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Speaker 1: If you're a newer artist only has one or two

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Speaker 1: hits and it spends fifty weeks on the chart and

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Speaker 1: it tests well as a public heer. That's the kind

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Speaker 1: of hit you want more than a song by Luke

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Speaker 1: or Morgan or somebody that's just gonna fly up and

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Speaker 1: come back down.

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Speaker 2: Episode four sixty five Drew Baldridge, who was on weeks ago.

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Speaker 2: His whole story is had a record deal, lost a

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Speaker 2: record deal because his record company went could put years

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Speaker 2: and years, struggled to get by with playing people's backyards,

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Speaker 2: had a song go viral, played more backyards.

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Speaker 3: Then it was like, I'm just gonna.

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Speaker 2: Start my own label, run his own label now, and

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Speaker 2: he has a soul them that's about to go number one.

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Speaker 4: It is a wild story.

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Speaker 2: If you get a couple of minutes, go back a

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Speaker 2: few episodes, listen to that.

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Speaker 5: Drew Baldridge show.

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Speaker 2: What he's been able to do with the resources he

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Speaker 2: has had quite amazing. But I wanted to bring him

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Speaker 2: in again and not just talk about that because he

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Speaker 2: had to learn so much about the industry. Also, Chris Owen,

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Speaker 2: somebody that followed on social media. He is a savant

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Speaker 2: with music data.

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Speaker 5: And he worked in radio up in the Northeast.

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Speaker 2: Now he works for corn Man Records, right, Cornman Music, Yeah,

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Speaker 2: corn Man, it's corn Man is a Cornman or corn

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Speaker 2: Man Okay, And so the guy he's like a rain

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Speaker 2: man of like musical facts and why I sort of

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Speaker 2: following what social media was. He just randomly pos statistics

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Speaker 2: all the time. But he has a really good idea

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Speaker 2: of what's happening now in the music industry, like the

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Speaker 2: industry part of it. And you know, we have some

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Speaker 2: ideas and how we can fix it, some ideas and

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Speaker 2: how we've screwed it up.

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Speaker 5: So Eddie's also here.

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Speaker 2: But we had a roundtable with Drew Baldridge, which you

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Speaker 2: can go Drew Baldridge Music, Chris Owen at Chris Owen Country, Oh, Edward,

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Speaker 2: and myself. This is episode four sixty five. This one

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Speaker 2: was super fun. This is definitely in the weeds, meaning

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Speaker 2: we talk about a lot of inside industry. They call

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Speaker 2: it inside baseball, although there will be no baseball discussed

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Speaker 2: episode four to sixty five of the Bobby Cast. Something

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Speaker 2: in this will get me in trouble for sure, but

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Speaker 2: I hope you enjoy it. So the first time we've

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Speaker 2: done this this is like a panel where we're just

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Speaker 2: gonna talk about music from the different Oh, my shoes

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Speaker 2: are in here. I was doing a job interview with

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Speaker 2: somebody a few minutes ago. I let my shoes right

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Speaker 2: in the floor in the studio.

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Speaker 4: Hey, you can't see it on the cameras though.

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Speaker 5: Thanks true.

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Speaker 6: Yeah, oh you're Birkenstocks.

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Speaker 5: Yeah yeah.

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Speaker 2: I was down here like twenty minutes ago interviewing someone

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Speaker 2: for a position, and my shoes are just right in

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Speaker 2: the floor. My bad. So okay, I want to intruce everybody.

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Speaker 2: Chris Owen, I know Chris from Twitter. I don't know Chris,

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Speaker 2: but I know Chris from Twitter because he's always like

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Speaker 2: shut up. He's always like, seventeen years ago, this was

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Speaker 2: the number seven song according to all diaries in the Meridian,

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Speaker 2: Mississippi market.

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Speaker 5: He's so detailed, he knows.

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Speaker 3: Yeah, sounds much cooler than what I do.

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Speaker 5: Yeah, Chris, what's the deal?

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Speaker 2: Like, what what are you doing now? Because you live

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Speaker 2: here now?

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Speaker 3: Right?

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Speaker 7: Yeah?

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Speaker 5: Yeah?

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Speaker 2: Because when I start first started following you, I think

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Speaker 2: you're like upstate New.

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Speaker 3: York YEP, Western New York YEP. From Buffalo.

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Speaker 5: So what do you do now? What's your job?

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Speaker 1: I am the creative director at Cornman Music with Brett

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Speaker 1: James and Nate Lowry.

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Speaker 5: Oh so you get a real job.

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Speaker 4: Yeah.

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Speaker 2: What's really cool is and I could be wrong with this,

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Speaker 2: but and we've had a couple of people in here

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Speaker 2: who have really prominent positions in the Nashville music community

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Speaker 2: who started out writing comments or tweeting, and people went, oh,

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Speaker 2: they actually kind of know what they're talking about. Let

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Speaker 2: me learn more about them than it was. Oh, they

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Speaker 2: actually do know, let me hire them.

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Speaker 5: Is that kind of what happened for you.

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Speaker 3: That's pretty much how it happened.

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Speaker 5: How did that job position come about?

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Speaker 1: I mean I was coming down here for like a

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Speaker 1: year and a half before I actually got hired. So

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Speaker 1: I didn't think I was going to do the music

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Speaker 1: industry thing. I thought I was just.

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Speaker 3: Going to do radio forever.

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Speaker 1: And then I had one interview that turned into two

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Speaker 1: interviews and three and then it's kind of snowballed. And

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Speaker 1: so I met Jesse Frazier, and Jesse's written a bunch

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Speaker 1: of hits before, and he put me in touch with

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Speaker 1: then Vaughn, who who runs Warner Chapel, and Ben put

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Speaker 1: me in touch with Brett James, and Nate Lowry not

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Speaker 1: with them for about an hour. I thought it went great.

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Speaker 1: Didn't know much about corn Man, but I knew a

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Speaker 1: lot about Brett. And then a week and a half later,

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Speaker 1: I get the call asking if I.

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Speaker 3: Wanted the job.

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Speaker 5: So what job were you doing?

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Speaker 1: I was doing radio, So I actually got promoted to

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Speaker 1: the assistant PD back in Buffalo at the station I

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Speaker 1: worked at last summer.

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Speaker 5: Is there like a wing place there that's awesome? For real?

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Speaker 4: Yes?

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Speaker 1: Like, I haven't found good wings yet in Nashville, okay,

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Speaker 1: so and please tell me if you found them, so

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Speaker 1: wings here?

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Speaker 5: Yeah okay?

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Speaker 2: But also I don't have the palette to understand what

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Speaker 2: a great wing is. But sometimes the cliche isn't always true,

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Speaker 2: meaning Buffalo, the inventor of the Buffalo wing must have

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Speaker 2: the greatest Buffalo wings.

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Speaker 5: But you're saying they do.

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Speaker 3: They do.

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Speaker 1: You just gotta know what places to go to, so

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Speaker 1: don't go to the quote unquote tourist traps.

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Speaker 5: BW three in Buffalo.

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Speaker 3: It's like the office where Michael stop.

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Speaker 2: He's in New York and he's gonna get the New

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Speaker 2: York slo I, but he goes to uh yeah, So.

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Speaker 6: You're telling you're telling me wings are from Buffalo, Like,

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Speaker 6: that's why they're called buffalos.

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Speaker 3: Yeah, they're Buffalo's.

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Speaker 4: I mean there's a there's a like og spot there.

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Speaker 5: Yeah, mind blown.

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Speaker 1: I did not know that the actual sauce and everything

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Speaker 1: you know Butters and Frank's red Hot is.

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Speaker 5: Where did you grow up?

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Speaker 3: Buffalo? Oh that's home born and raised.

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Speaker 2: Yeah, and so and said, I say this in the

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Speaker 2: most positive way because I am one as well.

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Speaker 5: You're a nerd I am now about music and dad, yeah, and.

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Speaker 3: Not a nerd about anything else.

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Speaker 2: But I think that's what got you here again to

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Speaker 2: say that in the most complimentary way.

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Speaker 5: When did you become so nerdy about music?

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Speaker 1: I think it was like maybe around middle school or

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Speaker 1: high school, where I would listen to the countdown shows.

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Speaker 1: I would listen to like Lon Helton and Bob Kingsley,

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Speaker 1: And then I found out that you actually see these

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Speaker 1: charts online a week before they actually have them on. Yeah,

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Speaker 1: and then that just opened up a whole new world,

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Speaker 1: and I started doing like predictions for the chart and

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Speaker 1: all this stuff and wasting class time. And I don't

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Speaker 1: know it, like it always fascinated me to do that.

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Speaker 2: Did you ever reach out to any of the Countdown guys,

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Speaker 2: like any of the host or anything, or even in

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Speaker 2: local the local I think I.

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Speaker 1: Used to like write some stuff for them, you know

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Speaker 1: where you do like the email or like you try

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Speaker 1: to send a letter to Bob Kingsley and stuff like that.

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Speaker 1: Ever get on the air, and I would like no,

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Speaker 1: And I would reach out to the local station that

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Speaker 1: I got hired at years later about the charts and

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Speaker 1: about music and became friends with Brett Allen who does

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Speaker 1: mid Days up there, and.

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Speaker 3: So I would like reach out, but I wouldn't. Like

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Speaker 3: I didn't think I could.

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Speaker 1: Make a career out of radio or make a career

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Speaker 1: certainly at the music industry until like years later, and

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Speaker 1: my dad's like, you can actually go to college for

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Speaker 1: this stuff.

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Speaker 2: And also in here is Drew Baldridge, who I don't know.

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Speaker 2: He runs a label, he's an artist. He digs ditches.

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Speaker 2: If the ditch will actually get you.

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Speaker 5: To number one, he'll dig Yes, where are you this week?

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Speaker 5: As we number eight?

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Speaker 4: Right now?

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Speaker 5: What's hold on? Chris? What the advanced show?

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Speaker 3: Do you still keep up with the chart?

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Speaker 4: Yeah?

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Speaker 1: I do, It's like less time now just because I'm

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Speaker 1: so busy every day, but I try to like log

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Speaker 1: onto the media base account as much as possible.

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Speaker 5: How's Chris's momentum?

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Speaker 1: Yeah, about to say my momentums.

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Speaker 5: How's Drew's momentum right now? At eight?

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Speaker 3: It's doing great?

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Speaker 1: And what makes it more impressive is the fact that

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Speaker 1: you have Morgan has two songs one with Post right

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Speaker 1: now in the top three or top two, and then

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Speaker 1: you have the Cody Johnson single and the Shaboozia thing,

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Speaker 1: which is this flying up. Sure, there's so much competition

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Speaker 1: right now and Drew is still crushing it.

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Speaker 2: How do you feel, Drew about your spot? Do you

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Speaker 2: feel are you getting tighter every week? Going just last

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Speaker 2: another week? Get me one more spot?

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Speaker 4: Yeah?

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Speaker 8: I feel I'll be honest, Like when we were here

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Speaker 8: last time a couple of weeks ago, I was like

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Speaker 8: pretty stressed, you know, of like what's going to happen?

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Speaker 8: And now I feel like we're in a good groove.

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Speaker 4: Like every week.

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Speaker 5: Oh no, you don't want to get in that place.

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Speaker 2: I know that's the worst place to be, Like, dud confidence.

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Speaker 8: Is deadly really good though, just like Chris that I've

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Speaker 8: just been watching it and seeing, like you know, our

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Speaker 8: upspins and radio friends that you know. I think the

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Speaker 8: coolest thing is they are cheering us on like the

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Speaker 8: the you know, obviously we did this kind of by ourselves,

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Speaker 8: crazy way.

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Speaker 4: We talked about it.

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Speaker 8: Last time, and they are hitting me up like, we

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Speaker 8: want to see this happen for you, you know, we

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Speaker 8: want to try to try to champion that.

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Speaker 5: Hey, what do you think about Drew song? Does this

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Speaker 5: good or suck? It's awesome.

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Speaker 4: He's got to say that I'm here. I'm here, Bob,

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Speaker 4: I trust me.

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Speaker 5: He doesn't have to say that. No, not at all. Drew,

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Speaker 5: you have the odd roll.

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Speaker 2: Of spearheading your entire promotion you as an artist. It's

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Speaker 2: a multi pronged approach to having a record that's number one,

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Speaker 2: but you're all the prongs.

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Speaker 8: Yeah, And since we talked last week, talked on here

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Speaker 8: about maybe signing with UT I actually got a booking

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Speaker 8: agent now.

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Speaker 4: I went with UTA, which is super exciting.

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Speaker 8: So I don't have to book my own shows now,

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Speaker 8: which I was doing for the last year five years.

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Speaker 4: Thank you, Bobby.

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Speaker 2: He's got himself to a numberrate by himself. But I

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Speaker 2: take it for one interview where we're talking, I'm totally

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Speaker 2: kidding when I said.

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Speaker 8: But yeah, it's been you know, super super crazy ride.

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Speaker 8: And I think, now what's the hardest thing is enjoying

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Speaker 8: it because everybody's like, what's next, what's your next single?

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Speaker 4: Where are you at with that?

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Speaker 8: And I'm just like, dang, dude, I just feel like

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Speaker 8: I've been fighting goliath this whole time, and now like

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Speaker 8: I'm having trouble enjoying the top ten because I'm stressed

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Speaker 8: about what the next single is and and because this

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Speaker 8: town moves so fast all the time, and is that

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Speaker 8: next single gonna be me again by myself?

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Speaker 4: Right now? Yeah? You know, I don't have like a

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Speaker 4: bunch of labels calling or anything.

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Speaker 2: I would still say. I would say, no, it will

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Speaker 2: not be by yourself. That's what I would guess. Listen,

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Speaker 2: Success draws attention, draws people who want to make money,

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Speaker 2: and if they say you can make the money, I

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Speaker 2: mean this.

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Speaker 5: Is we're in capitalist world.

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Speaker 4: Yeah, one hundred percent.

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Speaker 2: I think you just got a booking agent. Far too

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Speaker 2: late for that to actually have happened. But it's gonna

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Speaker 2: this stuff's gonna start stumbling in when you're not even

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Speaker 2: gonna want some of it. Honestly, You're gonna have learned

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Speaker 2: things where you're going, Oh, I don't even need to

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Speaker 2: have this type of person because I know how to

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Speaker 2: do it, or I don't have to have a full

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Speaker 2: capacity person.

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Speaker 8: Yeah, and I think I'm to that point where I

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Speaker 8: do want somebody, you know, if anybody's.

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Speaker 4: Listening out there, and once it's time in a record deal,

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Speaker 4: come on.

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Speaker 2: But but okay, great, great point you do. But I

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Speaker 2: would say, like a Cody Johnson, for example, signs to Warner,

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Speaker 2: but still he had created a business, his own path,

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Speaker 2: owns owns basically everything, had the leverage to make that

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Speaker 2: deal a little better. I think you'll have either the

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Speaker 2: leverage to make it a little better or not take one. Yeah,

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Speaker 2: which is the best place to be, do you know

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Speaker 2: at the Cody Johnson situation?

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Speaker 5: Oh?

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Speaker 1: Yeah, for sure he has. He has one of the

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Speaker 1: best record deals in town. He gets i mean full

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Speaker 1: creative control, and he gets so much of his music

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Speaker 1: back in terms of just you know, the masters and

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Speaker 1: money and all that. And I mean he had all

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Speaker 1: the leverage before he signed with Warner. He could have

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Speaker 1: just like stayed Indie and still sold out every single

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Speaker 1: show he played. But he decided to part orner with

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Speaker 1: Warner because it was the best opportunity to help him

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Speaker 1: with mainstream radio, but still keep all the stuff that

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Speaker 1: he wanted to keep.

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Speaker 2: So it's like, what advice the world would you give

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Speaker 2: Drew here about because he's gonna he's going to have

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Speaker 2: labels coming at him and it may not be the

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Speaker 2: biggest or it may not be the most money, or

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Speaker 2: it might be right or maybe people that can provide

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Speaker 2: a certain type of service that you need. What what

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Speaker 2: advice would you give Drew about labels when they come calling?

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Speaker 1: I would say, definitely try to explore every single option

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Speaker 1: in terms of what what does this record deal give

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Speaker 1: to me that I can't do on my own? And

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Speaker 1: what do I need help with? What do I not

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Speaker 1: need help with? And then all of the you know,

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Speaker 1: all the money that you could be making with a

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Speaker 1: record deal, and how did the masters look and all

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Speaker 1: this other stuff. You have the factor and so definitely

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Speaker 1: don't like take the first thing that's offered to you.

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Speaker 1: And again you you know, I mean, Drew holds all

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Speaker 1: the leverage right now. And when you have a number

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Speaker 1: one song like this where you're doing it all yourself, Yeah, so.

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Speaker 2: I think a problem that you could get into as well,

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Speaker 2: and it's a great problem to have. And I have

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Speaker 2: a bit of this where I just did everything myself

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Speaker 2: for so long that it's just expected, even though I

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Speaker 2: have teams that I'm just gonna do it myself.

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Speaker 5: Yeah, where they're.

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Speaker 2: Like, oh, you know that he's already done this. It's

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Speaker 2: like even the radio show when I started, I was

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Speaker 2: paying for the whole thing. I was funding the whole thing,

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Speaker 2: even the syndication. I was buying the equipment. I was

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Speaker 2: calling the stations. I was hustling station. I was losing money,

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Speaker 2: broken equipment didn't work half the time. We were syndicating

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Speaker 2: the like two cities, I'm not I'm sure they're real cities,

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Speaker 2: you know. And so but because I made it work

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Speaker 2: without any sort of budget for.

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Speaker 5: Promotion, like oh, we don't have given promotion. He can

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Speaker 5: do it himself.

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Speaker 4: Yeah.

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Speaker 8: And see, that's something that I think about all the

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Speaker 8: time now, is like, you know, if you go to

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Speaker 8: one of these labels, I know how it works, you know.

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Speaker 5: So they can't really pull the wool over. They can't.

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Speaker 4: There's no wool, you know.

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Speaker 8: Like there I'm gonna know, like, hey, did you call

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Speaker 8: so and so to about this?

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Speaker 4: Because that's what we did.

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Speaker 8: On this last one, and I think I don't know

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Speaker 8: if that's a good thing or a bad thing in

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Speaker 8: their eyes, but I will say, like I do have

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Speaker 8: a problem now of a little bit of like control

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Speaker 8: of my business and what's going on, because I'm like,

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Speaker 8: I've been doing this alone for a long time and

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Speaker 8: it's all your money now, Yeah, it's.

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Speaker 4: All my money.

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Speaker 8: I fund it all, you know, and it's it's a

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Speaker 8: lot when you start looking back at it, but obviously

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Speaker 8: it's an investment in us moving forward. But yeah, just

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Speaker 8: like you said, funding your own show, buying your own gear,

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Speaker 8: you know, it's like that's what we're doing right now,

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Speaker 8: funding it, buying it, going on tour, paying for the guys.

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Speaker 8: And I saw your post just last week breakdown of

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Speaker 8: artists pay you know, and stuff that's real, you know,

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Speaker 8: of like artists normally makes about fifteen percent when after

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Speaker 8: the show's done or whatever. We're very lucky that the

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Speaker 8: Masters don't do that.

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Speaker 2: But but what do you Chris with with TikTok? The

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Speaker 2: longevity of songs and we can even say chart specific,

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Speaker 2: how has TikTok affected that?

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Speaker 3: I think it's pretty interesting.

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Speaker 1: It's changed a lot in the past two or three

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Speaker 1: years where I think three years ago you saw radio

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Speaker 1: stations really not not that they didn't pay attention to TikTok,

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Speaker 1: they just didn't jump on the old trend right when

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Speaker 1: it was happening. And then after Last Night by Morgan,

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Speaker 1: they're like, no, we're gonna like jump on this immediately.

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Speaker 1: You're seeing it with the Shaboozie song right now, like

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Speaker 1: radio loves it and people love it.

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Speaker 5: Fought it though for a long time too, right, I mean, I.

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Speaker 3: Mean it's almost like you have to start playing when

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Speaker 3: it's that success.

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Speaker 2: Walker Hayes was the first one that I saw and

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Speaker 2: see like, yeah, radio fight, but then lose and they

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Speaker 2: were like fine, we'll freaking play and it was massive

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Speaker 2: and it tested massive. But it's like I think that

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Speaker 2: taught radio lesson like sometimes get out of your own way. Yeah,

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Speaker 2: and it still doesn't all the way all the time.

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Speaker 2: Most of the time it doesn't.

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Speaker 8: And that's what our song was at, you know. But

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Speaker 8: it took two years to like put it out to radio.

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Speaker 5: But you mentioned Applebe's in the song.

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Speaker 4: It would have worked.

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Speaker 8: But I just think too, like the testing is what

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Speaker 8: is so big, and they send it out to their listeners.

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Speaker 4: They already know it because of this.

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Speaker 2: App great point about testing, because research, testing, whatever you

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Speaker 2: want to call it, what happens is at least my verse.

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Speaker 2: And I haven't been in the music part of the

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Speaker 2: world I'm in in years, right, So I play a

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Speaker 2: song if I like it, but I don't get involved

380
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Speaker 2: in that anymore. I'm just there to create compelling content

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Speaker 2: with my buddy Eddie, and then we tour and then

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Speaker 2: we come home.

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Speaker 6: That's it, right, That's.

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Speaker 5: All we do. So I was the first part of

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Speaker 5: my Nashville stay. I was breaking artist. You could break

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Speaker 5: anartists like crazy.

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Speaker 2: I could at the platform I had, So I would

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Speaker 2: try to understand more about the charts and what to play,

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Speaker 2: when to play that type of thing.

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Speaker 5: What's my point? I don't know. I was going somewhere

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Speaker 5: really good. What are we talking about testing? Thank you?

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Speaker 5: We researched these songs.

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Speaker 2: I would never research them, but I would see the

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Speaker 2: results of the research, and I sometimes I see the

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Speaker 2: results now. I never asked for it, but someone will

396
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Speaker 2: come to me and go like, hey, what do you

397
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Speaker 2: think about this song? And I'm like, I don't know it,

398
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Speaker 2: and they're like, what do you mean You don't know

399
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Speaker 2: what I'm like. I hear like six songs we might

400
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Speaker 2: play if in two hours.

401
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Speaker 5: A song or two Yeah. Otherwise I don't listen to country.

402
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Speaker 5: I don't. I'm not somewhe where a radio is.

403
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Speaker 2: If I'm not working on I'm home or I'm picking

404
00:16:04,080 --> 00:16:06,160
Speaker 2: songs that I like. I listened to country music, but

405
00:16:06,160 --> 00:16:09,200
Speaker 2: I'm not looking for the chart the top twenty songs

406
00:16:09,200 --> 00:16:12,680
Speaker 2: to play. And so they would research these songs, and

407
00:16:13,040 --> 00:16:14,800
Speaker 2: what they would do is they would play they get

408
00:16:14,800 --> 00:16:16,840
Speaker 2: a listener on the internet. Now it's now it's web based.

409
00:16:16,880 --> 00:16:18,800
Speaker 2: For the most part, they played over the phone. Oh wow,

410
00:16:18,840 --> 00:16:22,120
Speaker 2: they play all these clips hooks over the phone, and.

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Speaker 8: And what's crazy is you got ten seconds. That's it

412
00:16:24,560 --> 00:16:26,880
Speaker 8: a clip, that's all that matter. They rate it, and

413
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Speaker 8: that's what's scary. Like when you send this out for me,

414
00:16:29,680 --> 00:16:31,520
Speaker 8: I remember they would they would call back and be like, hey,

415
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Speaker 8: you had a bad research and we're going to move

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Speaker 8: your song down.

417
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Speaker 4: Be like, well, what hook are you testing? Somebody?

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Speaker 8: Be like oh, part of the second verse, and what

419
00:16:38,800 --> 00:16:40,520
Speaker 8: was your samper can why you know.

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Speaker 2: This?

421
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Speaker 3: Here's the chorus so small too?

422
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Speaker 1: Like with research, it's like, that's not how Dad it

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00:16:46,800 --> 00:16:48,960
Speaker 1: should work if you have such a small sample size,

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Speaker 1: you're playing such a small clip of the song, and

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Speaker 1: you're determining, I mean, careers like out of this, especially

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Speaker 1: if it's a debut single, and basically and basically.

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Speaker 5: They're like, Okay, here's a little part of a song.

428
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Speaker 5: It's it's you ever heard this?

429
00:17:02,080 --> 00:17:02,280
Speaker 4: Yeah?

430
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Speaker 2: And do you like it? And the problem is it's

431
00:17:05,200 --> 00:17:07,199
Speaker 2: hard to go do you ever heard this? To a

432
00:17:07,240 --> 00:17:09,719
Speaker 2: song that's not play a lot? And they're researching a

433
00:17:09,720 --> 00:17:11,520
Speaker 2: song that's not played a lot to see if people

434
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Speaker 2: like it, but they can't like it if they haven't

435
00:17:13,040 --> 00:17:13,800
Speaker 2: heard it.

436
00:17:13,800 --> 00:17:14,959
Speaker 3: It's a vicious cycle.

437
00:17:17,480 --> 00:17:21,200
Speaker 2: TikTok has actually fixed that so much. An example, the

438
00:17:21,320 --> 00:17:24,800
Speaker 2: Alexander k Riley Green song all over TikTok right, and

439
00:17:24,840 --> 00:17:26,840
Speaker 2: I'm like, I don't know who's playing it, why they're

440
00:17:26,840 --> 00:17:28,000
Speaker 2: playing it, but I just wanted playing it.

441
00:17:27,960 --> 00:17:31,159
Speaker 5: Because it's good. Excuse me, do you know where that is?

442
00:17:31,200 --> 00:17:31,400
Speaker 2: Now?

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00:17:31,920 --> 00:17:34,480
Speaker 1: That's not a radio currently, but it should be a

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Speaker 1: radio because it's so big it's and I didn't look

445
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Speaker 1: it up.

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00:17:39,280 --> 00:17:41,720
Speaker 2: Sometimes, like once every two or three months, I'll ask Mike,

447
00:17:41,760 --> 00:17:43,399
Speaker 2: I got checked on your song the other day? Because

448
00:17:43,880 --> 00:17:47,880
Speaker 2: you're fine your medium mid as the kids would say.

449
00:17:49,440 --> 00:17:51,159
Speaker 2: And but I didn't even ask, And I was like,

450
00:17:51,160 --> 00:17:57,240
Speaker 2: we're just gonna play it because it's ubiquitous on TikTok

451
00:17:57,600 --> 00:17:58,359
Speaker 2: and Instagram.

452
00:17:58,440 --> 00:17:59,560
Speaker 5: It's everywhere.

453
00:17:59,720 --> 00:18:00,720
Speaker 4: Yeah, everybody knows it.

454
00:18:00,800 --> 00:18:04,080
Speaker 2: And I bet that song would research okay to pretty

455
00:18:04,080 --> 00:18:05,760
Speaker 2: good with never being played on the radio.

456
00:18:05,840 --> 00:18:06,760
Speaker 5: So I just were playing it.

457
00:18:06,840 --> 00:18:09,320
Speaker 8: Well that's what we You know, a lot of stations

458
00:18:09,359 --> 00:18:11,359
Speaker 8: when we first sent this out they didn't believe in

459
00:18:11,359 --> 00:18:13,040
Speaker 8: my team and what we were doing because this is

460
00:18:13,040 --> 00:18:14,800
Speaker 8: really hard to do. So I would just go to

461
00:18:14,800 --> 00:18:18,000
Speaker 8: them and say, hey, test it, not even asking you

462
00:18:18,000 --> 00:18:20,240
Speaker 8: to play it, just throw it in your research please.

463
00:18:20,800 --> 00:18:22,679
Speaker 8: And it took weeks and weeks and weeks and they

464
00:18:22,680 --> 00:18:23,840
Speaker 8: were like, well, we need to see you get this

465
00:18:23,920 --> 00:18:25,440
Speaker 8: many stations on before we test it. And then I

466
00:18:25,440 --> 00:18:27,720
Speaker 8: would hit that like please test it, and then that's

467
00:18:27,760 --> 00:18:30,080
Speaker 8: what That's how we got our airplay was all by

468
00:18:30,119 --> 00:18:33,879
Speaker 8: people researching and it testing in the top five, and

469
00:18:34,600 --> 00:18:35,080
Speaker 8: because there.

470
00:18:35,200 --> 00:18:37,439
Speaker 2: Was all over social media, they would hear it there

471
00:18:37,440 --> 00:18:38,920
Speaker 2: because they weren't gonna hear it on the radio because

472
00:18:38,960 --> 00:18:39,800
Speaker 2: I wasn't playing it.

473
00:18:39,800 --> 00:18:41,200
Speaker 4: It was all because of social media.

474
00:18:41,320 --> 00:18:43,280
Speaker 2: That's a great point that has actually helped artists in

475
00:18:43,320 --> 00:18:47,399
Speaker 2: testing when the song goes viral or viral ish in

476
00:18:47,440 --> 00:18:47,960
Speaker 2: the format.

477
00:18:48,280 --> 00:18:49,720
Speaker 3: Yeah, you can't like it if you don't know it.

478
00:18:50,000 --> 00:18:52,840
Speaker 2: That's always been the problem, right with the art, Like, Okay,

479
00:18:52,840 --> 00:18:54,399
Speaker 2: it's at twenty eight, we're going to test it. If

480
00:18:54,440 --> 00:18:56,200
Speaker 2: it does well, we'll move it up. But if it doesn't,

481
00:18:56,280 --> 00:18:57,840
Speaker 2: it's like, it's twenty eight. What are you playing it overnights?

482
00:18:57,880 --> 00:18:59,320
Speaker 2: People don't even get to hear it. Yeah, and you

483
00:18:59,640 --> 00:19:01,280
Speaker 2: want to has something to see if people like it

484
00:19:01,320 --> 00:19:03,320
Speaker 2: when they've actually never heard it, So then you're making

485
00:19:03,359 --> 00:19:04,879
Speaker 2: them And I don't know many people to hear a

486
00:19:04,880 --> 00:19:05,480
Speaker 2: song the first time.

487
00:19:05,480 --> 00:19:07,520
Speaker 5: Ago Death Song's awesome, Yeah, I mean I.

488
00:19:07,520 --> 00:19:08,880
Speaker 3: Haven't been published in all the time.

489
00:19:08,920 --> 00:19:11,240
Speaker 1: It's like you play a song for you know, somebody

490
00:19:11,280 --> 00:19:14,200
Speaker 1: hoping that it gets cut, and you play a verse

491
00:19:14,280 --> 00:19:16,720
Speaker 1: chorus and they pass on it. It's like, man, you know,

492
00:19:16,840 --> 00:19:19,520
Speaker 1: that's really not how music works in the real world.

493
00:19:19,560 --> 00:19:22,240
Speaker 1: It's like you play a song and you kind of

494
00:19:22,320 --> 00:19:24,040
Speaker 1: like it, and then you hear it again and again

495
00:19:24,119 --> 00:19:26,160
Speaker 1: and now you love it. And we've had so many

496
00:19:26,200 --> 00:19:28,679
Speaker 1: songs of you know, which is a perfect example of that.

497
00:19:29,760 --> 00:19:31,600
Speaker 1: I mean, that's how music was to me growing up.

498
00:19:31,600 --> 00:19:32,919
Speaker 1: I would hear a song more and more and I

499
00:19:32,920 --> 00:19:33,760
Speaker 1: loved it more and more.

500
00:19:33,840 --> 00:19:36,159
Speaker 2: So I never liked new songs when I was just

501
00:19:36,240 --> 00:19:39,840
Speaker 2: a listener. I'd be like, what is something new? Third time, like, oh,

502
00:19:39,880 --> 00:19:40,280
Speaker 2: I got it.

503
00:19:40,280 --> 00:19:41,080
Speaker 4: Right, you love it.

504
00:19:41,680 --> 00:19:44,320
Speaker 9: Let's take a quick pause for a message from our sponsor,

505
00:19:53,160 --> 00:19:55,840
Speaker 9: and we're back on the Bobby Cast.

506
00:19:56,240 --> 00:19:57,320
Speaker 5: Let's do this round the room.

507
00:20:00,080 --> 00:20:01,480
Speaker 2: You heard this song, it could have been on the

508
00:20:01,560 --> 00:20:05,040
Speaker 2: radio or streaming, and you're like, oh my the first time,

509
00:20:05,080 --> 00:20:07,240
Speaker 2: because it's only happened like two or thee times in

510
00:20:07,280 --> 00:20:09,840
Speaker 2: my life where I'm like, this song is such an awesome,

511
00:20:10,040 --> 00:20:13,280
Speaker 2: massive hit. You're gonna laugh at one of mine where

512
00:20:13,320 --> 00:20:14,720
Speaker 2: I heard it the first time and I was like, what,

513
00:20:16,000 --> 00:20:17,879
Speaker 2: this song is a monster. It doesn't have to be

514
00:20:18,040 --> 00:20:21,800
Speaker 2: in your professional time. Okay, Chris, I'm sure you have

515
00:20:21,880 --> 00:20:23,840
Speaker 2: one hundred of these, but what's one for you? The

516
00:20:23,880 --> 00:20:25,399
Speaker 2: first time you heard it, you were like, there is

517
00:20:25,480 --> 00:20:26,880
Speaker 2: no doubt this is a hit.

518
00:20:27,520 --> 00:20:28,960
Speaker 1: When I was a kid, I think the first time

519
00:20:28,960 --> 00:20:31,120
Speaker 1: it ever happened to me, I was maybe twelve thirteen.

520
00:20:31,200 --> 00:20:33,760
Speaker 1: It was Mark Wills in nineteen something. First time I

521
00:20:33,800 --> 00:20:36,719
Speaker 1: heard that, I'm like oh that's big that there's no

522
00:20:36,760 --> 00:20:37,880
Speaker 1: way this isn't a huge hit.

523
00:20:38,119 --> 00:20:41,560
Speaker 3: And it was. But there are certain songs that have

524
00:20:41,640 --> 00:20:43,520
Speaker 3: come out that I thought were going to be a

525
00:20:43,600 --> 00:20:46,159
Speaker 3: huge hit and it ended up like bombing.

526
00:20:45,800 --> 00:20:49,880
Speaker 1: At radioh me too same and there's no more. I mean,

527
00:20:49,920 --> 00:20:52,240
Speaker 1: that's one of the least favorite parts of the job,

528
00:20:52,320 --> 00:20:54,800
Speaker 1: is when you're so confident in something and it just

529
00:20:54,800 --> 00:20:57,200
Speaker 1: flames out it piece of like thirty six or something.

530
00:20:57,520 --> 00:21:00,040
Speaker 2: And the fair thing is, which is actually unfair, The

531
00:21:00,040 --> 00:21:02,960
Speaker 2: fair thing about what you're saying is that it probably

532
00:21:02,960 --> 00:21:04,240
Speaker 2: wasn't even that the song wasn't awesome.

533
00:21:04,280 --> 00:21:05,719
Speaker 3: You know, there's so many other factors.

534
00:21:05,720 --> 00:21:08,000
Speaker 2: They didn't get strategically researched at the right time, with

535
00:21:08,040 --> 00:21:09,800
Speaker 2: the right part of the music to the right sample size.

536
00:21:09,880 --> 00:21:10,560
Speaker 5: Therefore it dies.

537
00:21:10,600 --> 00:21:12,960
Speaker 1: It might have been bad timing, like I know, you

538
00:21:13,000 --> 00:21:17,320
Speaker 1: know one example in twenty fifteen with Logan Mize can't

539
00:21:17,320 --> 00:21:19,760
Speaker 1: get away from a Good Time. I think you needed

540
00:21:19,760 --> 00:21:22,439
Speaker 1: a million in audience just to crack the top sixty

541
00:21:22,480 --> 00:21:25,199
Speaker 1: on Billboard, and I've never seen that before, and it

542
00:21:25,320 --> 00:21:28,240
Speaker 1: was just so competitive and it was bro country, and

543
00:21:28,280 --> 00:21:30,639
Speaker 1: it was kind of like you're set up for failure.

544
00:21:30,640 --> 00:21:32,919
Speaker 1: There's nothing you can do. It's just horrible timing and

545
00:21:32,960 --> 00:21:35,399
Speaker 1: bad logistics. And it's not your fault, it's not the

546
00:21:35,400 --> 00:21:38,480
Speaker 1: song's fault. There's so many factors. I mean, I wish

547
00:21:38,560 --> 00:21:40,520
Speaker 1: it was just we all think the song's good, it's

548
00:21:40,520 --> 00:21:42,040
Speaker 1: going to be a hit, and it's just not that

549
00:21:42,119 --> 00:21:42,959
Speaker 1: way unfortunately.

550
00:21:43,080 --> 00:21:44,520
Speaker 4: Yeah, I mean timing is such a big thing.

551
00:21:44,520 --> 00:21:47,159
Speaker 8: I mean obviously for us, She Somebody's Daughter came out

552
00:21:47,200 --> 00:21:50,720
Speaker 8: twenty nineteen, you know, and it did not just sit

553
00:21:50,760 --> 00:21:51,800
Speaker 8: there until.

554
00:21:51,520 --> 00:21:54,880
Speaker 5: Like, yeah, is that fair though, because you're labeled, I mean.

555
00:21:54,840 --> 00:21:55,720
Speaker 4: My label closed.

556
00:21:56,080 --> 00:21:59,720
Speaker 8: And also to Neil Towns had a song called Somebody's Daughter,

557
00:22:00,080 --> 00:22:02,000
Speaker 8: so I couldn't put it out and just sit there,

558
00:22:02,200 --> 00:22:05,120
Speaker 8: you know for two years until we got married, and.

559
00:22:05,080 --> 00:22:07,200
Speaker 5: There wasn't the opportunity for virility as much.

560
00:22:07,240 --> 00:22:09,840
Speaker 8: There and there there wasn't there was no for you

561
00:22:10,040 --> 00:22:12,720
Speaker 8: page right, that did not exist, you know that for

562
00:22:12,960 --> 00:22:18,280
Speaker 8: you Page coming changed artists life forever. Like I remember

563
00:22:18,320 --> 00:22:21,320
Speaker 8: when that first came out, and that was like whoa,

564
00:22:21,359 --> 00:22:24,439
Speaker 8: you can be discovered somewhere other than the radio or

565
00:22:24,440 --> 00:22:26,720
Speaker 8: playing shows, because I mean every artist out there that

566
00:22:26,800 --> 00:22:29,680
Speaker 8: before TikTok goes hey play one hundred and fifty shows

567
00:22:29,680 --> 00:22:31,240
Speaker 8: a year, and all these little bars go play for

568
00:22:31,240 --> 00:22:31,840
Speaker 8: fifty people.

569
00:22:32,160 --> 00:22:33,480
Speaker 4: Go back and hold that was the for you page

570
00:22:33,480 --> 00:22:33,960
Speaker 4: of the eighties.

571
00:22:34,040 --> 00:22:35,760
Speaker 8: Yeah, you hope the one hundred people show are and

572
00:22:35,760 --> 00:22:37,280
Speaker 8: then go back and then hope one hundred and fifty

573
00:22:37,320 --> 00:22:39,760
Speaker 8: people show up and hopefully you can get your song

574
00:22:39,840 --> 00:22:41,399
Speaker 8: played on the radio. Or you know, it was just

575
00:22:41,520 --> 00:22:43,800
Speaker 8: Facebook where they already followed you.

576
00:22:43,800 --> 00:22:44,600
Speaker 4: You know, it was like.

577
00:22:44,720 --> 00:22:47,200
Speaker 8: There's no way to be discovered at all other than

578
00:22:47,359 --> 00:22:49,600
Speaker 8: the hearing it on the radio or somebody hitting the

579
00:22:49,640 --> 00:22:51,560
Speaker 8: share the share button.

580
00:22:51,640 --> 00:22:53,560
Speaker 4: Maybe that was it. Yeah.

581
00:22:53,400 --> 00:22:55,520
Speaker 1: Yeah, I'm just wondering how many record deals twenty years

582
00:22:55,520 --> 00:22:59,320
Speaker 1: ago would have been successful had you have had a

583
00:22:59,359 --> 00:23:02,359
Speaker 1: TikTok or a Twitter or an Instagram or Facebook and

584
00:23:02,480 --> 00:23:04,040
Speaker 1: you had DSPs.

585
00:23:04,000 --> 00:23:07,840
Speaker 2: Or how many songs never became the massive like super

586
00:23:07,880 --> 00:23:12,520
Speaker 2: nova as they could have been except for timing strategy,

587
00:23:13,480 --> 00:23:17,160
Speaker 2: wrong clip, wrong gatekeeper who didn't like a record guy.

588
00:23:17,280 --> 00:23:19,119
Speaker 5: Yeah, all of that factors in.

589
00:23:19,240 --> 00:23:22,359
Speaker 2: It's crazy, and it's so much even though we're talking

590
00:23:22,359 --> 00:23:24,120
Speaker 2: about like the technical parts of it that.

591
00:23:26,320 --> 00:23:29,240
Speaker 5: Aren't pure to the art, which they rarely are, right.

592
00:23:29,320 --> 00:23:32,840
Speaker 2: Yeah, but relationships are still such a big part of

593
00:23:33,320 --> 00:23:34,919
Speaker 2: the world. That we live in that's supposed to be

594
00:23:34,920 --> 00:23:39,439
Speaker 2: just based off of audience and consumption and what do

595
00:23:39,480 --> 00:23:43,480
Speaker 2: they want, It's still so relationship based. Yep, Eddie, the

596
00:23:43,520 --> 00:23:45,840
Speaker 2: song that you heard that you're like, oh, that's awesome.

597
00:23:46,680 --> 00:23:48,600
Speaker 6: I mean, I'm going to take it back to our

598
00:23:48,720 --> 00:23:51,760
Speaker 6: experience with it, because I mean, before I joined the show,

599
00:23:52,040 --> 00:23:53,920
Speaker 6: we did this show. Like, I didn't listen to music

600
00:23:53,960 --> 00:23:55,720
Speaker 6: like that. I didn't even think about charts or whatever.

601
00:23:55,720 --> 00:23:56,800
Speaker 6: If it was good, it was good.

602
00:23:56,680 --> 00:23:57,199
Speaker 3: And I liked it.

603
00:23:57,240 --> 00:23:57,679
Speaker 5: I liked it.

604
00:23:57,760 --> 00:24:00,000
Speaker 6: But for us, I think when Cam played Burning and Howe,

605
00:24:01,880 --> 00:24:04,480
Speaker 6: that was kind of to us, like to me, like, oh,

606
00:24:04,760 --> 00:24:08,560
Speaker 6: this is the song's amazing, And I mean that was

607
00:24:08,600 --> 00:24:10,960
Speaker 6: part of Bobby kind of just like this song is

608
00:24:11,000 --> 00:24:13,159
Speaker 6: really good. We took her on tour, we played the

609
00:24:13,160 --> 00:24:14,840
Speaker 6: crap out of that song and it did end up

610
00:24:14,880 --> 00:24:18,440
Speaker 6: being a big song. But we knew immediately. I mean,

611
00:24:18,520 --> 00:24:20,280
Speaker 6: I don't know if you did, Buzz, I mean immediately

612
00:24:20,280 --> 00:24:20,720
Speaker 6: you hear that.

613
00:24:20,680 --> 00:24:22,720
Speaker 5: Song is we I'm the one that freaking made her

614
00:24:22,720 --> 00:24:24,080
Speaker 5: stay and played over and over again. It changed her

615
00:24:24,080 --> 00:24:24,680
Speaker 5: single that day.

616
00:24:24,600 --> 00:24:25,919
Speaker 6: Well, and that could have been why I thought it

617
00:24:25,960 --> 00:24:26,480
Speaker 6: was awesome too.

618
00:24:27,119 --> 00:24:28,800
Speaker 2: I just saying we I like talked to the head

619
00:24:28,800 --> 00:24:30,000
Speaker 2: of Sony and I was like, you got to change

620
00:24:30,000 --> 00:24:32,560
Speaker 2: a single? This is yeah, this is not but it's

621
00:24:32,560 --> 00:24:34,960
Speaker 2: a I remember talking to him. It's like it's a ballot,

622
00:24:35,080 --> 00:24:38,320
Speaker 2: it doesn't matter. And I'm also I also say, I

623
00:24:38,320 --> 00:24:39,920
Speaker 2: have no idea what I'm talking about, because anybody that

624
00:24:40,000 --> 00:24:41,439
Speaker 2: knows what they're talking about when it comes to art

625
00:24:41,480 --> 00:24:43,359
Speaker 2: has no idea what they're talking about. So but just

626
00:24:43,359 --> 00:24:49,520
Speaker 2: take this as based on my experiences. I think this

627
00:24:49,600 --> 00:24:52,240
Speaker 2: song x y Z and they've changed the single that day,

628
00:24:52,320 --> 00:24:53,880
Speaker 2: that's it, and then.

629
00:24:53,840 --> 00:24:54,640
Speaker 4: It was our biggest song.

630
00:24:54,840 --> 00:24:58,040
Speaker 2: Well so, but the revision is history, right, I go

631
00:24:58,160 --> 00:24:59,320
Speaker 2: change a single, they change a single.

632
00:24:59,359 --> 00:25:00,840
Speaker 5: She's a star. That's revision is history.

633
00:25:00,880 --> 00:25:03,480
Speaker 2: The real story is because it's easy to say that,

634
00:25:03,600 --> 00:25:05,520
Speaker 2: like look at me, I'm a hero, because I got

635
00:25:05,560 --> 00:25:08,680
Speaker 2: like five or six those revisionous here history stories like

636
00:25:08,680 --> 00:25:10,880
Speaker 2: girl Crush, Oh I launched it. They're a massive story.

637
00:25:10,880 --> 00:25:15,359
Speaker 2: That's really not how it worked. But with Cam the

638
00:25:15,400 --> 00:25:18,040
Speaker 2: head of Sony Sony not Nashville, Sony, New York, because

639
00:25:18,080 --> 00:25:20,480
Speaker 2: that was well yeah, he calls and it's like, what's

640
00:25:20,520 --> 00:25:22,040
Speaker 2: going on? Why are you playing the song over and

641
00:25:22,040 --> 00:25:24,600
Speaker 2: over again? And not mean, but like, what do you know?

642
00:25:24,640 --> 00:25:27,960
Speaker 2: And I'm like, I know nothing except I'm watching at

643
00:25:27,960 --> 00:25:31,560
Speaker 2: the time, iTunes could dictate what my audience liked. I'm

644
00:25:31,600 --> 00:25:34,919
Speaker 2: watching this in real time, and he's like, should we

645
00:25:35,000 --> 00:25:37,160
Speaker 2: change it? But it's a ballad. I'm like, if you're

646
00:25:37,160 --> 00:25:38,800
Speaker 2: asking me, I think ballads are better anyway. But I

647
00:25:39,000 --> 00:25:42,040
Speaker 2: understand what research says. But if you want to break

648
00:25:42,080 --> 00:25:45,199
Speaker 2: a new female artist at that time was more impossible.

649
00:25:45,400 --> 00:25:47,960
Speaker 2: You gotta do something different. Odds are it's going to fail,

650
00:25:48,200 --> 00:25:50,560
Speaker 2: but it's the only shot you have to crush.

651
00:25:51,000 --> 00:25:53,000
Speaker 5: And to their credit, they flipped it.

652
00:25:53,040 --> 00:25:55,680
Speaker 2: But what what really happened was after they flipped a single,

653
00:25:55,680 --> 00:25:56,720
Speaker 2: it just didn't go to number one.

654
00:25:57,760 --> 00:26:01,520
Speaker 5: I called Rod Phillips.

655
00:26:01,080 --> 00:26:04,560
Speaker 2: Who is We've been together for twenty years, and I

656
00:26:04,640 --> 00:26:07,040
Speaker 2: was like, hey, we need to bet on her.

657
00:26:08,200 --> 00:26:09,880
Speaker 5: There was a movement I just started.

658
00:26:10,280 --> 00:26:12,840
Speaker 2: I negotiated my contract and negotiated out an hour of

659
00:26:12,920 --> 00:26:14,280
Speaker 2: national time for female artists.

660
00:26:14,280 --> 00:26:18,040
Speaker 5: I was doing what I could without pandering.

661
00:26:18,440 --> 00:26:20,080
Speaker 2: I was doing what I could, even behind the scenes,

662
00:26:20,119 --> 00:26:22,280
Speaker 2: to at least get them to like the thirties so

663
00:26:22,280 --> 00:26:23,120
Speaker 2: they'd have a shot.

664
00:26:23,280 --> 00:26:25,840
Speaker 5: I was like, we and hopefully you can.

665
00:26:26,040 --> 00:26:28,520
Speaker 2: So they made her the on the verge Artist, which

666
00:26:28,560 --> 00:26:31,159
Speaker 2: then guarantees you so much, which then allows you to

667
00:26:31,160 --> 00:26:34,840
Speaker 2: get to a place to be tested in a healthy

668
00:26:34,840 --> 00:26:36,479
Speaker 2: spot where people have heard the song because they've made

669
00:26:36,480 --> 00:26:38,480
Speaker 2: a big point on the verge artist with like a

670
00:26:38,480 --> 00:26:41,960
Speaker 2: little thing, I'm cam, I like yellow, here's my song.

671
00:26:42,320 --> 00:26:44,160
Speaker 2: And so people had heard all that, and then it

672
00:26:44,280 --> 00:26:45,240
Speaker 2: naturally turned into a.

673
00:26:45,160 --> 00:26:49,080
Speaker 8: Smasher and it's so interesting. You know, you're talking about ballads.

674
00:26:49,760 --> 00:26:50,880
Speaker 8: That's such a big conversation.

675
00:26:50,960 --> 00:26:51,239
Speaker 4: It rate.

676
00:26:51,320 --> 00:26:52,560
Speaker 5: It's the dumbest thing I've ever heard.

677
00:26:52,400 --> 00:26:55,280
Speaker 2: And it's so difficult, like they act like everybody wants

678
00:26:55,280 --> 00:26:57,119
Speaker 2: to have the top down in their car driving to

679
00:26:57,160 --> 00:26:57,400
Speaker 2: the beach.

680
00:26:57,400 --> 00:26:59,000
Speaker 8: And I sit down with the radio guy one time

681
00:26:59,000 --> 00:27:00,560
Speaker 8: because this was always a big thing for us. But

682
00:27:00,720 --> 00:27:03,280
Speaker 8: she's somebody's daughter, like, well, it's a ballad, and we

683
00:27:03,320 --> 00:27:05,240
Speaker 8: don't play ballads. I had some people tell me straight up,

684
00:27:05,240 --> 00:27:07,240
Speaker 8: we don't play ballads on our station. And then I

685
00:27:07,240 --> 00:27:10,560
Speaker 8: was sitting with the radio guy one time and he said, hey, man,

686
00:27:10,640 --> 00:27:12,600
Speaker 8: I got the fifty best songs of all time written

687
00:27:12,600 --> 00:27:14,840
Speaker 8: down on my phone. I was like it really, He's like, yeah,

688
00:27:14,960 --> 00:27:16,719
Speaker 8: check them out, and he pulled up songs jumped to me.

689
00:27:17,160 --> 00:27:18,040
Speaker 8: I started reading them down.

690
00:27:18,280 --> 00:27:20,159
Speaker 4: I was like, dude, you know what's crazy?

691
00:27:20,320 --> 00:27:22,359
Speaker 8: He said, well, I said, all those are ballads.

692
00:27:23,000 --> 00:27:25,280
Speaker 4: He was like, oh my gosh, you're right.

693
00:27:25,400 --> 00:27:28,479
Speaker 8: And I was like, without ballads, what is country music?

694
00:27:29,160 --> 00:27:31,360
Speaker 3: I mean that is those are the home runs, Those

695
00:27:31,359 --> 00:27:32,040
Speaker 3: are the home runs.

696
00:27:32,040 --> 00:27:34,439
Speaker 2: Those are stick those are mad, those are sticky. They

697
00:27:34,480 --> 00:27:35,879
Speaker 2: didn't have to be number one to be sticky, though,

698
00:27:35,880 --> 00:27:39,439
Speaker 2: And we're talking about number ones versus songs that last.

699
00:27:39,720 --> 00:27:41,280
Speaker 8: Yeah right live like you were dying. I mean, you

700
00:27:41,280 --> 00:27:43,840
Speaker 8: don't have those songs with the ballads, the dance, the dance.

701
00:27:43,880 --> 00:27:45,199
Speaker 8: I mean, we can sit here and talk about it.

702
00:27:45,280 --> 00:27:47,800
Speaker 5: No we can't, because I got a pickleball player.

703
00:27:48,080 --> 00:27:53,440
Speaker 2: Oh yah yeah, yeah yeah, the song that I It's

704
00:27:53,440 --> 00:27:56,280
Speaker 2: happened a few times because I've been very fortunate to make.

705
00:27:56,400 --> 00:27:58,920
Speaker 2: I made a lot of wrong guesses too, But people

706
00:27:58,920 --> 00:28:01,240
Speaker 2: don't remember the winds. It's like gambling buddies.

707
00:28:01,800 --> 00:28:01,919
Speaker 6: Man.

708
00:28:01,960 --> 00:28:02,679
Speaker 5: All he does is win.

709
00:28:02,800 --> 00:28:04,440
Speaker 2: No, he just tells you about the winds like those

710
00:28:04,520 --> 00:28:10,479
Speaker 2: last I've made countless wrong declarations, but I've had some

711
00:28:10,520 --> 00:28:11,679
Speaker 2: really big wins.

712
00:28:12,200 --> 00:28:13,560
Speaker 5: Buy me a boat. I was about to say it

713
00:28:13,600 --> 00:28:14,080
Speaker 5: was a big one.

714
00:28:14,600 --> 00:28:16,600
Speaker 2: Chris just messaged me that before it even came out,

715
00:28:16,640 --> 00:28:19,439
Speaker 2: played it whatever, girl crush. I was talking to Karen

716
00:28:20,000 --> 00:28:22,240
Speaker 2: the night before and she was like, so I just

717
00:28:22,240 --> 00:28:23,560
Speaker 2: started playing it over and over again, turned to the

718
00:28:23,640 --> 00:28:25,240
Speaker 2: huge controversy, the best thing that ever happened for them.

719
00:28:25,480 --> 00:28:27,399
Speaker 2: Then I backed away because other radisources would then go, well,

720
00:28:27,440 --> 00:28:29,040
Speaker 2: he always behind it. So then I also learned the

721
00:28:29,080 --> 00:28:32,560
Speaker 2: strategy of go out, take a piss on it, and then

722
00:28:32,520 --> 00:28:34,520
Speaker 2: get away. Yeah, because then people would start to hold

723
00:28:34,520 --> 00:28:36,720
Speaker 2: people accountable or punish them because they were sociated with me,

724
00:28:36,760 --> 00:28:37,800
Speaker 2: although I don't even know them.

725
00:28:38,000 --> 00:28:38,840
Speaker 5: I just liked the song.

726
00:28:40,280 --> 00:28:42,000
Speaker 2: But the one that I had nothing to do with

727
00:28:42,120 --> 00:28:44,360
Speaker 2: that I heard and I was like, oh, I got

728
00:28:44,440 --> 00:28:47,640
Speaker 2: chill bumps on my arms because I was like, this

729
00:28:47,680 --> 00:28:48,760
Speaker 2: song is so good.

730
00:28:49,320 --> 00:28:52,480
Speaker 5: Let the dogs out close. It's close, It's close.

731
00:28:52,560 --> 00:28:53,880
Speaker 6: Oh shoot, it's jumble warm bo.

732
00:28:54,000 --> 00:28:57,800
Speaker 2: No, No, it's not pop. I was too young for that.

733
00:28:57,880 --> 00:29:00,680
Speaker 2: It's it's a country song. Okay, it's I would even

734
00:29:00,680 --> 00:29:03,920
Speaker 2: say it's a it's a corny country song. Were the

735
00:29:03,960 --> 00:29:05,960
Speaker 2: first time I heard it, I was like, I looked

736
00:29:06,000 --> 00:29:08,640
Speaker 2: at the screen at the time, it was going to

737
00:29:08,640 --> 00:29:13,200
Speaker 2: scroll across your car there. Yeah what No, I didn't know,

738
00:29:13,400 --> 00:29:16,400
Speaker 2: although I did go on The Good Today's Show.

739
00:29:16,600 --> 00:29:19,560
Speaker 5: Mid Day after that it was meant to be, meant

740
00:29:19,600 --> 00:29:19,760
Speaker 5: to be.

741
00:29:20,160 --> 00:29:22,360
Speaker 2: I was like, that's the catchiest song I've ever heard

742
00:29:22,360 --> 00:29:24,240
Speaker 2: in my whole life. There were like seven words to

743
00:29:24,320 --> 00:29:27,280
Speaker 2: that song, and people would be like, anybody can write that, Okay.

744
00:29:27,040 --> 00:29:27,640
Speaker 5: Well then do it.

745
00:29:28,120 --> 00:29:30,120
Speaker 2: Yeah, That's what I would get so annoyed with with

746
00:29:30,400 --> 00:29:32,680
Speaker 2: when people would hate on like body like a background

747
00:29:32,800 --> 00:29:35,480
Speaker 2: or meant to be like simple, but there's beauty.

748
00:29:35,520 --> 00:29:37,280
Speaker 5: If you can nail simplest.

749
00:29:36,840 --> 00:29:39,160
Speaker 3: It's hard to get a great melody.

750
00:29:39,040 --> 00:29:43,720
Speaker 2: And it's catchy, and that song was all catchy hook

751
00:29:44,680 --> 00:29:45,840
Speaker 2: and the melody of that hook.

752
00:29:46,080 --> 00:29:48,280
Speaker 1: That's a corn Man song. By the way, Josh Miller

753
00:29:48,320 --> 00:29:49,200
Speaker 1: was a writer for corn Man.

754
00:29:49,560 --> 00:29:55,120
Speaker 2: Tell mister corn and you know what, I don't know.

755
00:29:55,440 --> 00:29:57,160
Speaker 2: I don't like the song personally, it's fine. The song,

756
00:29:57,200 --> 00:29:59,080
Speaker 2: it's fine. I don't not like it, but it's not

757
00:29:59,080 --> 00:30:00,000
Speaker 2: like I'm like, that's my favorite.

758
00:30:00,080 --> 00:30:02,640
Speaker 8: So I think that's one of the only few diamond

759
00:30:02,760 --> 00:30:04,600
Speaker 8: songs in country history.

760
00:30:04,840 --> 00:30:06,600
Speaker 2: Like part of a two B b Rex of popside

761
00:30:06,600 --> 00:30:08,200
Speaker 2: got a bunch of play as well. Those are a

762
00:30:08,240 --> 00:30:10,880
Speaker 2: little unfair. I'm being honest. No, I could see that,

763
00:30:10,960 --> 00:30:13,680
Speaker 2: but it's just so catchy. Yeah, so I don't even

764
00:30:13,720 --> 00:30:14,680
Speaker 2: love the song, but I was just like, this is

765
00:30:14,680 --> 00:30:16,360
Speaker 2: a catch thing I've ever heard of my life. When

766
00:30:16,360 --> 00:30:18,160
Speaker 2: I heard is Meant to Be, and that was the

767
00:30:18,160 --> 00:30:20,600
Speaker 2: whole song, it to be, Baby is meant to Be,

768
00:30:21,520 --> 00:30:22,440
Speaker 2: It's meant to be, I.

769
00:30:22,400 --> 00:30:24,280
Speaker 4: Was like, Wow, this is the.

770
00:30:24,040 --> 00:30:26,720
Speaker 5: Song I can get down with. I know the words already.

771
00:30:27,280 --> 00:30:31,640
Speaker 2: I think at times people can overthink, Like you said,

772
00:30:31,760 --> 00:30:34,680
Speaker 2: no ballads summer songs.

773
00:30:35,480 --> 00:30:37,880
Speaker 5: I think you could go.

774
00:30:39,120 --> 00:30:40,680
Speaker 3: I think overthinking it's a huge problem.

775
00:30:40,800 --> 00:30:42,760
Speaker 2: Chorus a big time, big time, because well, people don't

776
00:30:42,760 --> 00:30:43,480
Speaker 2: want to lose their job.

777
00:30:43,440 --> 00:30:43,959
Speaker 3: Right, that's it.

778
00:30:44,120 --> 00:30:46,280
Speaker 1: Nobody wants to be wrong. So you end up taking

779
00:30:46,280 --> 00:30:47,720
Speaker 1: no chances on everything.

780
00:30:47,520 --> 00:30:49,400
Speaker 2: And if you do take somewhat of a chance, you're

781
00:30:49,400 --> 00:30:50,880
Speaker 2: going to take it on a chance that has data

782
00:30:50,880 --> 00:30:52,920
Speaker 2: behind it that says all of these things over the

783
00:30:52,960 --> 00:30:54,280
Speaker 2: years have proven this is right.

784
00:30:54,760 --> 00:30:57,200
Speaker 5: So I think you could go.

785
00:30:57,760 --> 00:31:05,760
Speaker 2: Chorus verse, chorus bridge, chorus two forty massive song start

786
00:31:05,800 --> 00:31:08,440
Speaker 2: with the freaking out. We were talking to Stephen Tyler

787
00:31:08,440 --> 00:31:10,320
Speaker 2: in our studio with the mike's fronts were off and

788
00:31:10,360 --> 00:31:12,600
Speaker 2: he was talking about sweet emotion. It's the first time

789
00:31:12,600 --> 00:31:14,440
Speaker 2: I've ever thought about chorus first, and I've heard many.

790
00:31:14,480 --> 00:31:15,920
Speaker 5: I've heard a few songs with chorus first.

791
00:31:16,000 --> 00:31:18,240
Speaker 2: Yeah, but he was like, people thought we were crazy

792
00:31:18,480 --> 00:31:20,160
Speaker 2: because Sweet Emotions star itself with that like.

793
00:31:22,480 --> 00:31:24,800
Speaker 5: And then sweet Him.

794
00:31:25,280 --> 00:31:26,800
Speaker 2: He was like, people thought we were out of our

795
00:31:26,840 --> 00:31:31,920
Speaker 2: mind because we started with the chorus. And I remember thinking, oh,

796
00:31:32,200 --> 00:31:35,600
Speaker 2: I guess that's not traditional. And I could see where

797
00:31:35,600 --> 00:31:38,040
Speaker 2: people would think that's crazy, But I don't thinking about it,

798
00:31:38,080 --> 00:31:40,360
Speaker 2: that makes a ton of sense. Hit them with what

799
00:31:40,400 --> 00:31:42,480
Speaker 2: they know at the very hit him with the strongest

800
00:31:42,480 --> 00:31:44,840
Speaker 2: and what they know. That's what the chorus is the catchiest,

801
00:31:44,880 --> 00:31:47,560
Speaker 2: strongest part. Why not hit him right in the face

802
00:31:47,600 --> 00:31:48,360
Speaker 2: with it at the beginning.

803
00:31:48,520 --> 00:31:50,480
Speaker 1: We hear all the time that man like it took

804
00:31:50,560 --> 00:31:52,200
Speaker 1: too long to get to the chorus. It took like

805
00:31:52,240 --> 00:31:54,240
Speaker 1: a minute to get there. We're back and too long.

806
00:31:54,320 --> 00:31:56,360
Speaker 5: Yeah, it was crazy. They do they do like two

807
00:31:56,440 --> 00:31:57,720
Speaker 5: verses in the chorus they do.

808
00:31:57,760 --> 00:32:01,280
Speaker 4: At second intro. Yeah, yeah, yeah, it's our part.

809
00:32:01,600 --> 00:32:04,080
Speaker 1: George Straight had a hit called You'll be There in five.

810
00:32:04,680 --> 00:32:06,760
Speaker 1: It went to four and I listened to that song,

811
00:32:06,920 --> 00:32:09,280
Speaker 1: I think like a week or two ago. It's I mean,

812
00:32:09,280 --> 00:32:11,200
Speaker 1: you got to the end of the first chorus like

813
00:32:11,240 --> 00:32:13,640
Speaker 1: two twenty in it's the most I'm like, that's crazy.

814
00:32:13,720 --> 00:32:15,760
Speaker 1: I'm like, you would never do this nowadays.

815
00:32:15,840 --> 00:32:17,600
Speaker 5: There were also four and a half five minute songs.

816
00:32:17,600 --> 00:32:18,000
Speaker 4: That's true.

817
00:32:18,200 --> 00:32:19,000
Speaker 5: Then different time.

818
00:32:18,880 --> 00:32:21,200
Speaker 4: People listen to music differently, you know, like, but.

819
00:32:21,200 --> 00:32:23,400
Speaker 2: They didn't have any other choices. This is my theory.

820
00:32:24,360 --> 00:32:26,400
Speaker 2: I don't think people are any better smarter like things anymore.

821
00:32:26,400 --> 00:32:28,600
Speaker 2: They just had two choices. So it's listen to this

822
00:32:28,600 --> 00:32:30,440
Speaker 2: seven minute thing or this six minute thing. You had

823
00:32:30,440 --> 00:32:32,239
Speaker 2: no chance for an option for a two minute thing.

824
00:32:32,320 --> 00:32:32,640
Speaker 4: That's true.

825
00:32:32,640 --> 00:32:33,520
Speaker 5: The probably would have liked that.

826
00:32:33,520 --> 00:32:35,080
Speaker 6: You would talk about a song where you were on

827
00:32:35,120 --> 00:32:36,520
Speaker 6: the radio and you're like you loved it because it

828
00:32:36,560 --> 00:32:37,720
Speaker 6: was your bathroom song, like well.

829
00:32:37,640 --> 00:32:43,520
Speaker 2: Yeah, Matchbox twenty yeah, back to Good. It's like it's

830
00:32:43,600 --> 00:32:45,680
Speaker 2: like CD and five minutes and twenty seconds.

831
00:32:45,720 --> 00:32:47,000
Speaker 8: It makes me think, like, what was that in the set?

832
00:32:47,160 --> 00:32:48,880
Speaker 8: Rich Girl was like two forty that was a song

833
00:32:48,920 --> 00:32:50,480
Speaker 8: you just wanted to play over and over. You're like

834
00:32:50,520 --> 00:32:51,760
Speaker 8: holling oas, yeah, hall of Notes.

835
00:32:51,880 --> 00:32:53,280
Speaker 5: Where did you play it? Oh?

836
00:32:53,280 --> 00:32:54,600
Speaker 4: I didn't play it. I was just saying like that

837
00:32:54,640 --> 00:32:57,040
Speaker 4: was yeah show.

838
00:32:57,360 --> 00:32:59,600
Speaker 8: I just meant like that was one of my favorite

839
00:32:59,600 --> 00:33:01,520
Speaker 8: songs from that time because it was like two minutes

840
00:33:01,600 --> 00:33:03,120
Speaker 8: thirty seconds and it's like soon it's over. Oh I

841
00:33:03,120 --> 00:33:05,360
Speaker 8: got to play this thing again, played again, played again,

842
00:33:05,400 --> 00:33:05,840
Speaker 8: played again.

843
00:33:05,880 --> 00:33:10,440
Speaker 2: What would you change, Chris, I'm gonna make this extremely

844
00:33:10,480 --> 00:33:12,000
Speaker 2: vague because you can put any answer to it you want.

845
00:33:12,080 --> 00:33:13,840
Speaker 5: What would you change about the chart process?

846
00:33:14,960 --> 00:33:15,800
Speaker 3: Ooh man?

847
00:33:15,920 --> 00:33:19,280
Speaker 1: I mean corporate programming is a big reason why songsters

848
00:33:19,280 --> 00:33:22,200
Speaker 1: staying on the card for fifty staying on the card

849
00:33:22,200 --> 00:33:25,360
Speaker 1: for fifty sixty weeks, and it I mean it's a

850
00:33:25,440 --> 00:33:28,560
Speaker 1: vicious cycle like we talked about before, because that means

851
00:33:28,560 --> 00:33:31,120
Speaker 1: the label has to pay more money for singles nowadays

852
00:33:31,160 --> 00:33:33,560
Speaker 1: because they're pushing it longer and they stay.

853
00:33:33,760 --> 00:33:35,720
Speaker 2: Explain, pay more money because people are gonna think that

854
00:33:35,760 --> 00:33:36,840
Speaker 2: means you're paying money.

855
00:33:37,080 --> 00:33:39,640
Speaker 1: No, they're not paying radio to play it. They're paying

856
00:33:39,680 --> 00:33:42,560
Speaker 1: their promotion staff. And you might have a Northeast REP,

857
00:33:42,600 --> 00:33:46,600
Speaker 1: a Southwest REP, a Midwest rep. You're paying for all

858
00:33:46,640 --> 00:33:50,520
Speaker 1: their travel expenses, for flights, for rental cars, for dinners,

859
00:33:50,720 --> 00:33:53,120
Speaker 1: all this other stuff you're paying the band, This stuff

860
00:33:53,160 --> 00:33:56,560
Speaker 1: that the average consumer does not realize goes into trying

861
00:33:56,560 --> 00:33:59,400
Speaker 1: to push a song to radio. And if you I mean,

862
00:33:59,400 --> 00:34:02,440
Speaker 1: if you're promoting song for a year, that adds up

863
00:34:02,520 --> 00:34:05,720
Speaker 1: to a ton of money. And there's been instances where

864
00:34:05,760 --> 00:34:08,440
Speaker 1: I think it's almost made a label go broke just

865
00:34:08,440 --> 00:34:10,400
Speaker 1: because it takes so long to get that song up

866
00:34:10,440 --> 00:34:12,120
Speaker 1: the chart, you spend so much money to do it.

867
00:34:12,480 --> 00:34:14,200
Speaker 1: I would love for it to go back twenty years ago,

868
00:34:14,239 --> 00:34:16,480
Speaker 1: where you had twenty week chart runs all the time

869
00:34:16,800 --> 00:34:19,160
Speaker 1: and you were able to get three singles out on

870
00:34:19,160 --> 00:34:21,480
Speaker 1: one artist per year. That just doesn't happen anymore. I

871
00:34:21,520 --> 00:34:25,360
Speaker 1: think it'd be a healthier way to do business nowadays

872
00:34:25,640 --> 00:34:27,719
Speaker 1: for the country format, But I think just because of

873
00:34:27,760 --> 00:34:31,800
Speaker 1: corporate programming and the monster that they have created, really

874
00:34:32,440 --> 00:34:35,160
Speaker 1: not trying to create the monster, just that this is

875
00:34:35,200 --> 00:34:37,359
Speaker 1: how we have to do things nowadays, where you'll have

876
00:34:37,400 --> 00:34:39,640
Speaker 1: one song spend a year on the chart, and then

877
00:34:39,960 --> 00:34:41,360
Speaker 1: it's been so long we have to move on the

878
00:34:41,400 --> 00:34:44,719
Speaker 1: new music because we can't keep sending songs to radio

879
00:34:44,719 --> 00:34:47,000
Speaker 1: off this one album because that isn't going to make

880
00:34:47,080 --> 00:34:47,880
Speaker 1: us any kind of money.

881
00:34:47,920 --> 00:34:52,799
Speaker 2: So I think one of the little tributaries that have

882
00:34:52,840 --> 00:35:01,160
Speaker 2: come from that is with traditional linear trend what do

883
00:35:01,200 --> 00:35:05,759
Speaker 2: you call it, terrestrial yeaes and those charts is that

884
00:35:05,840 --> 00:35:08,600
Speaker 2: yet that does suck. But what it is cool now

885
00:35:09,160 --> 00:35:11,640
Speaker 2: that we didn't have back then, when you did have

886
00:35:11,640 --> 00:35:13,680
Speaker 2: songs that were moving faster, is that you have other

887
00:35:13,760 --> 00:35:16,439
Speaker 2: places to actually quote unquote get a number one yep.

888
00:35:16,840 --> 00:35:20,160
Speaker 5: Meaning And a lot of the stuff is just programmers.

889
00:35:20,160 --> 00:35:22,520
Speaker 2: Like I have friends at work at serious they just

890
00:35:22,560 --> 00:35:24,680
Speaker 2: picked their number one song. They don't there's no real track,

891
00:35:24,800 --> 00:35:26,480
Speaker 2: but they can, right everybody can say whatever they want.

892
00:35:26,480 --> 00:35:27,000
Speaker 5: It's awesome.

893
00:35:27,200 --> 00:35:30,879
Speaker 2: And what I like about that is that they don't

894
00:35:30,920 --> 00:35:32,239
Speaker 2: just have to go with whatever's been on the chart

895
00:35:32,280 --> 00:35:33,600
Speaker 2: for forty one weeks. They can just say this is

896
00:35:33,600 --> 00:35:35,200
Speaker 2: the number one. What's annoying too is they can just

897
00:35:35,200 --> 00:35:37,920
Speaker 2: pick their friends the same time. Yeah, but win lose.

898
00:35:39,440 --> 00:35:43,239
Speaker 2: But with streaming and streaming numbers, with TikTok, they're all

899
00:35:43,280 --> 00:35:45,279
Speaker 2: these ways now to have a career and have your

900
00:35:45,280 --> 00:35:47,080
Speaker 2: own version of a number one or number eleven without

901
00:35:47,120 --> 00:35:48,279
Speaker 2: actually being on the charge.

902
00:35:48,320 --> 00:35:49,960
Speaker 8: Yeah, And that's what's cool for an artist is like,

903
00:35:50,920 --> 00:35:52,000
Speaker 8: you know, why should somebody's art.

904
00:35:52,120 --> 00:35:53,120
Speaker 4: We can still put out songs.

905
00:35:53,160 --> 00:35:56,120
Speaker 8: We can put out songs to DSP, Spotify, Apple Music,

906
00:35:56,200 --> 00:35:59,360
Speaker 8: post about it on our socials, get people excited, and

907
00:35:59,520 --> 00:36:01,200
Speaker 8: you know, you can see what raises its hand to

908
00:36:01,280 --> 00:36:03,799
Speaker 8: do the next one or whatever. But you know when

909
00:36:03,840 --> 00:36:06,759
Speaker 8: I first in twenty sixteen, when I first sent my

910
00:36:06,760 --> 00:36:09,560
Speaker 8: first single to country radio, that was unheard of, Like

911
00:36:09,600 --> 00:36:12,080
Speaker 8: you could not put another song out because if.

912
00:36:12,000 --> 00:36:14,080
Speaker 5: You did, You're right, it was if.

913
00:36:13,920 --> 00:36:15,320
Speaker 4: You did, they're like, oh, is he changing this?

914
00:36:15,440 --> 00:36:16,960
Speaker 5: You're moving on, You're moving on and on.

915
00:36:17,040 --> 00:36:18,879
Speaker 3: You must be moving your own single.

916
00:36:18,960 --> 00:36:20,799
Speaker 8: Yeah, you a torpedo, And everybody'd be like, you can't

917
00:36:20,800 --> 00:36:23,040
Speaker 8: put music out. Well, then you would be sitting there

918
00:36:23,040 --> 00:36:24,560
Speaker 8: like these some of these songs a year on the

919
00:36:24,640 --> 00:36:26,719
Speaker 8: chart and you're not allowed to put music out for

920
00:36:26,760 --> 00:36:27,160
Speaker 8: a year.

921
00:36:27,520 --> 00:36:29,279
Speaker 4: That was crushing careers back then.

922
00:36:29,320 --> 00:36:31,359
Speaker 8: And now at least, hey, if it takes a year,

923
00:36:31,400 --> 00:36:33,200
Speaker 8: which our song is probably going to take about a year,

924
00:36:33,840 --> 00:36:37,120
Speaker 8: we can still put music out and not be crushed

925
00:36:37,160 --> 00:36:38,720
Speaker 8: because of that because we can.

926
00:36:38,800 --> 00:36:40,200
Speaker 4: Hey, Spotify, Apple, all that stuff.

927
00:36:40,239 --> 00:36:42,160
Speaker 8: This is still our single obviously because it's on the radio,

928
00:36:42,200 --> 00:36:43,839
Speaker 8: but this is all this other new stuff we're.

929
00:36:43,719 --> 00:36:45,200
Speaker 1: Putting and you don't want to let it go either,

930
00:36:45,360 --> 00:36:47,200
Speaker 1: because if you spent this long to get it to

931
00:36:47,239 --> 00:36:49,160
Speaker 1: a certain point on the chart where you get this

932
00:36:49,239 --> 00:36:51,279
Speaker 1: level of airplay that's helping streaming. It's like, man, if

933
00:36:51,280 --> 00:36:52,839
Speaker 1: I let it go, it's gonna take forever to get

934
00:36:52,840 --> 00:36:53,239
Speaker 1: back up to this.

935
00:36:53,360 --> 00:36:55,480
Speaker 4: Oh yeah, I'm already like thinking about doing this over again.

936
00:36:55,520 --> 00:36:57,920
Speaker 5: You're just like, oh my god, I know it's like starting.

937
00:36:58,080 --> 00:37:00,319
Speaker 4: There's just like zero. You're like, oh, man, whole other

938
00:37:00,400 --> 00:37:00,839
Speaker 4: year of my.

939
00:37:00,800 --> 00:37:03,000
Speaker 6: Life are the days of like the modern of the

940
00:37:03,400 --> 00:37:06,759
Speaker 6: monster hits gone, Like where you know you have those

941
00:37:06,840 --> 00:37:10,120
Speaker 6: multiple number one, those multiple week number ones where it's like, oh,

942
00:37:10,120 --> 00:37:12,279
Speaker 6: it's this huge song, everyone will remember it. Like now

943
00:37:12,360 --> 00:37:14,480
Speaker 6: it's such a quick turnover, next song, next song.

944
00:37:14,719 --> 00:37:16,880
Speaker 3: I think it's getting better than it was maybe several

945
00:37:16,920 --> 00:37:17,399
Speaker 3: years ago.

946
00:37:17,640 --> 00:37:20,200
Speaker 8: I think too, Like there's also hits on radio that

947
00:37:20,200 --> 00:37:22,960
Speaker 8: aren't hits for sure, and there are songs that aren't

948
00:37:23,000 --> 00:37:25,840
Speaker 8: hits that are hurts. Yeah, like it's number one that nobody,

949
00:37:26,080 --> 00:37:28,680
Speaker 8: nobody knows it, nobody knows who the artist is. It

950
00:37:28,760 --> 00:37:29,399
Speaker 8: just blends in.

951
00:37:29,960 --> 00:37:32,440
Speaker 2: Then there are songs like you said that maybe peak

952
00:37:32,480 --> 00:37:34,880
Speaker 2: it eleven yeah, or last.

953
00:37:34,800 --> 00:37:36,799
Speaker 8: Or like this Ella Ella l Engley and what you're

954
00:37:36,800 --> 00:37:38,920
Speaker 8: just talking about Riley. If that doesn't go to radio,

955
00:37:39,360 --> 00:37:42,280
Speaker 8: it's already a hit. It's it, and and it's super

956
00:37:42,280 --> 00:37:46,239
Speaker 8: interesting how there's some songs that are bigger hits, Like

957
00:37:46,320 --> 00:37:49,319
Speaker 8: sometimes number ones are like it's crazy to me, Like

958
00:37:49,360 --> 00:37:51,799
Speaker 8: it's not as big as this other number one. It's

959
00:37:51,840 --> 00:37:55,000
Speaker 8: not the same, you know, it's super interesting, and.

960
00:37:54,960 --> 00:37:56,719
Speaker 5: There are threes that are bigger than some ones.

961
00:37:56,800 --> 00:37:58,960
Speaker 1: Yes, Little Big Town Boondocks peaked at nine, and that

962
00:37:59,000 --> 00:38:01,560
Speaker 1: sounds bigger than so many number ones you're having nowadays.

963
00:38:01,800 --> 00:38:04,239
Speaker 8: I think number ones were bigger back then because that

964
00:38:04,320 --> 00:38:06,239
Speaker 8: was the only place where like when you think about

965
00:38:06,280 --> 00:38:09,000
Speaker 8: the more legitimate yeah, and I think too, like that

966
00:38:09,120 --> 00:38:11,040
Speaker 8: was the only place to hear music, right, So it

967
00:38:11,080 --> 00:38:12,680
Speaker 8: was like there was a.

968
00:38:12,600 --> 00:38:14,279
Speaker 5: Good point, like some of the channels, all the shows

969
00:38:14,280 --> 00:38:15,040
Speaker 5: are bigger.

970
00:38:14,760 --> 00:38:16,920
Speaker 8: All the shows, like the Countdown was like that was

971
00:38:17,040 --> 00:38:19,840
Speaker 8: you heard it there so many times and now you're like, oh,

972
00:38:19,880 --> 00:38:21,880
Speaker 8: I'll listen over here, this person. There's so much music

973
00:38:22,520 --> 00:38:26,759
Speaker 8: diversified them out amongst everybody. That That's one thing I've

974
00:38:26,760 --> 00:38:28,400
Speaker 8: noticed last couple of years. Even when I go to

975
00:38:28,480 --> 00:38:32,040
Speaker 8: award shows and watch like the hits people are singing

976
00:38:32,600 --> 00:38:35,279
Speaker 8: in the crowd, you don't feel people singing as much

977
00:38:35,320 --> 00:38:37,759
Speaker 8: as they do when they sing. Dolly Parton gets up

978
00:38:37,800 --> 00:38:40,520
Speaker 8: there and sings one of her hits, everybody singing nine

979
00:38:40,560 --> 00:38:42,880
Speaker 8: to five, you know, or like, you know, it's just

980
00:38:42,920 --> 00:38:45,520
Speaker 8: a different feeling when those songs from the nineties are

981
00:38:45,600 --> 00:38:47,120
Speaker 8: being sung in those award shows.

982
00:38:47,160 --> 00:38:50,480
Speaker 7: I don't know why the Bobby Cast will be right back.

983
00:39:00,160 --> 00:39:01,840
Speaker 7: This is the Bobby Cast.

984
00:39:02,480 --> 00:39:04,080
Speaker 5: You know, Chris, you talked about a song and be

985
00:39:04,120 --> 00:39:04,839
Speaker 5: on the chart for a year.

986
00:39:04,840 --> 00:39:10,400
Speaker 2: I think also now there is with certain artists deservingly

987
00:39:10,520 --> 00:39:14,120
Speaker 2: so they fly through the chart, they hit number one,

988
00:39:14,160 --> 00:39:15,520
Speaker 2: and there it's gone, gone.

989
00:39:15,600 --> 00:39:16,239
Speaker 3: Yeah, So.

990
00:39:17,640 --> 00:39:21,440
Speaker 2: It's almost polar somebody stays in the chart forever and

991
00:39:21,480 --> 00:39:23,319
Speaker 2: it's like, come on, you can do it, you can

992
00:39:23,320 --> 00:39:25,399
Speaker 2: do a buddy, come on. Or it's like a wall

993
00:39:25,400 --> 00:39:27,920
Speaker 2: and song that does eleven weeks and is gone and

994
00:39:27,960 --> 00:39:30,400
Speaker 2: you're like, wait, I don't even remember that as a single.

995
00:39:30,440 --> 00:39:31,920
Speaker 1: I mean, if you're a publisher now that I'm in

996
00:39:31,960 --> 00:39:34,200
Speaker 1: the publishing world, you want the songs that stay on

997
00:39:34,200 --> 00:39:36,360
Speaker 1: the chart for a year, because that means that the

998
00:39:36,360 --> 00:39:38,239
Speaker 1: publisher and the writers that song are going to make

999
00:39:38,239 --> 00:39:41,720
Speaker 1: more money versus something that flies up than twelve weeks

1000
00:39:41,719 --> 00:39:44,080
Speaker 1: and then is you know, and then is gone. Because

1001
00:39:44,080 --> 00:39:46,120
Speaker 1: if you're Morgan or Luke, you have so many songs

1002
00:39:46,160 --> 00:39:48,600
Speaker 1: in your catalog that radio still plays. It's almost like

1003
00:39:48,640 --> 00:39:50,560
Speaker 1: they have to pick and choose what songs to play.

1004
00:39:51,080 --> 00:39:52,880
Speaker 1: If you're a newer artist only has one or two

1005
00:39:52,960 --> 00:39:54,799
Speaker 1: hits and it spends fifty weeks on the chart and

1006
00:39:54,840 --> 00:39:56,920
Speaker 1: it tests well, radio is just going to keep playing

1007
00:39:57,000 --> 00:39:59,440
Speaker 1: that song over and over again. And as a publisher,

1008
00:39:59,480 --> 00:40:02,240
Speaker 1: that's the kind of you want more than a song

1009
00:40:02,520 --> 00:40:05,080
Speaker 1: by Luke or Morgan or somebody that's just gonna fly

1010
00:40:05,239 --> 00:40:06,160
Speaker 1: up and come back down.

1011
00:40:06,239 --> 00:40:08,560
Speaker 2: So what's the marsh to get through? What's the hardest

1012
00:40:08,560 --> 00:40:10,120
Speaker 2: part of the marsh of the chart?

1013
00:40:10,360 --> 00:40:13,200
Speaker 1: I would say probably the thirties and forties is the

1014
00:40:13,360 --> 00:40:14,560
Speaker 1: toughest part of the chart.

1015
00:40:14,640 --> 00:40:16,360
Speaker 2: If you get to what part of the chart, you

1016
00:40:16,520 --> 00:40:17,719
Speaker 2: kind of have a new breath of air.

1017
00:40:17,800 --> 00:40:19,719
Speaker 1: If you get top thirty, I think you get your

1018
00:40:19,760 --> 00:40:22,200
Speaker 1: second wind. I mean, especially if you have the research

1019
00:40:22,280 --> 00:40:24,480
Speaker 1: to back it up and you see a lot of

1020
00:40:24,520 --> 00:40:27,360
Speaker 1: songs not just Drew's where you get top thirty and

1021
00:40:27,400 --> 00:40:30,560
Speaker 1: then you go faster. Back in the day Steve Holy

1022
00:40:30,640 --> 00:40:32,480
Speaker 1: and Brand New Girlfriend was that where it just beent

1023
00:40:32,560 --> 00:40:35,040
Speaker 1: forever in like the fifties and forties, It got to

1024
00:40:35,120 --> 00:40:38,040
Speaker 1: the thirties and then it just started taking off. Because

1025
00:40:38,080 --> 00:40:41,279
Speaker 1: once it got that research back and once more people started.

1026
00:40:41,000 --> 00:40:43,600
Speaker 3: Believing in it. It sucks that it's that way.

1027
00:40:43,680 --> 00:40:46,080
Speaker 1: You have to, you know, burn through twenty thirty forty

1028
00:40:46,080 --> 00:40:48,160
Speaker 1: weeks in some cases to get to that point, which

1029
00:40:48,200 --> 00:40:50,280
Speaker 1: is a lot of money to pay staff to promote

1030
00:40:50,280 --> 00:40:52,879
Speaker 1: this song the radio. But I mean, if it works,

1031
00:40:52,920 --> 00:40:55,360
Speaker 1: it works, and you're able to hopefully be a gold

1032
00:40:55,360 --> 00:40:58,080
Speaker 1: title one day and be a recurrent and still get

1033
00:40:58,080 --> 00:40:58,720
Speaker 1: played on there.

1034
00:40:58,600 --> 00:40:59,759
Speaker 5: And that means a goal.

1035
00:40:59,800 --> 00:41:03,000
Speaker 1: Tie is it's basically a recurrent. I forgot the exact

1036
00:41:03,040 --> 00:41:05,040
Speaker 1: threshold for how many spins you get to.

1037
00:41:05,239 --> 00:41:06,879
Speaker 5: But it's just like a oh, it's a popular song

1038
00:41:06,920 --> 00:41:07,239
Speaker 5: that we have.

1039
00:41:07,400 --> 00:41:09,279
Speaker 1: Like Kenny Chasney and when the Sun Goes Down, which

1040
00:41:09,320 --> 00:41:11,480
Speaker 1: Brett James wrote.

1041
00:41:10,880 --> 00:41:13,520
Speaker 3: That's a gold title like he plugs his own stuff radio.

1042
00:41:13,600 --> 00:41:16,560
Speaker 2: So I mean I was an example that's good, a

1043
00:41:16,680 --> 00:41:17,680
Speaker 2: random example.

1044
00:41:18,080 --> 00:41:20,440
Speaker 1: I mean, I mean Kansas are Brett James and Ashley

1045
00:41:20,440 --> 00:41:22,040
Speaker 1: Gourley are going to have a lot of lots of

1046
00:41:22,120 --> 00:41:22,799
Speaker 1: goals for you to.

1047
00:41:22,719 --> 00:41:23,880
Speaker 3: Go to for those guys.

1048
00:41:24,000 --> 00:41:26,399
Speaker 6: Is that thirty spot tough? Because radio plays the same

1049
00:41:26,440 --> 00:41:28,239
Speaker 6: songs over and over.

1050
00:41:28,360 --> 00:41:29,960
Speaker 2: Well the point of radio playing And again I'm not

1051
00:41:30,000 --> 00:41:31,520
Speaker 2: a music but the point of radio playing it over

1052
00:41:31,520 --> 00:41:33,760
Speaker 2: and over is the average person doesn't listen for that long. Yeah,

1053
00:41:33,800 --> 00:41:36,080
Speaker 2: So when they, let's say the average person listens for

1054
00:41:36,120 --> 00:41:37,880
Speaker 2: I'm going to make up a number, twenty eight minutes.

1055
00:41:38,239 --> 00:41:39,719
Speaker 2: That's the amount of time they can listen to a

1056
00:41:39,719 --> 00:41:43,120
Speaker 2: song radio, and I guess i'll speak for radio for

1057
00:41:43,120 --> 00:41:44,759
Speaker 2: a second. They want to make sure that when the

1058
00:41:44,760 --> 00:41:46,680
Speaker 2: person listened to that twenty minutes, they hear the absolute best,

1059
00:41:46,680 --> 00:41:47,280
Speaker 2: biggest songs.

1060
00:41:47,680 --> 00:41:51,480
Speaker 5: So if you're listening for two hours straight, which.

1061
00:41:51,320 --> 00:41:54,240
Speaker 2: Is abnormal, an abnormal amount of listening at one block

1062
00:41:54,280 --> 00:41:56,880
Speaker 2: of time, you're gonna hear that song an abnormal amount

1063
00:41:56,880 --> 00:41:59,239
Speaker 2: of times if it's the biggest and best song. So

1064
00:42:00,040 --> 00:42:02,000
Speaker 2: if you listen to the radio front twenty eight minutes

1065
00:42:02,040 --> 00:42:03,960
Speaker 2: like everybody else, you're not gonna hear the song twice.

1066
00:42:04,160 --> 00:42:06,320
Speaker 2: But if you listen for three hours and eighteen minutes

1067
00:42:06,320 --> 00:42:08,040
Speaker 2: while you're on a boat straight, you're probably gonna hear

1068
00:42:08,120 --> 00:42:10,480
Speaker 2: that song at least twice. And it's gonna feel like

1069
00:42:10,480 --> 00:42:13,080
Speaker 2: didn't I just listen to this? Chris, anything you'd like

1070
00:42:13,080 --> 00:42:14,440
Speaker 2: to say about what I just said.

1071
00:42:14,320 --> 00:42:17,560
Speaker 1: Yeah, And I mean that's going back to familiarity. Radio

1072
00:42:17,600 --> 00:42:20,000
Speaker 1: wants to play enough of the recurrence because that's the

1073
00:42:20,080 --> 00:42:23,719
Speaker 1: song that people know, and if people know them and

1074
00:42:23,760 --> 00:42:25,960
Speaker 1: they like them, they're gonna keep tuning in to the

1075
00:42:26,040 --> 00:42:28,120
Speaker 1: radio station, which means your ratings go up, you get

1076
00:42:28,160 --> 00:42:30,760
Speaker 1: more advertising money, and that's how radio people make money.

1077
00:42:30,960 --> 00:42:33,120
Speaker 1: So if you're playing stuff that people don't know, they're

1078
00:42:33,120 --> 00:42:35,240
Speaker 1: more inclined to turn.

1079
00:42:35,080 --> 00:42:37,920
Speaker 3: The station off or switch the station. So that's a

1080
00:42:37,960 --> 00:42:38,560
Speaker 3: big deal.

1081
00:42:38,640 --> 00:42:40,920
Speaker 1: And like radio wants to play enough recurrence, but they

1082
00:42:40,960 --> 00:42:43,000
Speaker 1: got to play a certain amount of news singles to

1083
00:42:43,000 --> 00:42:45,840
Speaker 1: stay on the panel, which means they get all the

1084
00:42:45,880 --> 00:42:49,400
Speaker 1: shows and labels and artists will come play their shows

1085
00:42:49,440 --> 00:42:51,279
Speaker 1: and stuff like that. So it's a give and take

1086
00:42:51,360 --> 00:42:51,719
Speaker 1: for them.

1087
00:42:52,120 --> 00:42:54,759
Speaker 2: So the answer is, it feels like songs are played

1088
00:42:54,760 --> 00:42:57,759
Speaker 2: all the time because radio wants to make sure and

1089
00:42:57,760 --> 00:43:00,960
Speaker 2: that average listening span listeners hear the best songs possible.

1090
00:43:01,160 --> 00:43:02,640
Speaker 5: But they're not gonna do it twice, but they are

1091
00:43:02,719 --> 00:43:03,279
Speaker 5: going to hit it.

1092
00:43:03,320 --> 00:43:04,759
Speaker 2: Back when I was on pop, we did it like

1093
00:43:04,840 --> 00:43:06,600
Speaker 2: at an hour forty five, and that felt like we

1094
00:43:06,600 --> 00:43:08,880
Speaker 2: were burning them hard. Like that felt like it was

1095
00:43:08,920 --> 00:43:09,399
Speaker 2: all the time.

1096
00:43:09,520 --> 00:43:11,640
Speaker 1: Oh, some stations play a song what you Know eighty

1097
00:43:11,719 --> 00:43:12,399
Speaker 1: ninety times a.

1098
00:43:12,360 --> 00:43:15,880
Speaker 2: Week, which that's I remember seventy being huge se I

1099
00:43:15,920 --> 00:43:17,719
Speaker 2: was like, wow, they're playing a song seventy.

1100
00:43:17,400 --> 00:43:20,640
Speaker 1: Times station I worked at up in Buffalo. We would

1101
00:43:20,640 --> 00:43:23,120
Speaker 1: play like the top song maybe fifty times, which is

1102
00:43:23,120 --> 00:43:24,960
Speaker 1: still high, but not nearly as high as some other

1103
00:43:25,000 --> 00:43:26,560
Speaker 1: stations playing at eighty ninety times.

1104
00:43:26,560 --> 00:43:27,719
Speaker 4: We'll take all them ninety.

1105
00:43:27,840 --> 00:43:30,440
Speaker 3: Yeah about that, well, you got I think about it.

1106
00:43:30,480 --> 00:43:32,080
Speaker 2: Let's just say seventy because that was a crazy number

1107
00:43:32,080 --> 00:43:34,440
Speaker 2: for me back ten years ago. I was like, man,

1108
00:43:34,480 --> 00:43:36,879
Speaker 2: seventy times a week. That is, let's break it down.

1109
00:43:37,040 --> 00:43:39,200
Speaker 2: It's ten times a day, so that's not even once

1110
00:43:39,239 --> 00:43:42,000
Speaker 2: every two hours, and that's a that was crazy that

1111
00:43:42,000 --> 00:43:43,200
Speaker 2: would be played that much.

1112
00:43:43,640 --> 00:43:46,279
Speaker 8: Yeah, And I think what was crazy was I didn't

1113
00:43:46,360 --> 00:43:50,799
Speaker 8: see any really daytime airplay except for some stations, and

1114
00:43:50,880 --> 00:43:53,359
Speaker 8: TA was like almost fifteen on the chart. I thought

1115
00:43:53,400 --> 00:43:55,400
Speaker 8: at age fifteen, I was think, bro, No, I mean,

1116
00:43:55,480 --> 00:43:58,160
Speaker 8: like fifteen, it's not on the chart just because it's like,

1117
00:43:58,560 --> 00:44:01,040
Speaker 8: that's what's so hard we fight with is like just

1118
00:44:01,040 --> 00:44:03,000
Speaker 8: for your song to be heard, you're getting airplay and

1119
00:44:03,000 --> 00:44:04,400
Speaker 8: it's working up the way of sharp, but it's all

1120
00:44:04,719 --> 00:44:07,080
Speaker 8: from seven pm to seven am.

1121
00:44:06,680 --> 00:44:09,400
Speaker 2: And nobody's really listening, and nobody's really limited listening.

1122
00:44:09,440 --> 00:44:12,520
Speaker 8: Maybe your truck driver and you're like, man, when do

1123
00:44:12,560 --> 00:44:14,320
Speaker 8: I get this daytime airplay?

1124
00:44:14,560 --> 00:44:16,600
Speaker 2: A couple of things before we jump here. We had

1125
00:44:16,800 --> 00:44:19,560
Speaker 2: Tracy Lawrence on the show today, Chris. Tracy's awesome. I've

1126
00:44:19,600 --> 00:44:21,439
Speaker 2: known him for a long time. But we were talking

1127
00:44:21,440 --> 00:44:23,319
Speaker 2: about paying Me at Birmingham. He's talking about the song

1128
00:44:23,640 --> 00:44:25,080
Speaker 2: fun fact about paying Me at Birmingham.

1129
00:44:25,280 --> 00:44:25,720
Speaker 3: Yeah.

1130
00:44:25,800 --> 00:44:28,040
Speaker 1: Ken Mullens also recorded that song and had it out

1131
00:44:28,040 --> 00:44:30,600
Speaker 1: at pretty much the same time, maybe a month or

1132
00:44:30,640 --> 00:44:33,120
Speaker 1: two difference from when Tracy released at the radio. It's

1133
00:44:33,120 --> 00:44:33,800
Speaker 1: pretty crazy.

1134
00:44:33,960 --> 00:44:37,399
Speaker 2: Yeah, and they both were I mean they were both

1135
00:44:37,640 --> 00:44:38,320
Speaker 2: charting songs.

1136
00:44:38,360 --> 00:44:39,600
Speaker 5: Yeah, they were Like they weren't.

1137
00:44:39,400 --> 00:44:41,080
Speaker 3: Just out, they were starting at the same time.

1138
00:44:41,360 --> 00:44:42,840
Speaker 4: Yeah, that would not happen to me.

1139
00:44:43,360 --> 00:44:45,880
Speaker 2: Another thing that I didn't know until I would just

1140
00:44:45,920 --> 00:44:48,840
Speaker 2: play this song a lot, unlike the dance party. And

1141
00:44:48,880 --> 00:44:52,920
Speaker 2: I was talking to Gary Lavaux, who's buddy of mine,

1142
00:44:53,160 --> 00:44:56,800
Speaker 2: and I was talking about life is a highway from cars.

1143
00:44:58,480 --> 00:44:59,240
Speaker 2: Actually wasn't.

1144
00:44:59,400 --> 00:45:01,600
Speaker 1: That was never And they're a single goal and it

1145
00:45:01,640 --> 00:45:04,560
Speaker 1: only got to eighteen. And I love people's minds when.

1146
00:45:04,400 --> 00:45:05,000
Speaker 3: I tell them that.

1147
00:45:05,080 --> 00:45:07,040
Speaker 2: Yeah, but getting to eighteen and not even a single,

1148
00:45:07,120 --> 00:45:08,160
Speaker 2: not even a single race.

1149
00:45:08,200 --> 00:45:10,440
Speaker 1: That's crazy, yeah, because I mean that was way before

1150
00:45:10,480 --> 00:45:12,920
Speaker 1: TikTok and Instagram and all this stuff on social media.

1151
00:45:13,160 --> 00:45:16,120
Speaker 1: Like the Cards movie came out and their versin's really good,

1152
00:45:16,120 --> 00:45:17,799
Speaker 1: and stations just started playing it.

1153
00:45:18,400 --> 00:45:19,000
Speaker 3: Lyrics Street.

1154
00:45:19,040 --> 00:45:21,400
Speaker 1: Their label put My Witch out to radio after Me

1155
00:45:21,440 --> 00:45:23,520
Speaker 1: and My Game as the official single, and radio is like,

1156
00:45:23,560 --> 00:45:25,240
Speaker 1: we don't care, We're still going to play this one.

1157
00:45:25,480 --> 00:45:27,120
Speaker 1: We will also play that one, but we're still going

1158
00:45:27,160 --> 00:45:29,319
Speaker 1: to play Live as a highway. You ask any average fan,

1159
00:45:29,360 --> 00:45:30,440
Speaker 1: they think Live is a highway.

1160
00:45:30,520 --> 00:45:32,279
Speaker 3: Oh, their biggest hit, and it is their biggest hit,

1161
00:45:32,280 --> 00:45:33,640
Speaker 3: but it never even got top ten.

1162
00:45:34,280 --> 00:45:35,480
Speaker 5: I thought it was a massive hit.

1163
00:45:35,520 --> 00:45:37,320
Speaker 4: I was like, look at that how many That's crazy.

1164
00:45:37,320 --> 00:45:39,560
Speaker 1: It's the best streaming songs still to this day, and

1165
00:45:39,640 --> 00:45:41,800
Speaker 1: it never even got to the top fifteen at radio.

1166
00:45:42,160 --> 00:45:44,800
Speaker 2: Wow, Joe, which think of that TikTok I did about you?

1167
00:45:45,280 --> 00:45:45,960
Speaker 2: Was that accurate?

1168
00:45:46,120 --> 00:45:48,040
Speaker 5: That was No? I'm not like telling me you like me?

1169
00:45:48,080 --> 00:45:48,920
Speaker 5: I mean was that accurate?

1170
00:45:49,040 --> 00:45:49,120
Speaker 8: No?

1171
00:45:49,320 --> 00:45:51,080
Speaker 4: It was super accurate, because after.

1172
00:45:50,920 --> 00:45:52,520
Speaker 2: I finished it, I was like, I just said a

1173
00:45:52,560 --> 00:45:54,439
Speaker 2: bunch of craft from what I roughly remembered from talking

1174
00:45:54,440 --> 00:45:56,040
Speaker 2: to Drew and like, I really enjoyed our time together.

1175
00:45:56,480 --> 00:45:58,920
Speaker 2: And then I was like, don't want to go and

1176
00:45:58,920 --> 00:46:00,279
Speaker 2: fact check it and pull it down cause I was

1177
00:46:00,360 --> 00:46:01,640
Speaker 2: kind of wrong about a couple things, or I just

1178
00:46:01,680 --> 00:46:03,200
Speaker 2: want to leave it up. And then I thought, man,

1179
00:46:03,200 --> 00:46:04,600
Speaker 2: if I'm wrong, but I never looked at it again.

1180
00:46:04,920 --> 00:46:05,880
Speaker 4: No, dude, it was great.

1181
00:46:06,160 --> 00:46:07,160
Speaker 6: Was he wrong about anything.

1182
00:46:07,800 --> 00:46:09,120
Speaker 8: I'm trying to go through it in my head to

1183
00:46:09,160 --> 00:46:11,960
Speaker 8: see if there was anything that he was wrong about.

1184
00:46:12,560 --> 00:46:13,600
Speaker 5: It's like, there's this guy.

1185
00:46:13,960 --> 00:46:15,160
Speaker 4: Yeah, he's doing it.

1186
00:46:15,239 --> 00:46:18,359
Speaker 5: He's you never believe it. He's only born with one eye,

1187
00:46:19,400 --> 00:46:19,719
Speaker 5: I think.

1188
00:46:19,840 --> 00:46:23,839
Speaker 8: And you said ten million streams when we woke up

1189
00:46:23,840 --> 00:46:25,799
Speaker 8: with ten million views, but that was the only thing.

1190
00:46:26,280 --> 00:46:28,359
Speaker 8: Ten million views on TikTok and I think you said

1191
00:46:28,360 --> 00:46:29,080
Speaker 8: ten million streams.

1192
00:46:29,080 --> 00:46:30,160
Speaker 4: You know, but that's the same.

1193
00:46:30,000 --> 00:46:31,239
Speaker 5: Thing kind of streaming a video.

1194
00:46:31,320 --> 00:46:32,319
Speaker 4: Yeah, you're streaming a video.

1195
00:46:32,440 --> 00:46:35,359
Speaker 2: Hey, it's like Patato Drew man, that's why people don't

1196
00:46:35,400 --> 00:46:35,600
Speaker 2: like you.

1197
00:46:35,600 --> 00:46:36,200
Speaker 5: Crap like that.

1198
00:46:38,000 --> 00:46:38,919
Speaker 4: No, it was great, though.

1199
00:46:39,040 --> 00:46:45,640
Speaker 2: What I'll say is I've heard from so many individual

1200
00:46:45,719 --> 00:46:48,200
Speaker 2: radio stations ones that either I'm on, who have sent

1201
00:46:48,239 --> 00:46:52,640
Speaker 2: a message to me or just randomly random dms from

1202
00:46:52,640 --> 00:46:55,440
Speaker 2: people talking about you. Just randomly showing up at the

1203
00:46:55,520 --> 00:46:56,000
Speaker 2: radio station.

1204
00:46:56,480 --> 00:46:58,960
Speaker 4: Oh no way like I did. That's awesome.

1205
00:46:59,239 --> 00:47:01,719
Speaker 2: Like they'd be like, oh yeah, either they saw the

1206
00:47:01,719 --> 00:47:04,920
Speaker 2: clip of me talking about you, or this clip from

1207
00:47:04,920 --> 00:47:08,840
Speaker 2: this podcast or the video that I did on Ticknook

1208
00:47:08,880 --> 00:47:12,200
Speaker 2: that you know, got half a million strays that I love,

1209
00:47:13,840 --> 00:47:15,879
Speaker 2: and they were like, oh, that guy, he just showed

1210
00:47:15,920 --> 00:47:18,000
Speaker 2: up at the station one day. It was like, Hey,

1211
00:47:18,160 --> 00:47:20,400
Speaker 2: I'm drew An artists and we're like, okay, come in

1212
00:47:20,600 --> 00:47:21,640
Speaker 2: and like we love them.

1213
00:47:21,640 --> 00:47:23,040
Speaker 5: But you just showed up.

1214
00:47:23,000 --> 00:47:24,960
Speaker 8: Showed up man, and that was I'm glad that you

1215
00:47:25,040 --> 00:47:28,480
Speaker 8: shared that story because I think I've been trying to

1216
00:47:28,480 --> 00:47:31,239
Speaker 8: get that this story out for so long and I

1217
00:47:31,280 --> 00:47:33,200
Speaker 8: haven't been able to do it. And tell this your

1218
00:47:33,320 --> 00:47:37,360
Speaker 8: podcast you're posting that, you'd be amazed how many messages

1219
00:47:37,400 --> 00:47:41,440
Speaker 8: I got people listen to this podcast hugely, gonna be

1220
00:47:41,520 --> 00:47:42,520
Speaker 8: so surprised, buddy.

1221
00:47:42,280 --> 00:47:46,920
Speaker 4: I am so now's you'll never believe this. Everybody so surprised.

1222
00:47:47,960 --> 00:47:52,480
Speaker 8: I'm not getting like like I'm obviously I know what

1223
00:47:52,520 --> 00:47:53,960
Speaker 8: you do is special. And I told you that when

1224
00:47:53,960 --> 00:47:57,440
Speaker 8: we hear like you break artists and the amount of messages,

1225
00:47:57,800 --> 00:47:59,960
Speaker 8: it was like your endorsement for me, as an art

1226
00:48:00,320 --> 00:48:04,600
Speaker 8: was a huge deal, Bobby, and it was just that

1227
00:48:05,000 --> 00:48:08,360
Speaker 8: since then more radio stations started playing. I got texts

1228
00:48:08,360 --> 00:48:10,600
Speaker 8: from so many radio friends were like, oh my gosh,

1229
00:48:10,960 --> 00:48:13,040
Speaker 8: do you see Bobby's TikTok. They started sharing it with me.

1230
00:48:13,080 --> 00:48:16,520
Speaker 8: That's how I found it, and that is like life

1231
00:48:16,600 --> 00:48:19,120
Speaker 8: changing for an artist. To tell this story has been

1232
00:48:19,160 --> 00:48:21,600
Speaker 8: so difficult, Like you have blogs right about all this stuff,

1233
00:48:21,640 --> 00:48:23,600
Speaker 8: but sit down and tell the podcast long form.

1234
00:48:23,600 --> 00:48:25,360
Speaker 5: It's hard long form and get the opportunity to Like.

1235
00:48:25,560 --> 00:48:26,919
Speaker 4: You don't get this opportunity.

1236
00:48:27,320 --> 00:48:30,040
Speaker 8: And the amount of artists that have reached out, young

1237
00:48:30,120 --> 00:48:32,080
Speaker 8: artists all around the world in the country that listened

1238
00:48:32,080 --> 00:48:34,919
Speaker 8: to your podcast, messages that I got in my DM

1239
00:48:34,960 --> 00:48:39,000
Speaker 8: of like, hey, your story has inspired me and wants

1240
00:48:39,040 --> 00:48:42,160
Speaker 8: me to keep going. I'm in little Montana right now

1241
00:48:42,160 --> 00:48:44,560
Speaker 8: and I listened to Bobby's podcast because it helps me

1242
00:48:44,640 --> 00:48:46,840
Speaker 8: inspire me to play music. And he was like that

1243
00:48:46,840 --> 00:48:49,160
Speaker 8: that drive that you're not you always believe in yourself,

1244
00:48:49,160 --> 00:48:51,560
Speaker 8: not giving up makes me think that I can keep

1245
00:48:51,560 --> 00:48:54,440
Speaker 8: going and doing this and that is a huge, huge

1246
00:48:55,120 --> 00:48:57,520
Speaker 8: deal for all artists out there.

1247
00:48:57,600 --> 00:49:00,359
Speaker 2: Well, I'll say, and that's very kind. I don't think

1248
00:49:00,400 --> 00:49:02,880
Speaker 2: anybody can break an artist anymore. I think that is

1249
00:49:03,280 --> 00:49:05,160
Speaker 2: a superpower that has gone. I understand what you're saying,

1250
00:49:05,160 --> 00:49:06,560
Speaker 2: like we were able to shed light on a specific

1251
00:49:06,560 --> 00:49:08,640
Speaker 2: story with an audience and it's spread. I don't know

1252
00:49:08,640 --> 00:49:10,120
Speaker 2: how you feel about this, Chris. I don't thinknybody can

1253
00:49:10,120 --> 00:49:13,040
Speaker 2: break an arist anymore. No, I think it's an artist

1254
00:49:13,320 --> 00:49:17,759
Speaker 2: by a single entity is unbreakable. A mass amount of

1255
00:49:17,800 --> 00:49:22,319
Speaker 2: people on a platform can show the significance of an

1256
00:49:22,400 --> 00:49:25,640
Speaker 2: artist or a song. But I think the breaking I

1257
00:49:25,640 --> 00:49:27,880
Speaker 2: don't have that power anymore. I'm not even arguing what

1258
00:49:27,880 --> 00:49:29,680
Speaker 2: you're saying, but I understand what you're saying. But I

1259
00:49:29,760 --> 00:49:31,920
Speaker 2: used to have the power to break an artist. Now,

1260
00:49:32,200 --> 00:49:35,319
Speaker 2: though I would say it's even more valuable. I think

1261
00:49:35,360 --> 00:49:37,719
Speaker 2: what I do is even more valuable, not because it's me,

1262
00:49:38,080 --> 00:49:40,200
Speaker 2: but because even though it's harder to do because the numbers,

1263
00:49:40,239 --> 00:49:41,920
Speaker 2: there are one hundred thousand people now trying to do it.

1264
00:49:41,960 --> 00:49:43,200
Speaker 2: So if you have one person that can do it

1265
00:49:43,200 --> 00:49:45,840
Speaker 2: and have any audience at all, with any sort of texture,

1266
00:49:46,160 --> 00:49:48,799
Speaker 2: the value of that is almost worth more than what

1267
00:49:48,840 --> 00:49:51,200
Speaker 2: the value used to be when I could break an artist.

1268
00:49:51,239 --> 00:49:53,520
Speaker 8: Well, just the value of your story, like just walking

1269
00:49:53,520 --> 00:49:55,319
Speaker 8: there and you tell in two minutes of that, like

1270
00:49:55,360 --> 00:49:58,600
Speaker 8: you said, reached half a million people or whatever, like

1271
00:49:59,120 --> 00:50:00,560
Speaker 8: there were so many people that just reach out to

1272
00:50:00,560 --> 00:50:02,879
Speaker 8: me like, oh my goodness, you're the she somebody's daughter guy,

1273
00:50:03,040 --> 00:50:04,640
Speaker 8: you know what I mean, Like we didn't know that

1274
00:50:04,800 --> 00:50:07,040
Speaker 8: till we till we saw your story, Like how hard

1275
00:50:07,200 --> 00:50:10,440
Speaker 8: you had to work to get your song on the radio.

1276
00:50:10,840 --> 00:50:13,839
Speaker 8: We didn't realize it was that difficult we sawt Oh,

1277
00:50:13,960 --> 00:50:16,680
Speaker 8: when artist puts a song out labels like it they

1278
00:50:16,719 --> 00:50:18,440
Speaker 8: signed you, it works its way up the charts, Like

1279
00:50:18,719 --> 00:50:20,520
Speaker 8: not for freaking me, you know, like that did that

1280
00:50:20,680 --> 00:50:22,840
Speaker 8: wasn't how it work. We and even like people that

1281
00:50:22,840 --> 00:50:25,719
Speaker 8: have followed my journey back home for years and years

1282
00:50:25,760 --> 00:50:27,879
Speaker 8: and years, they're like, we did not realize you lost

1283
00:50:27,920 --> 00:50:30,960
Speaker 8: everything and you had to build all of this alone,

1284
00:50:31,280 --> 00:50:33,960
Speaker 8: you know, and that was like super kind of you

1285
00:50:34,120 --> 00:50:35,080
Speaker 8: to do that, So thank you.

1286
00:50:35,560 --> 00:50:37,360
Speaker 5: I mean, if it was a good story, I deleted

1287
00:50:37,360 --> 00:50:42,520
Speaker 5: it very nice. And also people will see and be like, wait,

1288
00:50:42,560 --> 00:50:43,839
Speaker 5: you're not to Neil Town's.

1289
00:50:43,600 --> 00:50:45,680
Speaker 4: Yeah that's right, Yeah, that Neil Town's guy.

1290
00:50:46,719 --> 00:50:49,880
Speaker 6: Look, you know you forgot that Drew showed up my algorithm.

1291
00:50:49,960 --> 00:50:51,840
Speaker 4: I don't know what two years I remember that. Yeah.

1292
00:50:51,600 --> 00:50:54,520
Speaker 6: I mean it's a long time ago. As like on Instagram,

1293
00:50:54,680 --> 00:50:56,880
Speaker 6: he just kept popping up. I didn't follow him, but

1294
00:50:56,960 --> 00:50:58,879
Speaker 6: Drew Balder.

1295
00:50:58,320 --> 00:51:00,000
Speaker 4: Was like you and somebody somebody listened to your.

1296
00:51:00,000 --> 00:51:01,000
Speaker 5: I came with those radio stations.

1297
00:51:01,680 --> 00:51:04,239
Speaker 4: Yeah, this guy just keeps coming around. That's what I

1298
00:51:04,239 --> 00:51:05,680
Speaker 4: always felt like. I felt like I was one of

1299
00:51:05,680 --> 00:51:08,359
Speaker 4: those guys in Nashville's like he's just here. There's Drew again,

1300
00:51:08,440 --> 00:51:09,040
Speaker 4: there's Drew again.

1301
00:51:09,080 --> 00:51:12,160
Speaker 8: It's like, well, finally we got a somewhorre to talk about,

1302
00:51:12,239 --> 00:51:12,480
Speaker 8: you know.

1303
00:51:13,080 --> 00:51:14,720
Speaker 4: But that was super cool that that happened.

1304
00:51:14,840 --> 00:51:16,759
Speaker 2: So a couple of things because we're gonna wrap up.

1305
00:51:16,760 --> 00:51:20,520
Speaker 2: We've done over an hour. Chris, You're awesome, dude. I

1306
00:51:20,560 --> 00:51:22,160
Speaker 2: never got to meet you until now. Like I want

1307
00:51:22,200 --> 00:51:23,799
Speaker 2: you to come back and just we just talk like

1308
00:51:23,880 --> 00:51:24,840
Speaker 2: nerdy music stuff.

1309
00:51:24,960 --> 00:51:25,160
Speaker 5: Yep.

1310
00:51:25,239 --> 00:51:27,680
Speaker 3: That's I mean, that's what I do, the only thing

1311
00:51:27,719 --> 00:51:27,960
Speaker 3: I do.

1312
00:51:28,040 --> 00:51:31,279
Speaker 5: Good. No, it's crazy, very interesting, man, it really is.

1313
00:51:31,360 --> 00:51:34,319
Speaker 8: Yeah, Drew rooting for you man, you know, thanks man,

1314
00:51:34,440 --> 00:51:37,799
Speaker 8: thank you. And I've heard so many people text me

1315
00:51:37,840 --> 00:51:39,440
Speaker 8: in town. Bob he's talking about you right now on

1316
00:51:39,480 --> 00:51:42,480
Speaker 8: air and play the song and man, thank you, like

1317
00:51:42,800 --> 00:51:44,480
Speaker 8: life changing really truly.

1318
00:51:45,280 --> 00:51:46,680
Speaker 2: But if we didn't think it was good or your

1319
00:51:46,680 --> 00:51:49,359
Speaker 2: story was good, we wouldn't. So it's not just I

1320
00:51:49,480 --> 00:51:50,759
Speaker 2: like you, because I do like you, but if your

1321
00:51:50,760 --> 00:51:52,640
Speaker 2: song sucked, I wouldn't play it well, or if your

1322
00:51:52,680 --> 00:51:54,880
Speaker 2: story sucked, it wouldn't it wouldn't resonate with people like

1323
00:51:54,920 --> 00:51:59,400
Speaker 2: you own that. I was just a conduit well at

1324
00:51:59,440 --> 00:52:03,080
Speaker 2: the appropriate time that allowed your story to get out

1325
00:52:03,520 --> 00:52:04,760
Speaker 2: and to resonate.

1326
00:52:04,360 --> 00:52:07,160
Speaker 5: With folks like that's what it is. It's you. It's

1327
00:52:07,200 --> 00:52:09,200
Speaker 5: you and your song, like right now.

1328
00:52:09,280 --> 00:52:10,839
Speaker 2: I got lucky to be a vessel on the time

1329
00:52:10,840 --> 00:52:13,200
Speaker 2: it was right, so I didn't do anything only and

1330
00:52:13,239 --> 00:52:17,919
Speaker 2: if it wasn't good, we did delete it. So yeah,

1331
00:52:18,040 --> 00:52:19,920
Speaker 2: I appreciate you guys coming over and just talking about

1332
00:52:20,360 --> 00:52:21,560
Speaker 2: this is very granu a little bit.

1333
00:52:21,600 --> 00:52:23,040
Speaker 5: I like that because it's not always like that.

1334
00:52:23,040 --> 00:52:26,120
Speaker 2: We we can talk about charts and have an artist understanding

1335
00:52:26,200 --> 00:52:29,120
Speaker 2: and have Chris who studied it and worked in radio

1336
00:52:29,160 --> 00:52:30,120
Speaker 2: and worked in publishing.

1337
00:52:30,480 --> 00:52:32,279
Speaker 5: And then also it's good to have Eddie here.

1338
00:52:32,360 --> 00:52:33,279
Speaker 6: I mean, I learned it.

1339
00:52:33,280 --> 00:52:36,360
Speaker 5: I didn't say anything, but else was really interesting. I

1340
00:52:36,440 --> 00:52:37,279
Speaker 5: knew nothing about it.

1341
00:52:37,800 --> 00:52:43,680
Speaker 2: Follow Chris at Chris Owen Country on Instagram and Drew

1342
00:52:43,719 --> 00:52:49,640
Speaker 2: Baldridge Man Go Over and Drew Baldridge Music Drew Baldridge

1343
00:52:50,160 --> 00:52:53,440
Speaker 2: at Drew Baldridge Music. Both you guys are killing it.

1344
00:52:53,440 --> 00:52:55,319
Speaker 2: Thank you for coming and it's a lot of fun.

1345
00:52:55,360 --> 00:52:56,719
Speaker 2: Thanks guys, thank you, thank you.

1346
00:52:58,160 --> 00:53:00,680
Speaker 7: Thanks for listening to a Bobby Cat best Production.