My mom lives on 669 00:43:39,920 --> 00:43:43,480 Speaker 1: a small cattle ranch. When dad passed away in twenty fourteen, 670 00:43:44,000 --> 00:43:46,440 Speaker 1: we got Eric Ryan Anderson, the photographer, to come out 671 00:43:46,480 --> 00:43:49,880 Speaker 1: there and to shoot a bunch of pictures, just iconic 672 00:43:50,040 --> 00:43:54,320 Speaker 1: images from my dad. You know, his tractor, his hats, 673 00:43:54,880 --> 00:43:58,640 Speaker 1: his tools, his work bench, his grape vines that he 674 00:43:58,719 --> 00:44:02,160 Speaker 1: used to make mustanger rape jelly with all kinds of 675 00:44:02,239 --> 00:44:05,000 Speaker 1: things that were just special to my family. But as 676 00:44:05,040 --> 00:44:08,120 Speaker 1: I started thinking about these images, I told Tyler, my brother, 677 00:44:08,160 --> 00:44:10,560 Speaker 1: I said, what if what if the album cover is 678 00:44:10,560 --> 00:44:13,279 Speaker 1: one of these What if it's the gloves? Like, what 679 00:44:13,880 --> 00:44:16,920 Speaker 1: what better way to represent the hard work on an 680 00:44:16,960 --> 00:44:21,960 Speaker 1: album than my dad's work gloves. Of course, he he 681 00:44:22,040 --> 00:44:24,799 Speaker 1: would be He would say, Granger, why are you using 682 00:44:24,880 --> 00:44:27,439 Speaker 1: these old work gloves for your album cover? He would 683 00:44:28,560 --> 00:44:31,160 Speaker 1: he wouldn't think that made any sense. But it's special 684 00:44:31,239 --> 00:44:33,759 Speaker 1: to me. And then when the when the album title became, 685 00:44:33,960 --> 00:44:36,239 Speaker 1: when the good Guys Win, And now I look at 686 00:44:36,280 --> 00:44:39,279 Speaker 1: that title and I see my dad's gloves when the 687 00:44:39,360 --> 00:44:42,920 Speaker 1: good Guys win, man, that makes it, That makes it personal, 688 00:44:43,040 --> 00:44:45,560 Speaker 1: That makes it special to me. And I also hope 689 00:44:45,560 --> 00:44:47,759 Speaker 1: that by seeing the gloves, it helps separate it from 690 00:44:48,080 --> 00:44:50,279 Speaker 1: the other albums I've made in the past, and you'll 691 00:44:50,320 --> 00:44:52,520 Speaker 1: remember it by that. And if you're one of the 692 00:44:52,560 --> 00:44:54,640 Speaker 1: few that actually buys this record and actually has a 693 00:44:54,640 --> 00:44:56,279 Speaker 1: physical copy, then you can open it up and you 694 00:44:56,360 --> 00:44:59,000 Speaker 1: could see a lot of these other images I'm talking about. 695 00:44:59,080 --> 00:45:02,080 Speaker 1: The headlights from Da Tractor is the CD itself, you 696 00:45:02,120 --> 00:45:04,160 Speaker 1: could see one of his old fencing tools. You know 697 00:45:04,320 --> 00:45:06,920 Speaker 1: you when you open up the cover, and this album 698 00:45:07,040 --> 00:45:09,200 Speaker 1: is a piece of me, but it's also a piece 699 00:45:09,239 --> 00:45:12,719 Speaker 1: of my family. That makes it special. I got one 700 00:45:12,800 --> 00:45:18,680 Speaker 1: for you. Don't tread on me. I love that. Why 701 00:45:19,320 --> 00:45:23,839 Speaker 1: that's Arl Dibbles because I like it because you look 702 00:45:24,000 --> 00:45:27,799 Speaker 1: funny in the costume. Well, it's not a costume, that's 703 00:45:27,840 --> 00:45:30,200 Speaker 1: a that's Rold Dibbles Junior. That's what he wears. You 704 00:45:30,320 --> 00:45:34,520 Speaker 1: look funny, Lincoln, What do you think I look funny 705 00:45:35,560 --> 00:45:39,840 Speaker 1: in that quote? Well, whatever your opinion is about his 706 00:45:39,920 --> 00:45:43,680 Speaker 1: overalls and muddy boots. Track number thirteen features an old 707 00:45:44,040 --> 00:45:47,600 Speaker 1: alter ego of mine named Earl Dibbles Junior. Now, the 708 00:45:47,719 --> 00:45:51,000 Speaker 1: challenge with writing a new Earl song is always where 709 00:45:51,080 --> 00:45:54,760 Speaker 1: do we go from here? Have we not already covered 710 00:45:54,800 --> 00:45:56,960 Speaker 1: at all? With Earl? He's a simple man. And it 711 00:45:57,080 --> 00:45:59,279 Speaker 1: was my tour manager, Chris that kind of sparked this 712 00:45:59,360 --> 00:46:01,840 Speaker 1: whole idea. He said, man, what if the title was 713 00:46:01,920 --> 00:46:05,160 Speaker 1: come and take it like the old revolutionary War in Texas? 714 00:46:05,239 --> 00:46:07,800 Speaker 1: Revolution slogans you know the flags and people bring to 715 00:46:07,880 --> 00:46:09,800 Speaker 1: our show all the time. And I said, dude, that 716 00:46:09,960 --> 00:46:12,280 Speaker 1: is perfect and we'll use it. But there's a slogan 717 00:46:12,360 --> 00:46:15,800 Speaker 1: even closer to Earl's heart than that, don't tread on me. 718 00:46:16,360 --> 00:46:19,719 Speaker 1: I'm a survivor, you damn right. I'm a fighter. I'm 719 00:46:19,719 --> 00:46:23,239 Speaker 1: a big bukiding trut I'm bringin ain't you. You're discaple, 720 00:46:23,560 --> 00:46:27,480 Speaker 1: So don't you be offended when Granddad needs defended this 721 00:46:27,719 --> 00:46:33,120 Speaker 1: bag I'm waven says, I'm staying ring. Don't tread on me, No, 722 00:46:37,920 --> 00:46:47,960 Speaker 1: don't tread on me. No. We went in the studio 723 00:46:48,040 --> 00:46:50,200 Speaker 1: and cut it with the loudest guitars and the loudest 724 00:46:50,280 --> 00:46:53,439 Speaker 1: drums we could possibly do, because that is what Earl does, 725 00:46:54,480 --> 00:46:57,040 Speaker 1: and like anything Earl does, don't dig too deep on 726 00:46:57,120 --> 00:46:59,719 Speaker 1: this one. It's nothing but fun. It's the anthem, it's 727 00:46:59,760 --> 00:47:03,040 Speaker 1: the I don't cry ye yee and don't tread on 728 00:47:03,120 --> 00:47:07,000 Speaker 1: Me are synonymous. It's the same thing. They go hand 729 00:47:07,080 --> 00:47:09,680 Speaker 1: in hand together, peas in a pod. It's like if 730 00:47:09,760 --> 00:47:11,320 Speaker 1: you have one tattoo, you might as well get the 731 00:47:11,360 --> 00:47:14,240 Speaker 1: other on the same arm. There's fourteen songs on this album. 732 00:47:14,440 --> 00:47:19,080 Speaker 1: You know which one's my favorite. Don't tread on Me, No, 733 00:47:24,400 --> 00:47:36,960 Speaker 1: tread on me Ye. In the past, when I've had 734 00:47:37,000 --> 00:47:40,359 Speaker 1: Earl songs on records, it's always the last song. That's 735 00:47:40,400 --> 00:47:43,359 Speaker 1: not the case for this one. I felt like there 736 00:47:43,480 --> 00:47:46,120 Speaker 1: was one more message that needed to be heard, one 737 00:47:46,200 --> 00:47:49,640 Speaker 1: more idea that needed to be consumed before the book 738 00:47:49,760 --> 00:47:53,719 Speaker 1: was closed. I was on tour in Connecticut last year 739 00:47:54,120 --> 00:47:56,680 Speaker 1: with Frank Rogers, just me and him were sitting in 740 00:47:56,719 --> 00:47:59,320 Speaker 1: the back of the bus, and he said, can I 741 00:47:59,400 --> 00:48:01,440 Speaker 1: talk to you about it? A little idea that I've 742 00:48:01,480 --> 00:48:03,080 Speaker 1: had about a song. I don't know if you'll like 743 00:48:03,120 --> 00:48:04,600 Speaker 1: it or not. In fact, I don't know if anyone 744 00:48:04,640 --> 00:48:06,920 Speaker 1: would like this for a song. But I was in 745 00:48:07,040 --> 00:48:08,680 Speaker 1: New York City a few days ago and I was 746 00:48:08,920 --> 00:48:11,000 Speaker 1: up in the hotel and I was looking down out 747 00:48:11,040 --> 00:48:13,440 Speaker 1: of the window. I saw all these people and all 748 00:48:13,440 --> 00:48:17,319 Speaker 1: these cars and crazy neon lights. Everyone was in a hurry. 749 00:48:18,120 --> 00:48:19,880 Speaker 1: And the first thought that came to my head was 750 00:48:21,040 --> 00:48:23,800 Speaker 1: we're living in a fast food world, dying for a 751 00:48:23,880 --> 00:48:29,239 Speaker 1: home cooked meal. I said, oh my god, Frank, I 752 00:48:29,360 --> 00:48:31,799 Speaker 1: want to write that song right now. And the song 753 00:48:31,880 --> 00:48:34,320 Speaker 1: we finished was beautiful and it's never going to be 754 00:48:34,360 --> 00:48:37,359 Speaker 1: a big radio hit, but it's a story I needed 755 00:48:37,440 --> 00:48:43,120 Speaker 1: to tell. This city's moving faster than the speed of 756 00:48:43,320 --> 00:48:48,800 Speaker 1: me on light. Night turns in day, and then it 757 00:48:49,400 --> 00:48:58,759 Speaker 1: turns back in tonight without rest. I guess that's what 758 00:48:59,080 --> 00:49:11,880 Speaker 1: we wanted. And it's a fast food world running in 759 00:49:12,040 --> 00:49:17,800 Speaker 1: a gunning twenty four seven three sixty five. Order it 760 00:49:18,040 --> 00:49:23,520 Speaker 1: up and get what you like. Yeah, surely is something, 761 00:49:25,520 --> 00:49:36,640 Speaker 1: but here's the deal. Nothing's read. It's fast food world 762 00:49:38,320 --> 00:49:53,160 Speaker 1: dying for a home cooked I'll hit the podcast with 763 00:49:53,280 --> 00:49:55,719 Speaker 1: that thought. Thank you guys for listening. I hope you 764 00:49:55,880 --> 00:49:58,000 Speaker 1: enjoy when the good guys win as much as I 765 00:49:58,040 --> 00:50:00,200 Speaker 1: did make in it Lincoln and London. Do you got guys, 766 00:50:00,200 --> 00:50:04,000 Speaker 1: have anything else to say? Thank you everybody for listening 767 00:50:04,120 --> 00:50:07,919 Speaker 1: to this album, and I hope you really like it. Yeah, 768 00:50:08,680 --> 00:50:15,560 Speaker 1: thank you everybody. Welcome to this album. What did you like? Say? 769 00:50:16,280 --> 00:50:22,200 Speaker 1: That was perfect? Buddy, Welcome to this album. We'll leave 770 00:50:22,239 --> 00:50:25,040 Speaker 1: it at that. Love you guys, Bye bye bye bye 771 00:50:25,160 --> 00:50:25,560 Speaker 1: bye bye