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Speaker 1: Ladies and gentlemen, we are experiencing technical difficulties.

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Speaker 2: This is the Bobby Cast. Welcome to this episode of

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Speaker 2: the Bobby Cast.

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Speaker 3: It's all about, well behind the scenes of the music industry.

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Speaker 3: How does a song get on the radio, What exactly

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Speaker 3: does a producer do? What are the day to day

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Speaker 3: tasks of an artist manager, how to record, labels and

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Speaker 3: radio work together. All these questions will be answered in

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Speaker 3: this episode. We get into it now. Throughout the years,

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Speaker 3: I've talked to some of the best in business, for managers,

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Speaker 3: to producers, to songwriters, to journalists, to label executives, and

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Speaker 3: you're going to hear from artist managers like Kapy who

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Speaker 3: is Luke Combs's manager, record label CEO John Esposito who

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Speaker 3: just retire, but with somebody who is massive in the

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Speaker 3: industry for so many years, producer Dan Huff, the head

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Speaker 3: of IRA Country, Rod Phillips.

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Speaker 2: I could keep.

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Speaker 3: Going on and on, but you're going to hear it

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Speaker 3: all here. This is going to be a good one,

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Speaker 3: especially if you love behind the scenes. Since I've talked

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Speaker 3: to so many people in the industry, we're breaking this

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Speaker 3: one down into two parts.

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Speaker 2: We've been very.

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Speaker 3: Lucky that a lot of folks that work in this

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Speaker 3: creative space and a lot of different ways have stopped

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Speaker 3: by that a kickoff Part one of Behind the Scenes

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Speaker 3: of the Music Industry. It's Luke Combs's manager, Cappy, who

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Speaker 3: has been with Luke since day one. I mean, I

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Speaker 3: would even say back before day one actually happened. Cappy

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Speaker 3: talks about that and what a typical day looks like

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Speaker 3: for him as a manager and then as a manager

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Speaker 3: who has started his own management company. What was it

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Speaker 3: about Luke early on because you didn't meet while you

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Speaker 3: were in Nashville.

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Speaker 2: Was it like a club? I'm just trying to recall.

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Speaker 4: So the way it all happened is a guy named

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Speaker 4: Bradley Jordan, who owns Speachtree Entertainment called me. I was

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Speaker 4: living in California and I was working for six Man,

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Speaker 4: which is the company before I started with Luke, and

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Speaker 4: he said, you've always want to be a manager. You're

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Speaker 4: forty two years old. You're throwing your life away. If

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Speaker 4: you don't do this, you're going to regret it. And

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Speaker 4: he's my best friend and he can say those things

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Speaker 4: to me, hit me right between the eyes, and I

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Speaker 4: was like, you're right.

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Speaker 2: So I decided to move back.

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Speaker 4: I was going to work with another I looked at

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Speaker 4: a couple other artists, none of that worked out, and

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Speaker 4: he calls me and goes, I found your guy. His

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Speaker 4: name is Luke Colmbs. We're going to do a show

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Speaker 4: and you're going to see him play. I said, fantastic.

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Speaker 4: He goes, you have to buy the show because he

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Speaker 4: doesn't have a show on the books. He has no shows,

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Speaker 4: so you're gonna have to buy the show, rent the venue,

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Speaker 4: and throw the event.

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Speaker 2: So we did buy the show. Explain that.

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Speaker 4: So we had to go and pay Luke to come

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Speaker 4: and play the show because he didn't have any shows

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Speaker 4: on the books.

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Speaker 2: So this is so early in his career.

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Speaker 4: He only had one show he had done, which was

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Speaker 4: with Bradley at in Rome, Georgia at the brew House.

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Speaker 4: So we bought the show, paid Luke seven hundred fifty dollars,

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Speaker 4: paid seven und fifty dollars to the venue, and I

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Speaker 4: remember being there's only gonna be.

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Speaker 2: Three people at the show, Bradley, Luke, and me.

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Speaker 4: And during sound check, Luke started playing a song and

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Speaker 4: he's like, hey man, can I text you these lyrics

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Speaker 4: and you print it out for me.

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Speaker 2: I'm like sure. It was Hurricane.

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Speaker 4: First time he ever played it live in front of

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Speaker 4: a crowd. The only place where it lived was on

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Speaker 4: Facebook on video. So anyway, he's singing in sound check,

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Speaker 4: I'm like, man, this guy's really good, Like this guy

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Speaker 4: can really sing in the band. And so I walk outside,

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Speaker 4: you know, it's like nine o'clock and arobably open the doors.

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Speaker 2: You know, it's a college.

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Speaker 4: Town, and there's people in line, no pre sold tickets,

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Speaker 4: and I'm like, wow, eighty three people were there for

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Speaker 4: this first show and he had nothing going on, and

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Speaker 4: they were singing every word to every song on his

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Speaker 4: first two EPs that had come out, which is six songs,

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Speaker 4: She Got the Best of Me and the way She

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Speaker 4: Rides and kind of get an Outlaw, And then he

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Speaker 4: played Hurricane and they were singing the words of Hurricane.

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Speaker 4: It had only been on a Facebook video. And for

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Speaker 4: all the years that I worked with, I was working

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Speaker 4: with you know, John Mayer and Kiss and Kid Rock

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Speaker 4: and all these Paramore three eleven, these super passionate fan bases,

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Speaker 4: and they would sing every word to every single song,

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Speaker 4: even the deep cuts. They were doing the same thing,

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Speaker 4: And I was like, he has it. He has not

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Speaker 4: only does he have the chops? Because he has that

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Speaker 4: and he has the songs, but he's got fans that

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Speaker 4: are already in love with him. And as soon as

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Speaker 4: you see that, and that's what I knew, I was like,

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Speaker 4: this is it? Like he has it, I can take this.

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Speaker 4: And I told him, I was like, Luke, in five years,

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Speaker 4: well have you playing theaters on a tour bus and

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Speaker 4: you'll be making seven figures. And I can guarantee that

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Speaker 4: in five years because I saw so many bands do

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Speaker 4: it and with just with fans. And he's like, Okay,

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Speaker 4: if you can do that, you know you're my manager.

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Speaker 2: Let's go.

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Speaker 4: And that's kind of how the whole thing started in

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Speaker 4: the beginning. And we did that. You know, we really

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Speaker 4: stayed focused on on the fan base, and that's all

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Speaker 4: we really focus on is how do we affect the bootleggers,

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Speaker 4: which is which is what we call his fan base,

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Speaker 4: and it works fans first. That's all we really focus

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Speaker 4: on when it comes down to it is how does

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Speaker 4: it affect the fan?

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Speaker 3: So you're living in California, you go to Georgia to

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Speaker 3: do this, were you already going all right, I got

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Speaker 3: to get to Nashville or was it after that night

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Speaker 3: with Luke.

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Speaker 4: After with Luke, and he said, if you want to

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Speaker 4: be my manager, you have to live in Nashville.

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Speaker 2: Was he living in Nashville at the time.

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Speaker 5: He was?

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Speaker 2: He was, he was already here.

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Speaker 6: How quick did you move? It took me the six weeks?

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Speaker 6: In six weeks, so you go, I got this new artist. Listen,

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Speaker 6: let's be honest. If you're just managing an artist, you're

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Speaker 6: not making any money. I'll just talk from the experience

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Speaker 6: with my manager. Shuttle awards in your mouth. My management

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Speaker 6: makes fifteen percent of what I make. Sure if I'm

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Speaker 6: making zero, fifteen percent of what I make is zero zero.

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Speaker 2: So that's you moving to Nashville. Did you have some

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Speaker 2: money saved up? I had a little bit of saved up.

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Speaker 4: And when Luke and I sat down, I remember the

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Speaker 4: first time, sitting in his apartment around you know, the

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Speaker 4: glass table with the four wrought iron chairs in his apartment.

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Speaker 4: I said, man, what's the most important thing for you?

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Speaker 4: And He's like, man, I really hate driving to these rights.

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Speaker 4: I'm in in this old Dodge Neon that I had,

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Speaker 4: and I don't want to. In fact, I park and

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Speaker 4: walk two blocks in the heat and I was like, look,

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Speaker 4: I won't take a dime from you until you're making

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Speaker 4: money and we can buy you a car. So what

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Speaker 4: we would do is after every run, any extra money

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Speaker 4: we had left over, we would put into a bank

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Speaker 4: bag that lived inside a coffee can that lived in

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Speaker 4: his kitchen, and that's what we stacked cash in there.

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Speaker 4: And then the rest of the time, I was just

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Speaker 4: using my money to live off of or fund whatever

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Speaker 4: we needed if we needed extra hotel rooms or we

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Speaker 4: didn't make enough money that night for gas in the van.

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Speaker 4: I mean, I just came out of my pocket and

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Speaker 4: did it. And because I wasn't going to give up.

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Speaker 4: And I think that's the difference of becoming a manager

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Speaker 4: at forty two years old and already having in living

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Speaker 4: a life. I was like, I'm all in on this

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Speaker 4: guy because I'm okay to fail, because I'm ready to

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Speaker 4: make this happen.

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Speaker 2: So I'm going to go all in.

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Speaker 4: And I eventually it was April, so this I was September.

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Speaker 2: It was April.

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Speaker 4: I was sleeping on my couch because I was renting

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Speaker 4: out my room in this house that I had in

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Speaker 4: East Nashville that I was living in. That was it

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Speaker 4: was a hovel, but it's all I could afford. I

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Speaker 4: had somebody living there to help me pay for my bill.

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Speaker 4: So I was sleeping on my couch. I was now

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Speaker 4: forty three years old, sleeping on my couch, driving the van.

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Speaker 4: I had sold everything that I could sell to have money.

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Speaker 4: And what I would do every night as I would

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Speaker 4: go to the green room and I would take a

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Speaker 4: merch bin in there, but it wasn't a merch pin.

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Speaker 4: It was my food stash because I would take the

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Speaker 4: food out of the green room, the funions and the

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Speaker 4: bottled water and whatever we had and put it in

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Speaker 4: there so I had food to eat because I couldn't

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Speaker 4: afford anything, because I had to scrape everything together so

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Speaker 4: we could make it. And I remember getting there and

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Speaker 4: we had enough money to buy Luke the car. And

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Speaker 4: I never once was like he never knew any of this,

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Speaker 4: Like I didn't let him know where it stood.

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Speaker 2: Financially. I was laid on my rent.

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Speaker 4: I was late, I was all my credit cards were

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Speaker 4: passed due. It was I was like I was sitting

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Speaker 4: there one night, I was like I'm like almost rocking

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Speaker 4: back and forth. You know, I was like this, he

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Speaker 4: has it. I know he does I know we're gonna

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Speaker 4: do this, and we bought him the car. It was

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Speaker 4: a Ford Fusion. The very next week we got an

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Speaker 4: offer to play a show in the Outer Banks at

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Speaker 4: an ATV park for ten thousand dollars.

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Speaker 7: I was like wow.

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Speaker 4: And then the week after that we got a private

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Speaker 4: for ten thousand dollars. So instantaneously I made three thousand

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Speaker 4: dollars and I was like, this is gonna.

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Speaker 2: Work because you got the truck.

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Speaker 3: So now, which is by the way, let me just

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Speaker 3: stop you before we go forward and say for you

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Speaker 3: to go. I'm not taking any money until you're able

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Speaker 3: to not only make a little money for yourself, but

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Speaker 3: to pay off this first part of what can make

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Speaker 3: your dream. I haven't heard of such thing unless it's

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Speaker 3: by someone who has a lot of money and is

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Speaker 3: pretty rich to do that. Like I've heard of some

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Speaker 3: friends of mine that are athlete managers or business They

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Speaker 3: can do that and they can go, hey, listen, I

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Speaker 3: got four other clients here. There are millionaires. I won't

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Speaker 3: take a dime until you but you weren't doing that.

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Speaker 3: You have anything. Now, you were taking nothing while you

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Speaker 3: had nothing. You believe that much.

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Speaker 2: I've never stopped believing. And I know you believe now,

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Speaker 2: and I know you believed early.

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Speaker 3: But I've had things in my career where I'm like,

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Speaker 3: I'm so for sure this and my head's down and

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Speaker 3: I'm not stopping. And I never stopped. However, there were

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Speaker 3: times where it got to be so questionable. I was like,

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Speaker 3: am I delusional that I believe so much? Because I

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Speaker 3: do believe in certain things. I've done so much, But

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Speaker 3: there are times where there's so much pushback where I

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Speaker 3: start to question if I'm crazy.

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Speaker 4: Yeah, did you have a question if you were crazy?

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Speaker 4: My parents questioned me. I think very early on, they're like,

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Speaker 4: are you sure.

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Speaker 2: You want to do this?

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Speaker 4: Like, are you sure you want to give up a

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Speaker 4: fifteen year career? I know my brother was the same way,

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Speaker 4: are you sure you want to do this?

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Speaker 5: Now?

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Speaker 4: They see it, but I mean, I think it's different

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Speaker 4: when you're standing there in a room and you're watching

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Speaker 4: people pour their hearts out and what they're doing and

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Speaker 4: in the connection that Luke had with the fans, and

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Speaker 4: I saw it so early on. I was like, this

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Speaker 4: is real, Like you cannot create this no matter what.

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Speaker 4: And I was like, it's going to happen it's just

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Speaker 4: gonna I just have to weather the storm. And I

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Speaker 4: don't know whatever the higher power is, it's out there

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Speaker 4: said I'm going to test you and if you don't break,

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Speaker 4: I'm going.

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Speaker 2: To reward you. And I never broke. So when did

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Speaker 2: the record labels?

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Speaker 7: And then?

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Speaker 3: What was was that just fury? It was everybody after

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Speaker 3: Luke at once? Or was it one and then one

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Speaker 3: sees it's cool and comes after it?

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Speaker 2: How did that go?

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Speaker 5: Well?

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Speaker 4: You know, we signed with the Riverhouse, which is Lynn

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Speaker 4: Oliver and Lynn and I are friends from years and

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Speaker 4: years and years ago, and I took her to the

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Speaker 4: music and she heard it and she loved it. So

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Speaker 4: she signed Luke to an independent deal and then she

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Speaker 4: was distributing it through thirty Tigers. And then as it

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Speaker 4: started to pick up momentum and it got some some

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Speaker 4: radio play, and then everything started to kind of snowball

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Speaker 4: from there because they started recognizing it and it started

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Speaker 4: to stream and people started to like perk up a

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Speaker 4: little bit because we didn't play any shows in town.

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Speaker 4: You know, the big first show that we did in

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Speaker 4: town was Whiskey Jam Anniversary show. And then after that show,

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Speaker 4: because of the pickup, we had from the early independent

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Speaker 4: stuff that we had done with the radio and everything

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Speaker 4: like that, and people paying attention.

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Speaker 2: Then that happened. There was a bunch of A and

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Speaker 2: R people there.

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Speaker 4: Actually, bou Martinovitch was there from from Sony and actually

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Speaker 4: sent a video that night of basing a hurricane to

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Speaker 4: the Sony team. They decided to have conversations. We had

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Speaker 4: conversations with three labels in the very beginning, and it

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Speaker 4: became very very quick and hot and fast, and we

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Speaker 4: opted to go with Sony, and it was it was

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Speaker 4: a great opportunit.

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Speaker 3: Were you leveraging because any time anybody bidding on me, we've.

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Speaker 2: Always leveraged, right, you know what? And at that point

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Speaker 2: we really didn't. And that's not one of the things

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Speaker 2: that I do very well.

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Speaker 4: I'm not a big leverager in that and in the

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Speaker 4: sense that I'm very transparent. In fact, I'm working on

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Speaker 4: a deal right now for one of my other artists

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Speaker 4: that I just sent like they're like, well, how much

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Speaker 4: do you have invested in this artist already? And I

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Speaker 4: was like twenty nine hundred and six dollars and they're like,

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Speaker 4: oh wow. I was like, yeah, hear me, see the spreadsheet.

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Speaker 4: Instead of like bumping it or patting it or anything

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Speaker 4: like that.

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Speaker 2: I just don't. I'm I'm not a giant leverage person.

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Speaker 3: But but for example, yes, there's a little deal happening

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Speaker 3: with me a few years ago. Two years ago, one

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Speaker 3: of the major streaming companies said we'll give you one dollar. Well,

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Speaker 3: then I go over to iharn go, well, they're offered

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Speaker 3: me one dollar, right, Like, this is leverage too, so

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Speaker 3: can you be one dollar?

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Speaker 2: And they're like, well, yes we can.

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Speaker 3: Well then it's that we'll just call it another way

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Speaker 3: that yeah, do that.

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Speaker 4: A little bit of that happened, but I think, you know,

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Speaker 4: really the reason we went was Sony, and the biggest

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Speaker 4: thing that that really made that over the other two

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Speaker 4: was the relationship that they wanted to have with Luke

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Speaker 4: and the relationship they wanted to have with us. So like,

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Speaker 4: I think that was what really wanted out. But no,

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Speaker 4: it didn't get into a giant bidding war at all,

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Speaker 4: it really didn't. They Sony came very honest and straightforward

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Speaker 4: from the from the beginning. And you know, we had

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Speaker 4: already had hurricane out there, so they also they also

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Speaker 4: had to be ready just to pick up and go

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Speaker 4: with what we had already done and flip it and

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Speaker 4: take it from there, and they did.

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Speaker 3: Before you, you know, had your own company and ten

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Speaker 3: how many artists you have under you know, I have.

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Speaker 2: Twelve artists and fourteen employees.

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Speaker 3: So before that version of you, whenever you're just managing

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Speaker 3: and you're you're you're really catching on as a manager.

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Speaker 2: What is a day like as a manager of an artist?

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Speaker 2: Like a Wednesday? I can give you a like today.

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Speaker 4: You know, there's a breakfast meeting first with somebody here

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Speaker 4: in town eight am.

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Speaker 3: Like somebody like you're thinking about signing or somebody that you're.

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Speaker 2: No, I'll go through my full day. Alarm goes off

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Speaker 2: at four am.

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Speaker 4: Okay, so I'm up at four, make coffee, let the

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Speaker 4: dogs out, spend thirty minutes with nothing on and just

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Speaker 4: enjoying a cup of coffee.

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Speaker 2: I mean closed, and I'll close on well a pair

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Speaker 2: of underwear. Pair of underwear.

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Speaker 4: Nobody wants to see that mood. So I enjoy a

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Speaker 4: nice cup of coffee. Like I said, I live on

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Speaker 4: the Cumberland River, so I get to enjoy that in

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Speaker 4: the morning, watch the sun come up, and then I

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Speaker 4: start reading Twitter for an hour and I type in

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Speaker 4: all my artist's name, and I read the last twenty

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Speaker 4: four hours of Twitter wow, because that gives me a

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Speaker 4: pulse of what's.

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Speaker 2: Kind of going on. And then I started answering emails.

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Speaker 4: And I get to a good point. So I have

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Speaker 4: to be below ten emails every day when I finish

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Speaker 4: the day or and when I go to start the day,

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Speaker 4: with all the emails that come in overnight, I file

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Speaker 4: them down and I start my day. Then I went

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Speaker 4: and met with another manager here in town this morning.

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Speaker 4: So I try to meet with a manager that I've

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Speaker 4: never met before every month because that's it helps me

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Speaker 4: increase my network. And nobody would meet with me early on,

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Speaker 4: so it's kind of like my give back. I want

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Speaker 4: to give back to the industry. So I meet with

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Speaker 4: a manager that I don't know. I met with a

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Speaker 4: great guy today. We had a great conversation. I went

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Speaker 4: straight from there, did a phone call right to my office,

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Speaker 4: started working there. I've had four conference calls today, and

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Speaker 4: then I'm coming over here and then I'm leaving here.

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Speaker 4: I'll jump back on my phone and then I'll be

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Speaker 4: on it until probably about seven o'clock tonight.

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Speaker 2: What are these conference calls about?

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Speaker 7: Though?

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Speaker 2: Not specifically, but is it sure?

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Speaker 4: Like so, we had a call today about Luke's routing

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Speaker 4: like to a routing to a routing that with our agent,

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Speaker 4: Aaron Tannebaum. And then I'll have I had a call

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Speaker 4: with a promoter, I had a call with my team,

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Speaker 4: I had a call with two of my managers internally.

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Speaker 2: So and then that doesn't include just the random.

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Speaker 4: Calls that just happened that I'm like, you know, you know,

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Speaker 4: I had to change the auto respondor on my on

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Speaker 4: my iPhone to say I'm on a call, call you

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Speaker 4: right back, or I'm in a meeting police text like

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Speaker 4: the ones, and then I have to go back through

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Speaker 4: those and return all those phone calls. At the end

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Speaker 4: of the day, I also go to my miss call

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Speaker 4: page and just start calling everybody back on there. And

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Speaker 4: that's essentially what it is. No day, excuse me, no

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Speaker 4: day ever goes as planned. Tom can tell you that

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Speaker 4: no day ever goes as plan I have. I've never

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Speaker 4: had a day go perfectly as planned. And I'm usually

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Speaker 4: canceling one, if not two things a day.

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Speaker 3: Every day. Something every dnsel because of a fire, because

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Speaker 3: of a fire of some.

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Speaker 4: Sort, Because even if it's not an artist fire, it

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Speaker 4: might be an employee fire. And you know, my employees

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Speaker 4: are one of the most important things to me, and

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Speaker 4: if they have a problem, I need to be there

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Speaker 4: for them too.

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Speaker 3: Whenever you and Luke were traveling together, because Luke is

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Speaker 3: what thirty.

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Speaker 2: Now thirty one and what are you? Forty five? Forty

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Speaker 2: thirty eight?

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Speaker 8: Okay, did people ever think you were like his older brother?

384
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Speaker 8: They thought his dad? And this is what Combs does.

385
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Speaker 8: So Combs goes, he goes, that's not my dad. He goes,

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Speaker 8: that's my granddad. And I'm like, why do you do that?

387
00:15:36,960 --> 00:15:38,320
Speaker 8: And I almost made a shirt.

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Speaker 4: That said not Luke's dad, that's funny. Yeah, not Luke's dad,

389
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Speaker 4: but everybody. So people would walk up to me and

390
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Speaker 4: they'd be like, man, isn't it fun to watch your

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Speaker 4: son sing these songs?

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Speaker 2: I'm like, man, do I look like his dad?

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Speaker 4: Like biologically, yes, I'm eighteen years older than that's funny,

394
00:15:51,640 --> 00:15:54,200
Speaker 4: but no I'm not. But yes, a lot of people

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Speaker 4: think that I'm his dad.

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Speaker 3: The first time you heard him play Hurricane, yes, did

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Speaker 3: you get it?

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Speaker 2: I did? I got it? I was like, this is it.

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Speaker 3: I would watch those early videos of him playing at

400
00:16:04,960 --> 00:16:07,480
Speaker 3: bars and playing Hurricane and seeing the whole.

401
00:16:07,280 --> 00:16:09,120
Speaker 2: Bar scream it back to him. This song almost got

402
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Speaker 2: me fired. Why the video shoot?

403
00:16:12,120 --> 00:16:16,320
Speaker 4: The video shoot at Wild Noahs, at Coyote Joe's and Charlotte.

404
00:16:16,520 --> 00:16:20,320
Speaker 4: We were doing the video shoot and the video company

405
00:16:20,320 --> 00:16:22,080
Speaker 4: gave me a megaphone and they're like, all right, why

406
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Speaker 4: don't you tell Luke what to do?

407
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Speaker 2: And I was like, yeah, totally, give me the megaphone.

408
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Speaker 5: So I'm doing.

409
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Speaker 4: I'm like, all right, take seventeen of Hurricane and he

410
00:16:28,520 --> 00:16:30,080
Speaker 4: had to, like, you know, he has to do it.

411
00:16:30,680 --> 00:16:33,280
Speaker 4: He goes take the microphone away and get out of

412
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Speaker 4: the building because I'm about to fire you because because

413
00:16:37,040 --> 00:16:39,120
Speaker 4: he was so because he's never done a video before,

414
00:16:39,160 --> 00:16:40,920
Speaker 4: and like you're having the mouth of the worst of

415
00:16:40,920 --> 00:16:43,840
Speaker 4: your song. It's seventeen and again you've dealt with this before.

416
00:16:44,320 --> 00:16:46,440
Speaker 4: And he threw me out of the building and I

417
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Speaker 4: had to go outside and he let me back in

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Speaker 4: and he's like, he's like, look, dude, I just had

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Speaker 4: a moment.

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Speaker 2: You know.

421
00:16:54,160 --> 00:16:55,800
Speaker 4: It wasn't like it it wasn't like a sorry. It

422
00:16:55,840 --> 00:16:57,400
Speaker 4: was like you were kind of being annoying. I just

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Speaker 4: need to let you know that. I was like, yeah,

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00:16:58,920 --> 00:17:01,840
Speaker 4: so from that point on we understand how videos are shot.

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Speaker 2: And I don't say.

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Speaker 9: A word, hank Ty, the Bobby Cast will be right back.

427
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Speaker 9: Welcome back to the Bobby Cast.

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Speaker 3: John Esposito, also known as Espo, was the CEO of

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00:17:20,640 --> 00:17:23,960
Speaker 3: Warner Music Nashville for thirteen years. He signed artists like

430
00:17:24,040 --> 00:17:27,720
Speaker 3: Dan and Shay, Ashley McBride, Zach Bryan and here he

431
00:17:27,800 --> 00:17:31,960
Speaker 3: is talking about why he signed them. Whenever you talk

432
00:17:32,000 --> 00:17:35,440
Speaker 3: about magic, and I say, what magic comes to mind?

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00:17:35,960 --> 00:17:37,280
Speaker 2: And that's such a vague question.

434
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Speaker 3: But the three minutes and thirty seconds can be any

435
00:17:39,160 --> 00:17:42,240
Speaker 3: song that you as a head believed in quickly and

436
00:17:42,280 --> 00:17:44,760
Speaker 3: said that's it. Because again, you're a player. I want

437
00:17:44,800 --> 00:17:47,440
Speaker 3: people to know this too. When you love music, it's

438
00:17:47,480 --> 00:17:50,080
Speaker 3: not just listening like you are a musical in every way.

439
00:17:50,119 --> 00:17:52,480
Speaker 3: You're notorious. People come and play with you in your office,

440
00:17:52,520 --> 00:17:55,359
Speaker 3: like after the CMA. Sorry, what's the magic for you

441
00:17:55,400 --> 00:17:57,119
Speaker 3: that when you think that song was magic?

442
00:17:57,160 --> 00:17:57,680
Speaker 5: Immediately?

443
00:17:58,640 --> 00:18:01,560
Speaker 1: Well, I can tell you a few popped in my

444
00:18:01,760 --> 00:18:05,439
Speaker 1: head when you say that. And then I want to

445
00:18:05,440 --> 00:18:07,399
Speaker 1: go back to a little Blake Shelton story. But I

446
00:18:07,400 --> 00:18:10,880
Speaker 1: remember when Blake was second guessing himself, he already had

447
00:18:10,920 --> 00:18:15,399
Speaker 1: twenty five, twenty six number one records, and thinking, well, maybe.

448
00:18:15,119 --> 00:18:16,480
Speaker 5: They don't care about me anymore.

449
00:18:17,160 --> 00:18:19,640
Speaker 1: And I went to a dinner with him and Gwen,

450
00:18:21,480 --> 00:18:24,159
Speaker 1: and you know, we both were telling him, you know,

451
00:18:25,960 --> 00:18:30,240
Speaker 1: get over that. You know people want you, and he said, well,

452
00:18:30,280 --> 00:18:32,560
Speaker 1: I got something booked for the studio on Monday.

453
00:18:33,119 --> 00:18:33,560
Speaker 5: I don't know.

454
00:18:33,720 --> 00:18:38,359
Speaker 1: I just don't know you anyhow. And on Thursday Walks

455
00:18:38,400 --> 00:18:41,680
Speaker 1: a song called God's Country. As soon as we heard

456
00:18:41,680 --> 00:18:45,600
Speaker 1: the demo, Blake sends me the most hilarious texts in

457
00:18:45,640 --> 00:18:52,479
Speaker 1: the world, many of which I couldn't let anybody ever see.

458
00:18:53,160 --> 00:18:56,720
Speaker 1: But it was you know, I actually wish I could

459
00:18:56,760 --> 00:18:58,520
Speaker 1: find that one right now and share it with you,

460
00:18:58,560 --> 00:19:01,160
Speaker 1: but it would be something along the line of ESPO.

461
00:19:02,920 --> 00:19:09,000
Speaker 1: I think I just found money, real money. And I said, okay, Scott,

462
00:19:09,040 --> 00:19:11,280
Speaker 1: send me this song. And I hear the demo of

463
00:19:12,600 --> 00:19:16,960
Speaker 1: God's Country. There's an artist on Thursday morning, not sure

464
00:19:16,960 --> 00:19:19,000
Speaker 1: he wants to go to the studio, who puts out

465
00:19:19,000 --> 00:19:21,440
Speaker 1: the biggest song of his career that it's recorded three

466
00:19:21,480 --> 00:19:24,280
Speaker 1: days later, and you knew the magic of that song,

467
00:19:24,600 --> 00:19:27,080
Speaker 1: and you knew that he was going to deliver it.

468
00:19:27,480 --> 00:19:30,359
Speaker 1: I felt the same thing a lot when I heard

469
00:19:30,400 --> 00:19:34,480
Speaker 1: a demo which my buddy Dan Smiers is still pissed

470
00:19:34,480 --> 00:19:38,119
Speaker 1: off at me about of from the ground Up, and

471
00:19:38,200 --> 00:19:41,240
Speaker 1: it was with a little drum machine and an acoustic guitar,

472
00:19:41,840 --> 00:19:44,840
Speaker 1: and you just knew that song was going to change

473
00:19:44,840 --> 00:19:50,920
Speaker 1: people's lives. It such a resonance, it's such an amazing

474
00:19:50,960 --> 00:19:53,680
Speaker 1: message in it. I started playing it for a few

475
00:19:53,680 --> 00:19:55,320
Speaker 1: people who came in the office, and the word got

476
00:19:55,400 --> 00:19:57,359
Speaker 1: back to him and he says, don't you ever do

477
00:19:57,440 --> 00:19:59,879
Speaker 1: that again. You know, he's one of these the finish

478
00:20:00,080 --> 00:20:01,439
Speaker 1: product only guys.

479
00:20:01,720 --> 00:20:03,240
Speaker 2: Yeah, he uh, you know.

480
00:20:03,960 --> 00:20:07,880
Speaker 3: They were smiers as are super close to us, and

481
00:20:08,119 --> 00:20:11,680
Speaker 3: Caitlin and Abbey are really great friends. And Dan is

482
00:20:11,720 --> 00:20:14,760
Speaker 3: an O C D guy like myself. Everything it's got

483
00:20:14,760 --> 00:20:18,160
Speaker 3: to be in the exact order. He's a he's a perfectionist.

484
00:20:18,840 --> 00:20:21,440
Speaker 3: And I was telling him that you guys did such

485
00:20:21,440 --> 00:20:24,720
Speaker 3: a good job yourself, your team, Dan and Shay from

486
00:20:24,760 --> 00:20:27,560
Speaker 3: that song, because that was a graduation for them whenever

487
00:20:27,600 --> 00:20:29,880
Speaker 3: you guys did for the ground up. Because I remember

488
00:20:29,880 --> 00:20:31,680
Speaker 3: the I still remember the visuals, and I see visuals

489
00:20:31,680 --> 00:20:34,560
Speaker 3: of everything all the time. I'm constantly inundated with new music,

490
00:20:34,600 --> 00:20:35,399
Speaker 3: new clubs, new content.

491
00:20:35,400 --> 00:20:36,240
Speaker 2: What about this? What about this?

492
00:20:36,280 --> 00:20:37,880
Speaker 3: I remember what you guys did and how you built

493
00:20:37,880 --> 00:20:40,800
Speaker 3: the that the like the church, that, all of it,

494
00:20:40,880 --> 00:20:44,480
Speaker 3: all the aesthetic for that song. You graduated them at

495
00:20:44,480 --> 00:20:46,720
Speaker 3: that point because you believed in that song so much.

496
00:20:47,280 --> 00:20:49,040
Speaker 3: And so as you say that, that to me was

497
00:20:49,040 --> 00:20:51,360
Speaker 3: a big point in Dan and Shea's career because they

498
00:20:51,400 --> 00:20:53,760
Speaker 3: had they did the work, and you guys believed in

499
00:20:53,800 --> 00:20:55,960
Speaker 3: it so much that you pushed it and it was

500
00:20:55,960 --> 00:20:58,520
Speaker 3: massive and it led them to the next graduation step.

501
00:20:58,840 --> 00:21:01,119
Speaker 2: You got to be proud of those guys.

502
00:21:01,000 --> 00:21:01,320
Speaker 5: I am.

503
00:21:01,359 --> 00:21:04,040
Speaker 1: I'll tell you a funny story about Dan and Shay.

504
00:21:04,680 --> 00:21:08,439
Speaker 1: I was riding to a studio to meet Jay Joyce,

505
00:21:09,280 --> 00:21:15,679
Speaker 1: a producer of very much notoriety here in town, and

506
00:21:15,760 --> 00:21:21,160
Speaker 1: on the way Ben Vaughan, who runs the Warner publishing

507
00:21:21,160 --> 00:21:24,280
Speaker 1: company Warner Chapel, said, I got this new song from

508
00:21:24,280 --> 00:21:28,119
Speaker 1: this duo called ragtop Red. You got to listen to it.

509
00:21:28,160 --> 00:21:34,680
Speaker 1: On comes nineteen you and me. I think it's Dan

510
00:21:34,840 --> 00:21:36,920
Speaker 1: near the finished product we ended up putting out.

511
00:21:37,000 --> 00:21:39,359
Speaker 5: I said, ragtop Red, what's that? He goes? You just

512
00:21:39,400 --> 00:21:40,359
Speaker 5: got to meet these guys.

513
00:21:40,400 --> 00:21:43,960
Speaker 1: So the next day I had Dan and Shay in

514
00:21:44,040 --> 00:21:48,439
Speaker 1: my office, and you do these auditions and you think

515
00:21:48,480 --> 00:21:52,080
Speaker 1: they're going to last about forty five minutes. There are

516
00:21:52,080 --> 00:21:54,240
Speaker 1: some you wish rover in ten minutes, but you still

517
00:21:54,240 --> 00:21:57,280
Speaker 1: have to be courteous, right. I never want anybody they

518
00:21:57,320 --> 00:21:59,240
Speaker 1: got their final moment to get there in front of

519
00:22:00,080 --> 00:22:01,000
Speaker 1: the head of a label.

520
00:22:01,040 --> 00:22:01,240
Speaker 10: You know.

521
00:22:02,320 --> 00:22:05,320
Speaker 1: Well, after about ten songs, I'm looking over at Scott Hendricks,

522
00:22:05,320 --> 00:22:07,520
Speaker 1: our head of eight R an R at the time

523
00:22:08,200 --> 00:22:10,960
Speaker 1: and ultimately the producer of eighty number one records in

524
00:22:11,000 --> 00:22:14,800
Speaker 1: this format, and I'm like nodding, and He's given me

525
00:22:14,800 --> 00:22:17,040
Speaker 1: a little nod, but you know, we've never done this before.

526
00:22:17,080 --> 00:22:19,960
Speaker 1: And I'm like on my fifth nod, and I finally said,

527
00:22:20,320 --> 00:22:23,359
Speaker 1: you guys are signing to Warner today. You're not leaving

528
00:22:23,440 --> 00:22:24,760
Speaker 1: until you're signing to Warner.

529
00:22:25,040 --> 00:22:25,440
Speaker 5: Okay.

530
00:22:25,680 --> 00:22:27,600
Speaker 1: I went over and I locked the door and I said,

531
00:22:27,600 --> 00:22:31,000
Speaker 1: what do you want to drink? It turned into six

532
00:22:31,080 --> 00:22:35,240
Speaker 1: hours in my office, them playing one smash after another,

533
00:22:35,560 --> 00:22:37,439
Speaker 1: and then I realized they didn't have a pot to

534
00:22:37,520 --> 00:22:40,280
Speaker 1: piss and so I called up my wife and said, Sean, Tell,

535
00:22:40,320 --> 00:22:43,840
Speaker 1: would you please cook dinner for them? Cook dinner for

536
00:22:43,880 --> 00:22:46,359
Speaker 1: them five nights in a row. Over in that bell

537
00:22:46,440 --> 00:22:49,080
Speaker 1: mead House and just said, I'm telling you, I'm not

538
00:22:49,160 --> 00:22:52,240
Speaker 1: letting you go until you become a Warner Brothers artist

539
00:22:52,320 --> 00:22:54,159
Speaker 1: here and you know that.

540
00:22:56,080 --> 00:22:57,200
Speaker 5: Thankfully it worked out.

541
00:22:57,320 --> 00:22:59,520
Speaker 2: What about Ragtop Brett, How did you convince them to lose?

542
00:22:59,600 --> 00:23:00,840
Speaker 5: Oh yeah, I forgot that part of that.

543
00:23:00,960 --> 00:23:04,800
Speaker 2: Well, yeah, I don't. I mean not even a name,

544
00:23:04,960 --> 00:23:08,520
Speaker 2: you know. And it also has to represent them Ragtop red.

545
00:23:08,640 --> 00:23:12,639
Speaker 1: It didn't well. So two funny pieces in this vignette.

546
00:23:13,280 --> 00:23:15,879
Speaker 1: I have a Steeler's wall in my office because I

547
00:23:15,880 --> 00:23:19,960
Speaker 1: grew up in the Pittsburgh area and Dan Smiers walks

548
00:23:20,040 --> 00:23:22,560
Speaker 1: right up to it and stares at it, and I said,

549
00:23:23,280 --> 00:23:25,720
Speaker 1: you're not from Cleveland, are you?

550
00:23:25,760 --> 00:23:28,359
Speaker 5: No? No, I'm from Pittsburgh. I'm thinking good, I got one.

551
00:23:28,480 --> 00:23:29,359
Speaker 5: I got one here.

552
00:23:29,920 --> 00:23:33,800
Speaker 1: Hey, guys, But about that name, and without Missiga beat,

553
00:23:33,840 --> 00:23:35,000
Speaker 1: they said, oh, we hate that name.

554
00:23:35,040 --> 00:23:35,560
Speaker 5: We dropped it.

555
00:23:35,600 --> 00:23:38,040
Speaker 1: We're Dan and Shay, and I thought, I don't have

556
00:23:38,080 --> 00:23:39,159
Speaker 1: to have that goddamn car.

557
00:23:40,400 --> 00:23:42,920
Speaker 2: That's funny. So that was it. We already thought that

558
00:23:43,160 --> 00:23:45,560
Speaker 2: we're just we're Dana. Yeah.

559
00:23:46,040 --> 00:23:49,240
Speaker 3: Whenever it came to the branding of those guys, that

560
00:23:49,880 --> 00:23:53,560
Speaker 3: and that cross, that whatever that is, like, that's what

561
00:23:53,640 --> 00:23:58,000
Speaker 3: I think when I think of them, that decision obviously

562
00:23:58,080 --> 00:24:00,920
Speaker 3: had to be okayed by you as well, because it's

563
00:24:01,000 --> 00:24:03,399
Speaker 3: dan An Shay. Even that little thing that is so

564
00:24:03,520 --> 00:24:05,760
Speaker 3: branded is so important. Do you remember when you guys

565
00:24:05,800 --> 00:24:09,040
Speaker 3: settled on that even, well.

566
00:24:08,800 --> 00:24:14,000
Speaker 1: You do, you'll laugh as I say this. We love

567
00:24:14,080 --> 00:24:16,280
Speaker 1: those guys. There are certain things you just don't argue with.

568
00:24:16,600 --> 00:24:19,480
Speaker 2: So it was them. Yeah, it's good, it's good.

569
00:24:19,480 --> 00:24:22,040
Speaker 1: It works if it makes you feel good, you know,

570
00:24:23,200 --> 00:24:27,320
Speaker 1: and you know we It probably created a little confusion

571
00:24:27,359 --> 00:24:29,720
Speaker 1: in the early days in terms of what is it?

572
00:24:29,760 --> 00:24:33,840
Speaker 1: Is it Dan plus Yeah, you can more hit records.

573
00:24:33,840 --> 00:24:36,600
Speaker 2: People forget yeah, exactly, and they learn it.

574
00:24:36,600 --> 00:24:39,919
Speaker 3: They forget that they were confused, and they learn it forever.

575
00:24:40,080 --> 00:24:40,520
Speaker 5: That's right.

576
00:24:46,800 --> 00:24:49,320
Speaker 3: I remember talking to John Peaks a little bit when

577
00:24:49,640 --> 00:24:52,840
Speaker 3: I first came to town, who was always super nice

578
00:24:52,880 --> 00:24:54,560
Speaker 3: to me. Who another who was a guy by the way,

579
00:24:54,600 --> 00:24:55,680
Speaker 3: didn't go to dinner with him, and he's not a

580
00:24:55,720 --> 00:24:59,320
Speaker 3: record executive, but he was a guy too whom gonna

581
00:24:59,320 --> 00:25:01,280
Speaker 3: pull me aside, and was it's like, yeah, you're different

582
00:25:01,920 --> 00:25:04,639
Speaker 3: like me, and it ain't gonna be.

583
00:25:04,640 --> 00:25:05,880
Speaker 2: Easy for people like you.

584
00:25:06,840 --> 00:25:09,320
Speaker 3: And here's some stuff that I've been through and again,

585
00:25:09,320 --> 00:25:11,880
Speaker 3: I was so appreciative of that. And I never listen

586
00:25:11,960 --> 00:25:13,560
Speaker 3: to music with people because one it's awkward to just

587
00:25:13,600 --> 00:25:14,440
Speaker 3: nod your head and be.

588
00:25:14,359 --> 00:25:15,959
Speaker 2: Like, yeah, could you always have to act like you

589
00:25:16,040 --> 00:25:17,360
Speaker 2: like it even if you don't, that's right.

590
00:25:17,400 --> 00:25:20,280
Speaker 3: But he played me this artist and he said, you know,

591
00:25:20,359 --> 00:25:23,479
Speaker 3: we're not really doing much with her now, but we

592
00:25:23,520 --> 00:25:24,919
Speaker 3: really believe in her and there's going to be some

593
00:25:25,240 --> 00:25:27,720
Speaker 3: there's gonna be something here when we figure out exactly

594
00:25:27,800 --> 00:25:29,639
Speaker 3: how to do it, because what it is is awesome.

595
00:25:29,840 --> 00:25:32,560
Speaker 3: And he played me Ashley McBride because she's from Arkansas

596
00:25:32,640 --> 00:25:34,919
Speaker 3: like myself, and you kind of use that as a

597
00:25:34,920 --> 00:25:37,560
Speaker 3: conduit to get to playing the music. And what you

598
00:25:37,560 --> 00:25:41,120
Speaker 3: guys have been able to do with Ashley feels very

599
00:25:42,600 --> 00:25:46,760
Speaker 3: strategically awesomely non traditional. How you made her a star

600
00:25:47,760 --> 00:25:53,040
Speaker 3: and to see her be a superstar now is her talent,

601
00:25:53,119 --> 00:25:57,000
Speaker 3: but also you your talent, you guys' talent. To sign

602
00:25:57,040 --> 00:25:59,600
Speaker 3: Ashley McBride and to have a vision for her, I

603
00:25:59,600 --> 00:26:02,359
Speaker 3: imagine there was I don't know what were there A

604
00:26:02,400 --> 00:26:03,800
Speaker 3: lot of meetings like what kind of artist do we

605
00:26:03,840 --> 00:26:04,359
Speaker 3: want her to be?

606
00:26:04,359 --> 00:26:05,639
Speaker 2: Even though she Alreday knows who she is.

607
00:26:06,600 --> 00:26:13,240
Speaker 1: No meetings to have that discussion. I saw Ashley maybe

608
00:26:13,240 --> 00:26:15,920
Speaker 1: six years before we signed her, and there was no

609
00:26:16,080 --> 00:26:19,440
Speaker 1: doubt she was incredibly talented, but.

610
00:26:21,560 --> 00:26:25,639
Speaker 2: Not ready And she admits that too. Why not what

611
00:26:25,680 --> 00:26:28,240
Speaker 2: does that mean? Not ready? Green?

612
00:26:28,680 --> 00:26:33,040
Speaker 1: The songs weren't captivating, the performance was you could tell,

613
00:26:33,359 --> 00:26:34,600
Speaker 1: you know that she could sing.

614
00:26:34,840 --> 00:26:36,600
Speaker 5: She might have been over singing some of it.

615
00:26:36,840 --> 00:26:41,399
Speaker 1: You know, you're young, You're trying to impress, and god,

616
00:26:41,640 --> 00:26:47,520
Speaker 1: I really just can't. Even though I play guitar and

617
00:26:47,640 --> 00:26:50,160
Speaker 1: I played drums and I play in bands, I haven't

618
00:26:50,200 --> 00:26:55,240
Speaker 1: had to audition in front of a bunch of whankers

619
00:26:55,280 --> 00:26:58,720
Speaker 1: from this business. So I can only imagine how people

620
00:26:59,720 --> 00:27:02,240
Speaker 1: can exaggerate.

621
00:27:01,560 --> 00:27:03,320
Speaker 5: To a point where it's kind of distracting.

622
00:27:04,160 --> 00:27:07,879
Speaker 1: But then I saw her about three months before we

623
00:27:07,960 --> 00:27:13,200
Speaker 1: signed her, and I was like, we have to do this,

624
00:27:13,400 --> 00:27:18,320
Speaker 1: and Chris Lacey, the now co president of our label

625
00:27:18,359 --> 00:27:20,359
Speaker 1: and the head of A and R, was one hundred

626
00:27:20,400 --> 00:27:24,399
Speaker 1: percent in agreement. And then everybody wanted to sign her,

627
00:27:24,400 --> 00:27:27,320
Speaker 1: and I got to tell you, I think part of

628
00:27:27,320 --> 00:27:30,680
Speaker 1: why she ended up with us is because she knew

629
00:27:30,680 --> 00:27:32,240
Speaker 1: we weren't going to ask her to do anything but

630
00:27:32,320 --> 00:27:32,920
Speaker 1: be herself.

631
00:27:33,600 --> 00:27:36,360
Speaker 5: I think we have a great reputation in that regard.

632
00:27:37,520 --> 00:27:40,480
Speaker 1: I hear horror stories of people who actually go and

633
00:27:40,600 --> 00:27:44,440
Speaker 1: mix records for artists that the artist didn't even know.

634
00:27:44,400 --> 00:27:46,280
Speaker 5: They were doing. It's like, are you kidding me?

635
00:27:46,640 --> 00:27:51,800
Speaker 1: I'd fire me if that ever happened, but I'll never

636
00:27:51,840 --> 00:27:54,960
Speaker 1: forget for the rest of my life. This will be

637
00:27:55,040 --> 00:27:56,920
Speaker 1: self aggrandizing comment.

638
00:27:57,359 --> 00:27:57,639
Speaker 5: Eight.

639
00:27:57,760 --> 00:28:02,240
Speaker 1: Probably everybody he's trying to sign her and John Pet's

640
00:28:02,280 --> 00:28:03,600
Speaker 1: who I really love.

641
00:28:04,000 --> 00:28:05,359
Speaker 5: That guy is the real deal.

642
00:28:05,400 --> 00:28:11,359
Speaker 1: He's the smartest dude you know, and creative and willing

643
00:28:11,440 --> 00:28:14,119
Speaker 1: to go on non traditional paths with all the artists

644
00:28:14,200 --> 00:28:19,000
Speaker 1: on his roster. He calls me up, I'm in Nantucket.

645
00:28:19,119 --> 00:28:21,840
Speaker 1: He says, I've never done this before, but I want

646
00:28:21,880 --> 00:28:25,439
Speaker 1: you to agree to something, And I said, what's that.

647
00:28:25,480 --> 00:28:29,800
Speaker 1: He goes, Ashley only wants to be with you. Will

648
00:28:29,840 --> 00:28:31,800
Speaker 1: you just promise me you'll give us a fair deal.

649
00:28:32,200 --> 00:28:34,760
Speaker 1: She doesn't want to take another meeting with another record label.

650
00:28:34,800 --> 00:28:37,680
Speaker 1: She's found her home and she's sick of this game,

651
00:28:38,400 --> 00:28:40,680
Speaker 1: and can we just shake that. We're going to work

652
00:28:40,680 --> 00:28:42,760
Speaker 1: out terms everybody will be happy with. And I said,

653
00:28:42,800 --> 00:28:46,320
Speaker 1: I've never done that before either, But yes, I knew

654
00:28:46,400 --> 00:28:50,280
Speaker 1: she would be that important, you know, and I think

655
00:28:50,320 --> 00:28:54,120
Speaker 1: that one of the great things about what we've been

656
00:28:54,160 --> 00:28:56,880
Speaker 1: able to do. Part of it's probably accidental because I

657
00:28:56,920 --> 00:29:01,640
Speaker 1: didn't know about country music. Our roster is very diverse

658
00:29:02,480 --> 00:29:05,400
Speaker 1: because it's filled with people that go from Ingrid Andres,

659
00:29:05,400 --> 00:29:09,600
Speaker 1: which you wouldn't necessarily think why would you sign her

660
00:29:09,640 --> 00:29:12,360
Speaker 1: to a country label, right, or Dan and Shaye.

661
00:29:12,360 --> 00:29:16,120
Speaker 5: They were pretty pops out, you know, were they are.

662
00:29:17,680 --> 00:29:18,320
Speaker 5: They can be.

663
00:29:19,720 --> 00:29:22,560
Speaker 1: Ashley so traditional and there was nothing that we had

664
00:29:22,600 --> 00:29:26,160
Speaker 1: in the twelve songs that were album one that we

665
00:29:26,240 --> 00:29:30,960
Speaker 1: thought no brainer to get played on country radio. But boy,

666
00:29:31,960 --> 00:29:34,720
Speaker 1: once people got to hear her and got to experience

667
00:29:34,760 --> 00:29:37,360
Speaker 1: it live, it was going to become a thing.

668
00:29:38,040 --> 00:29:39,760
Speaker 5: And we have to have the patients.

669
00:29:40,200 --> 00:29:42,640
Speaker 1: Now with that comes you have to have Blake Shelton's

670
00:29:42,640 --> 00:29:45,960
Speaker 1: and Kenny Chesney's and Dan and Shay's and Brett Eldridge

671
00:29:46,000 --> 00:29:51,640
Speaker 1: and others producing millions. For me, the joy is the

672
00:29:51,680 --> 00:29:53,840
Speaker 1: success they can all have. But getting to play in

673
00:29:53,920 --> 00:29:59,120
Speaker 1: sandboxes with people like Abrienna right and know that you

674
00:29:59,160 --> 00:30:02,800
Speaker 1: can be changing lives, you know, by taking a risk

675
00:30:02,880 --> 00:30:06,680
Speaker 1: on somebody who skirts the edge of whatever people might

676
00:30:06,760 --> 00:30:09,840
Speaker 1: call country music. But it's important music now.

677
00:30:09,920 --> 00:30:11,760
Speaker 2: Zach Brian is with you, guys.

678
00:30:11,840 --> 00:30:16,320
Speaker 3: Yeah, when you sign somebody that has in the last

679
00:30:16,400 --> 00:30:18,680
Speaker 3: couple of years that has grown so much because of

680
00:30:18,960 --> 00:30:21,120
Speaker 3: the virility, like TikTok, they blow up? Is that a

681
00:30:21,120 --> 00:30:23,719
Speaker 3: whole different negotiation? How did that come together? Are these

682
00:30:23,800 --> 00:30:25,520
Speaker 3: artists that blow up? Or is it different to negotiate

683
00:30:25,520 --> 00:30:27,360
Speaker 3: with them than someone who you just know is going

684
00:30:27,400 --> 00:30:29,520
Speaker 3: to be good playing a showcase somewhere?

685
00:30:30,400 --> 00:30:35,600
Speaker 1: Well, I dare say, as a generalization which I tend

686
00:30:35,640 --> 00:30:40,320
Speaker 1: to hate, the rules of engagement have changed so very

687
00:30:40,400 --> 00:30:45,200
Speaker 1: much in a very short period of time, I would say,

688
00:30:46,280 --> 00:30:52,720
Speaker 1: and they're changing ever right now, right before us, but

689
00:30:53,680 --> 00:30:59,400
Speaker 1: maybe go back two years.

690
00:30:57,320 --> 00:31:00,000
Speaker 5: It was for the first bunch of years before.

691
00:31:00,120 --> 00:31:03,760
Speaker 1: For that, Hey, I only want to sign with you

692
00:31:03,760 --> 00:31:05,880
Speaker 1: if you tell me when the radio ad date is

693
00:31:06,920 --> 00:31:09,360
Speaker 1: now it is. Tell me how you're going to bring

694
00:31:10,080 --> 00:31:15,320
Speaker 1: the story of my artist to the world, you know,

695
00:31:15,360 --> 00:31:19,000
Speaker 1: I dare say, And I tell you your buddy Rod

696
00:31:19,000 --> 00:31:23,000
Speaker 1: Phillips this all the time radio by getting records to

697
00:31:23,040 --> 00:31:25,840
Speaker 1: take a year to get up the chart is hurting

698
00:31:25,920 --> 00:31:30,160
Speaker 1: itself because people need discovery. But it's forced a lot

699
00:31:30,400 --> 00:31:34,920
Speaker 1: of looking at and it's not just streaming. Although streaming

700
00:31:35,000 --> 00:31:37,400
Speaker 1: is a lot of fun when you happen to get

701
00:31:37,400 --> 00:31:42,760
Speaker 1: that joy early on, but just ways to get a

702
00:31:42,880 --> 00:31:47,600
Speaker 1: story told through various social media places, and hopefully the

703
00:31:47,680 --> 00:31:55,720
Speaker 1: result of getting some streaming early on has become the day,

704
00:31:55,840 --> 00:32:00,560
Speaker 1: you know. And I swear to God, I don't don't

705
00:32:01,520 --> 00:32:04,200
Speaker 1: go after that in the name of being in lieu

706
00:32:04,200 --> 00:32:07,200
Speaker 1: of radio, because the big win is when you get

707
00:32:07,240 --> 00:32:10,520
Speaker 1: to the top twenty at radio and everything's you know,

708
00:32:10,920 --> 00:32:14,560
Speaker 1: it tends to be smoking along in terms of how

709
00:32:14,640 --> 00:32:18,160
Speaker 1: much consumption. There is a word that Kenny Chesney hates.

710
00:32:18,320 --> 00:32:21,440
Speaker 1: I think he's kind of come around to understand that

711
00:32:21,440 --> 00:32:24,480
Speaker 1: that is some weird part of our vernacular.

712
00:32:24,600 --> 00:32:27,120
Speaker 5: Now I kind of hate it too. I hate product. Yeah,

713
00:32:27,160 --> 00:32:28,400
Speaker 5: I never call it product.

714
00:32:28,760 --> 00:32:32,440
Speaker 1: But anyhow, my long winded way of saying, so, now

715
00:32:32,920 --> 00:32:37,120
Speaker 1: artists are coming in and with a story like Zach Bryan,

716
00:32:37,800 --> 00:32:42,120
Speaker 1: they have negotiating power that's very different than the one

717
00:32:42,120 --> 00:32:44,680
Speaker 1: who's begging you to come see them in the club,

718
00:32:45,080 --> 00:32:49,720
Speaker 1: and they haven't built a following, you know. And do

719
00:32:49,760 --> 00:32:51,680
Speaker 1: I think that'll become more mainstay?

720
00:32:52,360 --> 00:32:53,000
Speaker 5: Yeah?

721
00:32:53,040 --> 00:32:57,640
Speaker 1: Do I think it becomes. It goes from probably five

722
00:32:57,720 --> 00:33:01,000
Speaker 1: percent of what gets signed to fifty percent. No, but

723
00:33:01,040 --> 00:33:03,640
Speaker 1: it's going to be probably closer to thirty or forty percent.

724
00:33:04,160 --> 00:33:06,640
Speaker 1: You know, there's still going to be things like hey,

725
00:33:07,920 --> 00:33:11,840
Speaker 1: Bailey Zimmerman, who I loved when you know, folks, Bobby

726
00:33:12,000 --> 00:33:14,760
Speaker 1: will just every once in a while text me and say, hey,

727
00:33:15,280 --> 00:33:16,720
Speaker 1: I just met with this artist.

728
00:33:16,920 --> 00:33:20,840
Speaker 5: I think they're the real deal, right question mark?

729
00:33:22,720 --> 00:33:25,200
Speaker 2: Because I know that you will even if they're your person.

730
00:33:25,520 --> 00:33:27,000
Speaker 3: I know that you'll still be honest with me and

731
00:33:27,000 --> 00:33:29,280
Speaker 3: go like they haven't they have the real potential to

732
00:33:29,280 --> 00:33:29,760
Speaker 3: be the real deal.

733
00:33:29,840 --> 00:33:31,840
Speaker 2: Or you'll go like, yep, they sure are. No, You'll

734
00:33:31,840 --> 00:33:34,000
Speaker 2: be honest with me, And that's what I said.

735
00:33:35,160 --> 00:33:35,960
Speaker 5: I always will.

736
00:33:36,560 --> 00:33:39,640
Speaker 1: And I was thinking to myself, well, here's a guy

737
00:33:39,680 --> 00:33:42,280
Speaker 1: working on a pipeline two years ago, never picked up

738
00:33:42,320 --> 00:33:46,280
Speaker 1: a guitar and saying, boy, he has a way of.

739
00:33:46,560 --> 00:33:47,719
Speaker 2: Connecting with people.

740
00:33:49,080 --> 00:33:51,320
Speaker 1: He was kind of in between the Zach Brian building

741
00:33:51,320 --> 00:33:56,840
Speaker 1: an audience over a period of time and the artist

742
00:33:56,920 --> 00:33:59,120
Speaker 1: who you know has one song and you're hoping you

743
00:33:59,440 --> 00:34:01,560
Speaker 1: bet on the right song. But I do think that

744
00:34:01,560 --> 00:34:04,200
Speaker 1: we're going to get more and more people trying to

745
00:34:05,400 --> 00:34:09,680
Speaker 1: create a story that becomes compelling. It makes it easier

746
00:34:09,680 --> 00:34:12,319
Speaker 1: for the manager and lawyers when they come knock on

747
00:34:12,320 --> 00:34:15,719
Speaker 1: our doors, you know, And you know I have a

748
00:34:16,480 --> 00:34:18,600
Speaker 1: I don't mind being held up if I believe there's

749
00:34:18,600 --> 00:34:20,719
Speaker 1: a long term there.

750
00:34:21,080 --> 00:34:22,799
Speaker 3: I was talking to Rod. I kind of cornered him

751
00:34:22,800 --> 00:34:24,400
Speaker 3: on the air. I later apologized to him because I

752
00:34:24,440 --> 00:34:26,520
Speaker 3: didn't mean to do it. But if we're on and

753
00:34:26,520 --> 00:34:29,520
Speaker 3: I'm doing the show, I just follow instinct and then

754
00:34:29,560 --> 00:34:31,879
Speaker 3: apologize later. If we're live, you know, that's the deal.

755
00:34:32,200 --> 00:34:33,560
Speaker 3: And he was walking by and I see him and

756
00:34:33,560 --> 00:34:34,400
Speaker 3: I say, hey, Rod, come up.

757
00:34:34,600 --> 00:34:35,719
Speaker 2: And I've talked to him about.

758
00:34:35,480 --> 00:34:37,960
Speaker 3: A couple of things, and I say, hey, why what's

759
00:34:37,960 --> 00:34:38,719
Speaker 3: the deal with Zach Bryan?

760
00:34:38,719 --> 00:34:40,960
Speaker 2: Why are we not playing them? More like we can't

761
00:34:40,960 --> 00:34:42,399
Speaker 2: get enough? I said.

762
00:34:42,440 --> 00:34:44,680
Speaker 3: And I understand it's different. I'mant a nationally syndicated show.

763
00:34:44,880 --> 00:34:47,040
Speaker 3: They don't just go Will and Alient those songs into that.

764
00:34:47,040 --> 00:34:50,000
Speaker 3: But I'm talking about it just generally, like why aren't

765
00:34:50,000 --> 00:34:53,760
Speaker 3: we And he goes, listen, I love him too. It

766
00:34:53,760 --> 00:34:56,120
Speaker 3: doesn't sound like what everything else sounds. So we're like

767
00:34:56,160 --> 00:34:58,560
Speaker 3: playing it in certain places to make sure and I'm.

768
00:34:58,440 --> 00:35:01,160
Speaker 2: Just like, he just go it's awesome and.

769
00:35:01,600 --> 00:35:02,359
Speaker 5: Do it right.

770
00:35:02,520 --> 00:35:03,880
Speaker 3: And I kind of got him into trouble because the

771
00:35:03,920 --> 00:35:05,839
Speaker 3: people start attacking him, which I didn't mean to do,

772
00:35:05,920 --> 00:35:07,880
Speaker 3: but I was just saying how I felt. And he

773
00:35:07,920 --> 00:35:09,120
Speaker 3: was like, don't apologize.

774
00:35:09,200 --> 00:35:09,920
Speaker 2: You do what you do.

775
00:35:10,360 --> 00:35:13,000
Speaker 3: That's what you do on the air, and I'll do

776
00:35:13,360 --> 00:35:15,879
Speaker 3: and I'm cool to have to stand by something even

777
00:35:15,880 --> 00:35:17,799
Speaker 3: if I personally don't agree with this is what he said.

778
00:35:17,920 --> 00:35:20,000
Speaker 3: He goes, I love Zach Bryan and I would play

779
00:35:20,080 --> 00:35:21,880
Speaker 3: him on every station all the time. But if I

780
00:35:21,920 --> 00:35:26,000
Speaker 3: do that, and he went down this executive talk that

781
00:35:26,080 --> 00:35:28,400
Speaker 3: he has to report to his ball right. So that

782
00:35:28,440 --> 00:35:29,840
Speaker 3: being said, did that ever get back to that I

783
00:35:29,880 --> 00:35:31,879
Speaker 3: was fighting with Rod about Zach Brown on the air.

784
00:35:32,719 --> 00:35:41,040
Speaker 1: No, that's probably because I'm too distracted in life, period.

785
00:35:41,160 --> 00:35:46,680
Speaker 1: But I understand the notion. This is an odd retort

786
00:35:46,800 --> 00:35:49,600
Speaker 1: or response to your question. I was with a radio

787
00:35:49,640 --> 00:35:52,440
Speaker 1: programmer in Pittsburgh. I happened to go to Pittsburgh a

788
00:35:52,480 --> 00:35:57,359
Speaker 1: lot because I like my hometown. And he goes, are

789
00:35:57,400 --> 00:36:01,239
Speaker 1: you guys releasing Zach Brian now to purposely piss all

790
00:36:01,280 --> 00:36:04,080
Speaker 1: of us people off who've been playing him for months

791
00:36:04,520 --> 00:36:06,200
Speaker 1: and now we've played him too many times?

792
00:36:06,280 --> 00:36:08,440
Speaker 5: And I said, only if.

793
00:36:08,280 --> 00:36:11,880
Speaker 1: We were that smart, you know, No, we didn't know

794
00:36:11,920 --> 00:36:14,399
Speaker 1: whether anybody would ever want it. And then we kept

795
00:36:14,400 --> 00:36:17,120
Speaker 1: seeing you all who were playing this in these because

796
00:36:17,160 --> 00:36:18,279
Speaker 1: we were playing in the morning show.

797
00:36:18,320 --> 00:36:19,399
Speaker 2: I was playing them too in the morning show.

798
00:36:19,480 --> 00:36:23,200
Speaker 1: Yeah, and you'd get spins in these i mean streams

799
00:36:23,239 --> 00:36:25,200
Speaker 1: in these markets that were off the hook, and it

800
00:36:25,320 --> 00:36:29,200
Speaker 1: was like, okay, even us geniuses should not overthink this

801
00:36:29,280 --> 00:36:31,719
Speaker 1: and just put the damn record out and look what

802
00:36:31,800 --> 00:36:32,239
Speaker 1: it's doing.

803
00:36:32,280 --> 00:36:35,760
Speaker 5: It's been the top stream song in country music.

804
00:36:36,160 --> 00:36:38,759
Speaker 1: I think it's in its twelfth week or something like that,

805
00:36:39,200 --> 00:36:43,560
Speaker 1: and it's probably in the radio chart somewhere in the

806
00:36:43,640 --> 00:36:45,480
Speaker 1: high twenties, I think is where we've reached it.

807
00:36:45,600 --> 00:36:48,920
Speaker 3: Now, we're now it's sarting to really have some balls,

808
00:36:48,960 --> 00:36:51,920
Speaker 3: you know, as far as people have to pay attention

809
00:36:51,960 --> 00:36:55,640
Speaker 3: to it, because it's climbing so high that it says, hello,

810
00:36:55,640 --> 00:36:55,920
Speaker 3: I'm here.

811
00:36:55,920 --> 00:36:59,800
Speaker 2: You didn't play me, because if you don't, you're real. Iurility.

812
00:37:00,400 --> 00:37:11,480
Speaker 2: We'll be right back. Welcome back to the Bobby Cast.

813
00:37:12,520 --> 00:37:15,319
Speaker 3: Legendary producer Dan Huff talks about what a producer does

814
00:37:15,440 --> 00:37:17,560
Speaker 3: when it comes to making an album and the various

815
00:37:17,600 --> 00:37:20,840
Speaker 3: albums that he produced. All Right, so you work in

816
00:37:20,920 --> 00:37:23,680
Speaker 3: Lone Star and that's the that was the one where

817
00:37:23,680 --> 00:37:25,839
Speaker 3: at least you said, hey, here's my resume, and it's

818
00:37:25,920 --> 00:37:28,000
Speaker 3: quite big now because I did the Lone Star record.

819
00:37:28,360 --> 00:37:30,000
Speaker 3: How many songs on the Lone Star records you do?

820
00:37:30,000 --> 00:37:30,640
Speaker 3: Are you all of it?

821
00:37:30,760 --> 00:37:30,920
Speaker 2: Yeah?

822
00:37:30,960 --> 00:37:33,520
Speaker 10: That was? That was that record. I can't remember the

823
00:37:33,960 --> 00:37:36,200
Speaker 10: Lonely Grill. It was a record and there's a bunch

824
00:37:36,239 --> 00:37:36,880
Speaker 10: of hits off that.

825
00:37:36,920 --> 00:37:40,040
Speaker 3: James so to a producer because we moved into the

826
00:37:40,040 --> 00:37:43,520
Speaker 3: producer part. For my listeners that don't know exactly what

827
00:37:43,560 --> 00:37:46,120
Speaker 3: a producer does, because luckily I do, and I didn't

828
00:37:46,239 --> 00:37:48,480
Speaker 3: until I started going into the studio myself and seeing

829
00:37:49,080 --> 00:37:52,000
Speaker 3: the producer pretty much does has to hear and see everything.

830
00:37:52,640 --> 00:37:56,040
Speaker 3: So now you're not just playing guitar, you're listening, You're

831
00:37:56,080 --> 00:37:58,600
Speaker 3: putting keys on things like what is in your mind?

832
00:37:58,760 --> 00:37:59,920
Speaker 3: How would you describe a record?

833
00:38:01,600 --> 00:38:05,160
Speaker 10: But it's the person that gets it done. I mean,

834
00:38:05,400 --> 00:38:07,320
Speaker 10: there's no set way to do it. I mean I

835
00:38:07,400 --> 00:38:09,839
Speaker 10: worked for great producers who were not musicians, even who

836
00:38:09,960 --> 00:38:13,320
Speaker 10: you couldn't talk in terms of musical language. They couldn't

837
00:38:13,320 --> 00:38:14,719
Speaker 10: tell you which chord to player or whatever, but they

838
00:38:14,760 --> 00:38:17,960
Speaker 10: knew how to put teams together. I'm obviously a musician,

839
00:38:18,480 --> 00:38:20,840
Speaker 10: so it's kind of like being a player coach, you know,

840
00:38:20,880 --> 00:38:23,560
Speaker 10: that type of thing, and it helps me cast. I'm

841
00:38:23,560 --> 00:38:25,799
Speaker 10: a real believer in casting. You know, you don't put

842
00:38:25,880 --> 00:38:29,120
Speaker 10: I learned probably more about how to produce by by

843
00:38:29,160 --> 00:38:32,560
Speaker 10: working with producers who who you know, I was on

844
00:38:32,600 --> 00:38:34,440
Speaker 10: the receiving end of some of their mistakes. You know,

845
00:38:34,480 --> 00:38:37,479
Speaker 10: you get somebody cast who's not the right person to play,

846
00:38:37,600 --> 00:38:40,320
Speaker 10: and you're kind of, you know, pistol whipping him into

847
00:38:40,560 --> 00:38:42,480
Speaker 10: into doing something that he doesn't know how to do.

848
00:38:42,960 --> 00:38:44,680
Speaker 10: You don't do that, you know, you you play to

849
00:38:44,719 --> 00:38:49,680
Speaker 10: people's strengths, and and so knowing who does what and

850
00:38:49,719 --> 00:38:51,879
Speaker 10: who does what really well is a good is a good?

851
00:38:52,080 --> 00:38:54,040
Speaker 10: You know, leg up in it, and I know how

852
00:38:54,040 --> 00:38:56,120
Speaker 10: to communicate. I usually don't like to play guitar well

853
00:38:56,200 --> 00:38:58,640
Speaker 10: i'm producing. I usually do it after the fact and

854
00:38:59,520 --> 00:39:02,640
Speaker 10: in the over dubstish scenario, just because it's hard to

855
00:39:02,800 --> 00:39:04,520
Speaker 10: when I've sitting and play guitar. I'm a guitar player.

856
00:39:04,560 --> 00:39:06,279
Speaker 10: I can't help. But I just that's that's kind of

857
00:39:06,280 --> 00:39:09,239
Speaker 10: what who I am. When when, and sometimes I will

858
00:39:09,280 --> 00:39:11,120
Speaker 10: do it. But but you try to listen to the

859
00:39:11,120 --> 00:39:14,239
Speaker 10: big picture. You're you're supposed to be listening to that

860
00:39:14,320 --> 00:39:18,040
Speaker 10: relationship between the artist, that song and the band. So

861
00:39:18,120 --> 00:39:20,440
Speaker 10: that's the big picture, and then what kind of manucia

862
00:39:20,560 --> 00:39:23,480
Speaker 10: you get into is kind of dependent on, you know,

863
00:39:23,520 --> 00:39:26,880
Speaker 10: your ability and your interest in Some producers get you know,

864
00:39:26,920 --> 00:39:28,480
Speaker 10: get you know, put on the gloves and get way

865
00:39:28,520 --> 00:39:31,680
Speaker 10: down deep into it. Some producers hire that out, you know,

866
00:39:31,719 --> 00:39:33,319
Speaker 10: and there's no right or wrong way of doing it.

867
00:39:33,360 --> 00:39:35,799
Speaker 10: But in the end, does it work. That's what the

868
00:39:35,840 --> 00:39:37,360
Speaker 10: record companies care about.

869
00:39:37,600 --> 00:39:39,960
Speaker 3: My question, I guess is And so I go back

870
00:39:39,960 --> 00:39:43,480
Speaker 3: to like the Beach Boys, for example, whenever Brian Wilson

871
00:39:43,480 --> 00:39:46,560
Speaker 3: would produce the Beach Boys, the band would go on

872
00:39:46,680 --> 00:39:49,920
Speaker 3: tour and he and he would have all this stuff

873
00:39:49,960 --> 00:39:52,200
Speaker 3: ready for them, and you know, the Wrecking Crew. I mean,

874
00:39:52,719 --> 00:39:55,839
Speaker 3: all those guys were playing the band wasn't really playing

875
00:39:56,200 --> 00:39:58,200
Speaker 3: the records, but then they would go out on tour

876
00:39:58,239 --> 00:40:00,799
Speaker 3: and play all the songs. Now, as a producer, are

877
00:40:00,800 --> 00:40:03,240
Speaker 3: there times where you're like, you know what, I'm producing

878
00:40:03,239 --> 00:40:05,680
Speaker 3: a band, but to really get a good record, I

879
00:40:05,680 --> 00:40:08,040
Speaker 3: need to get players in here and not the actual band.

880
00:40:08,120 --> 00:40:09,120
Speaker 2: Is that ever awkward?

881
00:40:09,400 --> 00:40:12,960
Speaker 10: Oh, it's always awkward, especially if the band in Nashville,

882
00:40:13,000 --> 00:40:17,280
Speaker 10: we set up a little bit differently. Historically, it's always

883
00:40:17,320 --> 00:40:19,239
Speaker 10: been I think its town has been more of an

884
00:40:19,280 --> 00:40:22,320
Speaker 10: extension of publishing. And that's the way the record business,

885
00:40:22,320 --> 00:40:25,480
Speaker 10: that's my view of it. Touring is a separate entity,

886
00:40:25,680 --> 00:40:28,239
Speaker 10: you know. And and so it was, you know, the

887
00:40:28,360 --> 00:40:30,560
Speaker 10: artists would come in with the producers, with their players,

888
00:40:30,560 --> 00:40:34,160
Speaker 10: the studio players. They would do that record we cut.

889
00:40:34,360 --> 00:40:36,320
Speaker 10: The artists went on did their thing with their bands,

890
00:40:36,440 --> 00:40:38,920
Speaker 10: and neverthe did the two kind of intertwined, you know

891
00:40:38,960 --> 00:40:41,560
Speaker 10: what about a band though, That's that's where now all

892
00:40:41,560 --> 00:40:45,239
Speaker 10: of a sudden fast forward, you know. Yeah, there are

893
00:40:45,320 --> 00:40:47,880
Speaker 10: artists who who is like, I want my sound. I

894
00:40:47,880 --> 00:40:50,440
Speaker 10: don't want to sound like the last record it's and

895
00:40:50,480 --> 00:40:52,440
Speaker 10: that's really tough to do because you get these musicians

896
00:40:53,160 --> 00:40:55,960
Speaker 10: the songs, I mean, pop music, pop country, it's all.

897
00:40:56,000 --> 00:40:59,640
Speaker 10: It's it's still a pretty narrow tunnel to go through, right,

898
00:40:59,680 --> 00:41:03,640
Speaker 10: There's it's just the pop music in general, the same musicians,

899
00:41:03,680 --> 00:41:06,600
Speaker 10: the same songs ish, right, and it's going to kind

900
00:41:06,600 --> 00:41:09,200
Speaker 10: of sound the same. So these artists have a real

901
00:41:09,560 --> 00:41:12,879
Speaker 10: reason to say I want my people. There's the rub

902
00:41:12,920 --> 00:41:18,239
Speaker 10: because sometimes there it's dependent on time ability, you know,

903
00:41:18,320 --> 00:41:20,319
Speaker 10: just because you can play what's on the record doesn't

904
00:41:20,320 --> 00:41:23,640
Speaker 10: mean you can create it, play in time and be

905
00:41:23,719 --> 00:41:26,000
Speaker 10: able to move on a moment's notice. So there's always

906
00:41:26,000 --> 00:41:30,640
Speaker 10: some negotiation there. As a producer, I prefer having band

907
00:41:30,640 --> 00:41:33,839
Speaker 10: members from the touring crews come in because I think that,

908
00:41:33,880 --> 00:41:36,040
Speaker 10: even though it takes a little bit longer, sometimes I

909
00:41:36,040 --> 00:41:37,760
Speaker 10: think that gives it a little more identity.

910
00:41:38,120 --> 00:41:39,600
Speaker 3: And now I never ask you a name anyone, but

911
00:41:39,600 --> 00:41:42,040
Speaker 3: as there have been a situation where a whole band

912
00:41:42,080 --> 00:41:43,279
Speaker 3: that we would know as a band where the lead

913
00:41:43,280 --> 00:41:45,239
Speaker 3: singer was the only because the band just didn't have

914
00:41:45,280 --> 00:41:47,439
Speaker 3: the jobs, but the lead singer saying and the rest

915
00:41:47,480 --> 00:41:50,600
Speaker 3: of the guys are studio players. Oh yeah, Oh that's

916
00:41:50,600 --> 00:41:52,839
Speaker 3: a comment. That's really a comment thing, even though that's

917
00:41:52,880 --> 00:41:54,279
Speaker 3: the the real band like that.

918
00:41:54,480 --> 00:41:56,880
Speaker 10: Absolutely, yeah, I mean, you know, and it's just and

919
00:41:56,960 --> 00:42:00,919
Speaker 10: again it you know, I understand some were I mean again,

920
00:42:00,960 --> 00:42:02,960
Speaker 10: I've worn both hats. I've been a player on these

921
00:42:02,960 --> 00:42:06,560
Speaker 10: things before. I used to uh, the first two records

922
00:42:06,560 --> 00:42:09,400
Speaker 10: of Rascal Flats, I played guitar on those records. I

923
00:42:09,440 --> 00:42:11,080
Speaker 10: was one of the you know, Joe Don Rooney's a

924
00:42:11,080 --> 00:42:16,600
Speaker 10: great guitar player. And the first song that we did, yeah,

925
00:42:16,840 --> 00:42:20,000
Speaker 10: that was my first song that I produced him and

926
00:42:20,000 --> 00:42:23,880
Speaker 10: and and Martin Bright Marty Williams produced the first two records.

927
00:42:23,920 --> 00:42:26,239
Speaker 10: They were great that God bless the broken rode on it.

928
00:42:26,280 --> 00:42:28,440
Speaker 10: I mean, this is great stuff. It was more studio

929
00:42:28,480 --> 00:42:30,279
Speaker 10: players that I think Jay played a little bit on

930
00:42:30,280 --> 00:42:30,760
Speaker 10: those records.

931
00:42:30,760 --> 00:42:31,680
Speaker 11: He may played a little bit more.

932
00:42:31,800 --> 00:42:34,920
Speaker 10: I probably, you know, I probably don't have all my research,

933
00:42:35,000 --> 00:42:37,440
Speaker 10: but I remember that we were all in there playing

934
00:42:37,440 --> 00:42:39,839
Speaker 10: and I kept looking at Joe Don, did you need

935
00:42:39,880 --> 00:42:43,080
Speaker 10: to play these things? And so when they decided to

936
00:42:43,080 --> 00:42:46,040
Speaker 10: make a change and they called me, that was that

937
00:42:46,120 --> 00:42:48,359
Speaker 10: was the big thing. You know, I got Joe Don

938
00:42:48,680 --> 00:42:50,600
Speaker 10: playing all that stuff. I mean, that's that's him. Now,

939
00:42:50,680 --> 00:42:52,600
Speaker 10: some of the rhythm parts I played or or I

940
00:42:52,600 --> 00:42:54,960
Speaker 10: would hire that out, but he was always there playing

941
00:42:55,000 --> 00:42:56,160
Speaker 10: all the solos were Joe Don.

942
00:42:56,200 --> 00:42:56,880
Speaker 11: From that moment on.

943
00:42:57,239 --> 00:42:59,240
Speaker 2: Those guys pretty proficient all the way around.

944
00:42:59,440 --> 00:43:02,480
Speaker 10: Absolutely, He's a great bassa. Jay's a great musician period.

945
00:43:02,800 --> 00:43:05,080
Speaker 10: I mean there's only three of them, so and I

946
00:43:05,120 --> 00:43:07,880
Speaker 10: think now, I mean I still used other studio players.

947
00:43:07,920 --> 00:43:09,719
Speaker 10: I mean, you know, I mean I didn't use their

948
00:43:09,800 --> 00:43:12,719
Speaker 10: road crew, and and and to their credit, Jay who

949
00:43:12,800 --> 00:43:15,400
Speaker 10: is producing their records now and they're great, really good records.

950
00:43:15,560 --> 00:43:17,759
Speaker 10: I think he's using I know he's using Jim Riley,

951
00:43:17,800 --> 00:43:19,839
Speaker 10: their drummer, who's a great drummer. So, you know, I mean,

952
00:43:19,960 --> 00:43:24,080
Speaker 10: producers get you know, you get comfortable. They expect you

953
00:43:24,120 --> 00:43:27,080
Speaker 10: to deliver the record label and the band actually expects

954
00:43:27,080 --> 00:43:29,000
Speaker 10: you to deliver. As long as you're having hits, you're

955
00:43:29,040 --> 00:43:32,239
Speaker 10: in right. So so there is that I think you said,

956
00:43:32,320 --> 00:43:34,360
Speaker 10: it's it's just awkward and uncomfortable and you kind of

957
00:43:34,400 --> 00:43:35,680
Speaker 10: got to navigate.

958
00:43:35,280 --> 00:43:37,600
Speaker 11: Those those those situations, kind.

959
00:43:37,480 --> 00:43:39,959
Speaker 3: Of those that were only being three guys. But those

960
00:43:40,040 --> 00:43:42,279
Speaker 3: three guys can play. Yeah, well Gary doesn't play, I

961
00:43:42,280 --> 00:43:44,040
Speaker 3: mean he sings well, but you can play that voice.

962
00:43:44,080 --> 00:43:44,960
Speaker 3: He plays that voice.

963
00:43:45,040 --> 00:43:46,560
Speaker 2: Yeah, yeah, play at all.

964
00:43:46,680 --> 00:43:48,399
Speaker 11: Yeah, that was I do have a great story about

965
00:43:48,440 --> 00:43:48,719
Speaker 11: that song.

966
00:43:48,880 --> 00:43:50,719
Speaker 10: This is and I don't think they will mind me

967
00:43:50,840 --> 00:43:52,640
Speaker 10: telling this story, but that's this is a great story,

968
00:43:52,760 --> 00:43:53,960
Speaker 10: and this is just this is just.

969
00:43:54,520 --> 00:43:57,200
Speaker 11: The beauty and the recklessness and craziness of these guys.

970
00:43:57,200 --> 00:43:57,400
Speaker 5: You know.

971
00:43:57,840 --> 00:44:01,319
Speaker 10: So I think the first song that I did with them,

972
00:44:01,320 --> 00:44:03,960
Speaker 10: when when they said they're going to make a producer change,

973
00:44:04,080 --> 00:44:07,279
Speaker 10: it was I think we recorded the song life is

974
00:44:07,280 --> 00:44:09,839
Speaker 10: a Highway for that car cards yeah, so it's great

975
00:44:09,840 --> 00:44:11,279
Speaker 10: and everybody's in there. We did that and it was

976
00:44:11,480 --> 00:44:13,200
Speaker 10: you know, it was like we really nailed it. I mean,

977
00:44:13,280 --> 00:44:16,359
Speaker 10: doing a cover song sometimes scary anyway, so it wasn't

978
00:44:16,360 --> 00:44:18,000
Speaker 10: going to be. Well in a month and a half,

979
00:44:18,239 --> 00:44:20,120
Speaker 10: we're going to start the record and it was great

980
00:44:20,120 --> 00:44:22,600
Speaker 10: and you know, very loose, and the guys are touring

981
00:44:22,640 --> 00:44:24,680
Speaker 10: all the time. So we show up in the studio

982
00:44:24,920 --> 00:44:27,560
Speaker 10: and h this is out in Franklin and we're gonna

983
00:44:27,560 --> 00:44:29,960
Speaker 10: cut what hurts the most that night. Right, So we

984
00:44:29,960 --> 00:44:31,560
Speaker 10: show up and I think it's we're gonna start at

985
00:44:31,560 --> 00:44:36,279
Speaker 10: seven o'clock and it's about eight o'clock and I asked Jay,

986
00:44:36,280 --> 00:44:38,000
Speaker 10: I said, hey, so when's Gary going to show up?

987
00:44:38,800 --> 00:44:41,920
Speaker 10: And just without missing a beat, Jay goes, oh.

988
00:44:41,800 --> 00:44:46,040
Speaker 11: He's not coming, so huh. He said, no, he's hunting.

989
00:44:46,080 --> 00:44:47,520
Speaker 11: This is this is whatever season.

990
00:44:48,400 --> 00:44:50,440
Speaker 10: I don't know when you shoot right now, right, you know,

991
00:44:50,880 --> 00:44:53,359
Speaker 10: but there is there is a kind of a season, right,

992
00:44:53,760 --> 00:44:55,839
Speaker 10: And he acted like, you know, well, Dot, I mean,

993
00:44:55,880 --> 00:44:58,120
Speaker 10: everybody knows that Gary's not going to show up during

994
00:44:58,280 --> 00:45:00,560
Speaker 10: hunting season. And I'm sitting there going, well, I didn't

995
00:45:00,560 --> 00:45:03,000
Speaker 10: get the memo. I mean, I'm assuming that we need

996
00:45:03,040 --> 00:45:06,200
Speaker 10: a singer to sing this song that we've never you

997
00:45:06,239 --> 00:45:09,560
Speaker 10: guys never and jaycobs Holme hit a key, he goes

998
00:45:11,120 --> 00:45:14,480
Speaker 10: about that key that'll be about Rastbull Jerry Gary sings

999
00:45:14,520 --> 00:45:15,080
Speaker 10: and that was it.

1000
00:45:15,120 --> 00:45:19,040
Speaker 11: So we we just cut the track. Is that bizarre?

1001
00:45:19,080 --> 00:45:19,920
Speaker 2: And of course.

1002
00:45:19,760 --> 00:45:21,360
Speaker 3: That's some funny about Gary because Gary lives in the

1003
00:45:21,360 --> 00:45:22,880
Speaker 3: wood when Gary's not in the woods. Like I know

1004
00:45:22,920 --> 00:45:24,640
Speaker 3: that about Gary now, Like Gary lives in the woods

1005
00:45:24,640 --> 00:45:25,480
Speaker 3: when he's not in the wood.

1006
00:45:25,640 --> 00:45:28,759
Speaker 10: He's unapologetically and you know that's his right, that's what

1007
00:45:28,800 --> 00:45:29,719
Speaker 10: it's sacred for him.

1008
00:45:29,760 --> 00:45:30,319
Speaker 11: I get it.

1009
00:45:30,400 --> 00:45:32,520
Speaker 3: I was a little thrown off at first, but you know,

1010
00:45:32,600 --> 00:45:34,320
Speaker 3: because you're producing a record without a singer.

1011
00:45:34,560 --> 00:45:36,520
Speaker 10: Well yeah, the first yeah, you'd think you know, but

1012
00:45:36,920 --> 00:45:38,759
Speaker 10: now there was presidents because I mentioned I used to

1013
00:45:38,760 --> 00:45:41,440
Speaker 10: play on records without singer, so okay, we can do this.

1014
00:45:41,560 --> 00:45:44,200
Speaker 10: But it just it took me about fifteen minutes to

1015
00:45:44,239 --> 00:45:47,080
Speaker 10: get my head kind of when does Gary show up

1016
00:45:47,120 --> 00:45:51,560
Speaker 10: to do the vocals? Then whenever he wanted to, whatever

1017
00:45:51,680 --> 00:45:54,359
Speaker 10: wasn't hunting season, you know, I mean, he would come

1018
00:45:54,360 --> 00:45:56,880
Speaker 10: in and he'd just come over to the house and

1019
00:45:56,880 --> 00:45:59,920
Speaker 10: and you know, you know, he get it. Have his

1020
00:46:00,080 --> 00:46:02,120
Speaker 10: You and tobacco, you know, point me in the direction

1021
00:46:02,200 --> 00:46:03,960
Speaker 10: and he just go in there and whale and you know,

1022
00:46:04,120 --> 00:46:11,280
Speaker 10: just does what he does. He's he's he's beautifully naive

1023
00:46:11,400 --> 00:46:14,080
Speaker 10: is not the right word, detached in a lot of ways.

1024
00:46:14,239 --> 00:46:16,920
Speaker 10: He is such a pure talent and he just does it.

1025
00:46:16,960 --> 00:46:18,560
Speaker 10: When he does it, you know, it's just it's he's

1026
00:46:18,600 --> 00:46:20,400
Speaker 10: not like a guy who likes to be in the studio,

1027
00:46:20,600 --> 00:46:23,279
Speaker 10: and there's a freshness about it. It takes a little

1028
00:46:23,280 --> 00:46:24,879
Speaker 10: while getting used to it. But I love that story

1029
00:46:24,920 --> 00:46:28,719
Speaker 10: and that song, that song that was that was a

1030
00:46:29,000 --> 00:46:31,799
Speaker 10: massive part in kind of another validation for me as

1031
00:46:31,840 --> 00:46:32,919
Speaker 10: a producer here in town.

1032
00:46:33,800 --> 00:46:39,839
Speaker 2: How about this one? So you work with Taylor? Yeah, yeah,

1033
00:46:39,880 --> 00:46:41,280
Speaker 2: what she liked to work with as an artist.

1034
00:46:42,520 --> 00:46:43,360
Speaker 11: Oh, she's great.

1035
00:46:43,680 --> 00:46:44,040
Speaker 7: I mean.

1036
00:46:46,120 --> 00:46:49,480
Speaker 10: That song and I'm trying to think how that came down.

1037
00:46:49,880 --> 00:46:51,480
Speaker 10: I think that was that was kind of in her

1038
00:46:51,480 --> 00:46:54,360
Speaker 10: transition era. And and they weren't they weren't roping that,

1039
00:46:55,120 --> 00:46:57,200
Speaker 10: and so I think she'd already done the vocals and

1040
00:46:57,200 --> 00:46:59,279
Speaker 10: and uh, Scott Burshetta.

1041
00:47:00,440 --> 00:47:02,120
Speaker 11: Said, I don't think she's going to come and re sing.

1042
00:47:02,160 --> 00:47:04,120
Speaker 11: I think you're gonna have to use that. But could

1043
00:47:04,160 --> 00:47:05,480
Speaker 11: you recut the track.

1044
00:47:05,600 --> 00:47:08,760
Speaker 3: So she had already cut the vocals somewhere else. Yes,

1045
00:47:09,080 --> 00:47:10,640
Speaker 3: And so they just give that to you and say

1046
00:47:10,920 --> 00:47:11,920
Speaker 3: make the song happen.

1047
00:47:12,560 --> 00:47:14,760
Speaker 10: Yes, yeah, it was. It was a little bit bizarre.

1048
00:47:14,920 --> 00:47:16,560
Speaker 10: It just what you know, And this happens to all

1049
00:47:16,560 --> 00:47:18,440
Speaker 10: of us. This is a tough thing and it just

1050
00:47:18,440 --> 00:47:21,239
Speaker 10: happened to me just recently too. You know, sometimes you

1051
00:47:21,239 --> 00:47:24,680
Speaker 10: don't get it, you know, and and and the label

1052
00:47:24,680 --> 00:47:27,680
Speaker 10: and the artists really think that that this song is

1053
00:47:28,040 --> 00:47:30,239
Speaker 10: the deal. They got to get it done. And if

1054
00:47:30,400 --> 00:47:31,719
Speaker 10: you know, sometimes you look at it's like you look

1055
00:47:31,719 --> 00:47:33,840
Speaker 10: at a painting so close. That's how it is to you.

1056
00:47:33,880 --> 00:47:36,840
Speaker 10: And you can her producer at that time, Nathan Chapman,

1057
00:47:36,880 --> 00:47:41,360
Speaker 10: who is I know Nathan, Yeah, this guy is genius level.

1058
00:47:41,360 --> 00:47:43,200
Speaker 10: I think he's one of the best that we got

1059
00:47:43,200 --> 00:47:45,239
Speaker 10: here in Nashville. And he's at one of the best

1060
00:47:45,280 --> 00:47:47,919
Speaker 10: people I know too. So it was tough on Nathan.

1061
00:47:48,080 --> 00:47:51,040
Speaker 10: He was he was man, he was so pro about it.

1062
00:47:51,040 --> 00:47:53,160
Speaker 10: He was so cool. And he just sent me over

1063
00:47:53,160 --> 00:47:54,759
Speaker 10: the vocals, said you have a go at this thing, man,

1064
00:47:54,800 --> 00:47:57,360
Speaker 10: you know. I said, I'm just I'm I'm looking at

1065
00:47:57,360 --> 00:47:59,640
Speaker 10: it's too close for me. And so so I took

1066
00:47:59,680 --> 00:48:01,319
Speaker 10: it and you know, had had a different kind of

1067
00:48:01,320 --> 00:48:04,399
Speaker 10: take on and when did it and so you send it?

1068
00:48:04,760 --> 00:48:06,839
Speaker 10: Did Since you are saying the vocals, did you work

1069
00:48:06,880 --> 00:48:08,640
Speaker 10: with her or do you just work with her voice?

1070
00:48:08,719 --> 00:48:11,480
Speaker 10: That was in a recorded little well hard mostly on

1071
00:48:11,560 --> 00:48:14,480
Speaker 10: that the voice. The voice had been recorded. I can't

1072
00:48:14,480 --> 00:48:15,880
Speaker 10: remember if I did. It was a while back, so

1073
00:48:15,960 --> 00:48:19,160
Speaker 10: I can't remember if I READD harmony vocals or what.

1074
00:48:19,440 --> 00:48:19,800
Speaker 5: I remember.

1075
00:48:19,880 --> 00:48:21,399
Speaker 10: She came over to the house wants to re sing

1076
00:48:21,400 --> 00:48:23,160
Speaker 10: a couple of lines that I wanted to try, and

1077
00:48:23,239 --> 00:48:25,440
Speaker 10: that was that was basically She's great. I mean, she's

1078
00:48:25,520 --> 00:48:26,120
Speaker 10: Taylor Swift.

1079
00:48:26,680 --> 00:48:30,719
Speaker 2: You say you missed? What did you miss on? You

1080
00:48:30,760 --> 00:48:32,880
Speaker 2: say you missed recently? What did you miss it?

1081
00:48:32,920 --> 00:48:33,040
Speaker 5: Was?

1082
00:48:33,160 --> 00:48:34,279
Speaker 2: It was the only tell you the story?

1083
00:48:34,320 --> 00:48:36,719
Speaker 10: Yeah, story, yeah, yeah, I mean I don't think I

1084
00:48:36,760 --> 00:48:38,880
Speaker 10: mixed missed, But but I was doing a song with

1085
00:48:38,960 --> 00:48:43,520
Speaker 10: Keith and and it was you know, and because of

1086
00:48:43,520 --> 00:48:46,080
Speaker 10: my I guess, my age, my status in the industry,

1087
00:48:46,120 --> 00:48:49,000
Speaker 10: I heard a lot of projects like this and I

1088
00:48:49,040 --> 00:48:53,239
Speaker 10: and I see the pain in the producers that have

1089
00:48:53,280 --> 00:48:55,719
Speaker 10: worked their their ass off basically to get this stuff right,

1090
00:48:56,239 --> 00:48:58,320
Speaker 10: and all of a sudden they're calling in this old geezer,

1091
00:48:58,360 --> 00:49:01,200
Speaker 10: you know, to fix it, and so it it's it's hurtful.

1092
00:49:01,239 --> 00:49:03,840
Speaker 10: It just really is. It's a business, right, and usually

1093
00:49:03,880 --> 00:49:05,960
Speaker 10: I know how to finish. I'm a really good finish.

1094
00:49:05,800 --> 00:49:06,280
Speaker 11: On this stuff.

1095
00:49:06,320 --> 00:49:09,040
Speaker 10: So so I get it, you know, and it and it.

1096
00:49:09,360 --> 00:49:11,000
Speaker 10: It doesn't happen to me a lot. I will say that.

1097
00:49:11,080 --> 00:49:12,879
Speaker 10: But but the other day I was doing a song

1098
00:49:12,920 --> 00:49:15,480
Speaker 10: with Keith and and actually Ross Kopman and I were

1099
00:49:15,480 --> 00:49:17,960
Speaker 10: doing it together, and I think we did a really

1100
00:49:17,960 --> 00:49:20,480
Speaker 10: good job. But just Keith hurt it differently, and and

1101
00:49:20,560 --> 00:49:22,080
Speaker 10: he and he took it somewhere else. So it's like

1102
00:49:22,080 --> 00:49:23,960
Speaker 10: you get a little you know, you got to learn

1103
00:49:23,960 --> 00:49:25,239
Speaker 10: how to take it. I mean this is you know,

1104
00:49:25,680 --> 00:49:28,440
Speaker 10: you get benched in in pro sports, you get benched

1105
00:49:28,440 --> 00:49:30,520
Speaker 10: in music. I mean you know, as a player, they

1106
00:49:30,760 --> 00:49:33,200
Speaker 10: race my parts of time, and and it's it's one

1107
00:49:33,200 --> 00:49:36,360
Speaker 10: thing that you get it intellectually, but you still it hurts.

1108
00:49:36,680 --> 00:49:39,719
Speaker 10: It never it never gets you never get used to

1109
00:49:39,719 --> 00:49:41,080
Speaker 10: to getting replaced on something.

1110
00:49:41,560 --> 00:49:42,279
Speaker 5: It just happens to you.

1111
00:49:42,400 --> 00:49:44,600
Speaker 2: You mentioned Keith and Ross, and I'll hit this one

1112
00:49:44,600 --> 00:49:47,080
Speaker 2: here because in different ways they were both involved in this.

1113
00:49:49,480 --> 00:49:53,640
Speaker 3: Blue Ain't Your color? Ross wrote if I'm right, because

1114
00:49:53,680 --> 00:49:54,560
Speaker 3: Ross in front of mine and.

1115
00:49:54,960 --> 00:49:56,840
Speaker 10: Right that one, and I don't think no he actually

1116
00:49:57,040 --> 00:49:58,759
Speaker 10: Right's one of the only hits in Nashville that Ross

1117
00:49:58,760 --> 00:49:59,120
Speaker 10: didn't right.

1118
00:49:59,520 --> 00:50:03,600
Speaker 2: Okay, So Stephen Stephen Lee Olson wrote it, I know

1119
00:50:03,719 --> 00:50:05,920
Speaker 2: I did you produce with Ross?

1120
00:50:06,200 --> 00:50:08,120
Speaker 11: No? I did, Keith and.

1121
00:50:08,040 --> 00:50:09,520
Speaker 3: Ross had nothing to do with the song. I'm just

1122
00:50:09,600 --> 00:50:11,640
Speaker 3: giving Ross every hit for every every credit for every hit.

1123
00:50:11,680 --> 00:50:12,600
Speaker 3: I guess there is what's great?

1124
00:50:12,600 --> 00:50:13,080
Speaker 11: No, it's good.

1125
00:50:13,120 --> 00:50:15,800
Speaker 10: No, No, I actually he didn't on that one.

1126
00:50:16,360 --> 00:50:18,520
Speaker 11: But you know, you know what I think, Ross, He's great.

1127
00:50:18,520 --> 00:50:23,000
Speaker 7: Stephen Leo, Steve, Hillary Lindsley Lindsay and Clinton Lugebert.

1128
00:50:23,840 --> 00:50:26,080
Speaker 2: Sorry about that, Ross, I gave you extra credit. So,

1129
00:50:26,600 --> 00:50:27,160
Speaker 2: but this is you.

1130
00:50:27,280 --> 00:50:32,799
Speaker 3: You produce a song here, which if when Keith comes

1131
00:50:32,840 --> 00:50:33,800
Speaker 3: to you, I says, hey, I want a song to

1132
00:50:33,840 --> 00:50:34,600
Speaker 3: feel a certain way?

1133
00:50:34,719 --> 00:50:36,279
Speaker 2: Does he do that on this song? And go I

1134
00:50:36,320 --> 00:50:38,600
Speaker 2: need it to feel And then what does that song

1135
00:50:38,680 --> 00:50:39,120
Speaker 2: feel like?

1136
00:50:40,320 --> 00:50:40,759
Speaker 5: With Keith?

1137
00:50:40,800 --> 00:50:42,960
Speaker 11: Keith and I go back to somebody like you right?

1138
00:50:43,000 --> 00:50:44,440
Speaker 11: And it was bizarre.

1139
00:50:44,560 --> 00:50:46,480
Speaker 10: I mean, I don't think he wanted to work with

1140
00:50:46,560 --> 00:50:48,560
Speaker 10: me at first because because he didn't like the records

1141
00:50:48,600 --> 00:50:51,200
Speaker 10: that I was producing. But it worked out. That was

1142
00:50:51,239 --> 00:50:52,839
Speaker 10: the first song that we actually did together. And then

1143
00:50:53,000 --> 00:50:55,200
Speaker 10: I don't know how many we did, like six records straight,

1144
00:50:55,640 --> 00:50:57,319
Speaker 10: and now I work with him. I don't do all

1145
00:50:57,400 --> 00:50:59,640
Speaker 10: of his records. I mean, you know, there's a certain amount,

1146
00:50:59,680 --> 00:51:02,880
Speaker 10: you know, you you kind of squeeze the fruit, and

1147
00:51:02,960 --> 00:51:05,080
Speaker 10: that's you know, you can only get so much. But

1148
00:51:05,200 --> 00:51:09,520
Speaker 10: we keep returning because there's something that we have and

1149
00:51:09,719 --> 00:51:12,040
Speaker 10: it's really undefinable. Bob, I don't know how to tell you.

1150
00:51:12,160 --> 00:51:13,680
Speaker 10: Like when Keith and I get in a room that

1151
00:51:13,800 --> 00:51:16,399
Speaker 10: we usually do no prep. They just play me a song,

1152
00:51:16,480 --> 00:51:19,919
Speaker 10: go what do you think? Yeah, and we just start.

1153
00:51:20,000 --> 00:51:25,680
Speaker 10: We usually pick up guitars. Keith, I don't. It's never

1154
00:51:25,719 --> 00:51:27,719
Speaker 10: worked out where I haven't been able to do it. No,

1155
00:51:27,920 --> 00:51:32,960
Speaker 10: I've I've you know, interesting song on that same record,

1156
00:51:33,040 --> 00:51:35,000
Speaker 10: the first single I did I did with him. Ross

1157
00:51:35,200 --> 00:51:37,879
Speaker 10: wrote it, he didn't produce it, but he the John

1158
00:51:37,920 --> 00:51:43,120
Speaker 10: three sixteen song John John. And I think I think

1159
00:51:43,200 --> 00:51:45,920
Speaker 10: actually Keith took that one to Nathan Chapman first, and

1160
00:51:45,960 --> 00:51:48,160
Speaker 10: I think Nathan just was like it was a totally

1161
00:51:48,160 --> 00:51:51,080
Speaker 10: different song at that point, and and Nate just said,

1162
00:51:51,080 --> 00:51:52,480
Speaker 10: you know, I just I just don't hear it. It's

1163
00:51:52,520 --> 00:51:54,560
Speaker 10: just fine, you know. And and so Keith called me up.

1164
00:51:54,560 --> 00:51:56,520
Speaker 10: I was second calling that one, you know, And we

1165
00:51:56,600 --> 00:52:00,359
Speaker 10: went in to the studio and we just I think

1166
00:52:00,360 --> 00:52:02,800
Speaker 10: it was a drummer and Keith and I that was it,

1167
00:52:03,000 --> 00:52:04,960
Speaker 10: and the bass player was going to come in, and

1168
00:52:05,160 --> 00:52:07,440
Speaker 10: the bass player hadn't shown up yet, and we were

1169
00:52:07,480 --> 00:52:08,600
Speaker 10: just kind of struming through ideas.

1170
00:52:08,640 --> 00:52:10,279
Speaker 11: I grabbed a guitar started playing something. He said, oh,

1171
00:52:10,280 --> 00:52:12,239
Speaker 11: I dig Thatt's okay, is there a bass here?

1172
00:52:12,320 --> 00:52:14,840
Speaker 10: So he grabbed a bass and all of a sudden,

1173
00:52:15,320 --> 00:52:18,360
Speaker 10: the identity of the song happened that quickly when he

1174
00:52:18,440 --> 00:52:21,759
Speaker 10: played bass. Poor bass player came in right on time

1175
00:52:21,800 --> 00:52:23,480
Speaker 10: for his big Keith Urban session. I think it was

1176
00:52:23,480 --> 00:52:26,640
Speaker 10: his debut session, and I had to say, bass player, hey,

1177
00:52:26,680 --> 00:52:27,680
Speaker 10: I think we got the bass part.

1178
00:52:29,560 --> 00:52:30,400
Speaker 11: Yeah, it was Keith and it.

1179
00:52:30,480 --> 00:52:32,040
Speaker 10: But it was really good, you know, Keith, I thought

1180
00:52:32,040 --> 00:52:33,520
Speaker 10: we were going to replace it, but it had so

1181
00:52:33,600 --> 00:52:36,920
Speaker 10: much personality. All that to say, with Keith and I,

1182
00:52:37,040 --> 00:52:39,319
Speaker 10: there is no we have no set way of doing things.

1183
00:52:39,360 --> 00:52:41,239
Speaker 10: I mean a lot of times he'll come over to

1184
00:52:41,560 --> 00:52:44,040
Speaker 10: the house or I'll go over to his house. We

1185
00:52:44,360 --> 00:52:47,120
Speaker 10: hang guitars back and forth, you know, and and we

1186
00:52:47,239 --> 00:52:49,800
Speaker 10: have a certain understanding as guitar players, and songs just

1187
00:52:49,880 --> 00:52:51,560
Speaker 10: kind of emanate out of that, you.

1188
00:52:51,600 --> 00:52:54,040
Speaker 2: Know, urban as a player.

1189
00:52:55,239 --> 00:52:57,640
Speaker 3: Where would he be in this studio session world if

1190
00:52:57,640 --> 00:52:59,360
Speaker 3: he decided to be a studio player.

1191
00:53:00,560 --> 00:53:04,120
Speaker 10: Is he Well, no, Keith is a is a great musician,

1192
00:53:04,239 --> 00:53:06,759
Speaker 10: is a great guitar play He is an identity, which

1193
00:53:07,280 --> 00:53:12,400
Speaker 10: which doesn't necessarily translate into studio work because studio sometimes

1194
00:53:12,440 --> 00:53:16,440
Speaker 10: it's it's it's it's the ability to take on different identities.

1195
00:53:17,000 --> 00:53:20,360
Speaker 10: So the talent, I don't I don't think Keith reads

1196
00:53:20,440 --> 00:53:22,880
Speaker 10: his His musical IQ is off the charts, so he

1197
00:53:22,920 --> 00:53:27,200
Speaker 10: could adapt to anything. How that would translate in day

1198
00:53:27,200 --> 00:53:29,719
Speaker 10: to day session work, I don't know. I guess that's

1199
00:53:29,719 --> 00:53:32,800
Speaker 10: a different linear versus non linear of mindset. Yeah, totally,

1200
00:53:33,360 --> 00:53:34,920
Speaker 10: And it's not it's I ever thought about it like

1201
00:53:34,960 --> 00:53:38,080
Speaker 10: that before. Yeah, I mean it's like, yeah, it's it's

1202
00:53:38,200 --> 00:53:41,640
Speaker 10: it's it's like the idea that the foolish notes saying

1203
00:53:41,640 --> 00:53:44,360
Speaker 10: who's the best drummer, who's the best guitar player in

1204
00:53:44,360 --> 00:53:46,800
Speaker 10: the world, that you can how can you compare, you know,

1205
00:53:47,000 --> 00:53:50,000
Speaker 10: how could you compare Keith Richards to Andre Segovia.

1206
00:53:50,360 --> 00:53:53,359
Speaker 11: You can't that comparison. They both play guitar, but that's

1207
00:53:53,520 --> 00:53:54,359
Speaker 11: it's a different world.

1208
00:53:55,040 --> 00:53:59,200
Speaker 3: Who have you seen play as a player like a fan,

1209
00:53:59,400 --> 00:54:01,440
Speaker 3: that's not where you're just like, man, I can never

1210
00:54:01,560 --> 00:54:04,120
Speaker 3: do that like that you've seen with your own eyeballs,

1211
00:54:04,160 --> 00:54:06,560
Speaker 3: and you're like, I don't there's no way.

1212
00:54:07,880 --> 00:54:09,200
Speaker 11: I'm humbled like that all the time.

1213
00:54:09,200 --> 00:54:12,120
Speaker 10: I there's there's a lot of things I can do

1214
00:54:12,400 --> 00:54:15,040
Speaker 10: like I can do just because I practiced so much

1215
00:54:15,080 --> 00:54:15,600
Speaker 10: in my life.

1216
00:54:16,360 --> 00:54:18,040
Speaker 11: I mean there were some. There were some like like

1217
00:54:18,320 --> 00:54:20,440
Speaker 11: jazz players like Joe Pass I could I could never.

1218
00:54:20,320 --> 00:54:20,800
Speaker 5: Play like that.

1219
00:54:21,200 --> 00:54:24,400
Speaker 10: I couldn't chicken pick like Brent Mason does on some

1220
00:54:24,520 --> 00:54:26,960
Speaker 10: of those records in the nineties, those Alan Jackson records.

1221
00:54:27,239 --> 00:54:29,400
Speaker 10: I could play the notes, but they wouldn't sound like that.

1222
00:54:30,040 --> 00:54:34,960
Speaker 10: So so it's more it's more like it's not that

1223
00:54:35,000 --> 00:54:35,520
Speaker 10: physically I.

1224
00:54:35,520 --> 00:54:37,400
Speaker 11: Can't do those things. It's like that I know they

1225
00:54:37,440 --> 00:54:38,399
Speaker 11: don't never sound that good.

1226
00:54:39,080 --> 00:54:40,759
Speaker 3: Artists wise, who have you been blown away by with

1227
00:54:40,800 --> 00:54:42,439
Speaker 3: their style and how good they were, like we would

1228
00:54:42,840 --> 00:54:45,200
Speaker 3: like they really are as legit as we see them,

1229
00:54:45,239 --> 00:54:46,560
Speaker 3: Like you mentioned Keith Richards. I don't know if you

1230
00:54:46,600 --> 00:54:48,920
Speaker 3: ever seen Keith play. Like in person, when you see

1231
00:54:48,960 --> 00:54:50,360
Speaker 3: Keith Richards play what do you see.

1232
00:54:51,600 --> 00:54:54,319
Speaker 10: The soundtrack to My My Life? I mean it's it's

1233
00:54:54,400 --> 00:54:56,279
Speaker 10: not that what Keith can do I couldn't do when

1234
00:54:56,320 --> 00:54:58,759
Speaker 10: I was twelve years old or ten for that fact.

1235
00:54:58,800 --> 00:55:00,600
Speaker 10: I mean it's not it's not that hard to do,

1236
00:55:01,360 --> 00:55:03,440
Speaker 10: but to do it like he does it that that's

1237
00:55:03,480 --> 00:55:05,120
Speaker 10: a lifetime and nobody can do it but him.

1238
00:55:05,600 --> 00:55:05,839
Speaker 5: Keith.

1239
00:55:06,239 --> 00:55:10,839
Speaker 10: Keith has really I think developed into that soul as

1240
00:55:10,880 --> 00:55:12,680
Speaker 10: a as a musician he speaks.

1241
00:55:13,040 --> 00:55:15,000
Speaker 11: I think the highest comment I could play pay to.

1242
00:55:15,080 --> 00:55:17,680
Speaker 10: Keith is that when you hear him play guitar, you

1243
00:55:17,800 --> 00:55:19,840
Speaker 10: can you know it's Keith Urban And I think that

1244
00:55:20,040 --> 00:55:22,840
Speaker 10: that identity that's very hard to achieve. It's a different

1245
00:55:22,880 --> 00:55:26,279
Speaker 10: scale than a studio musician who's who's having to wear

1246
00:55:26,360 --> 00:55:28,239
Speaker 10: ten hats maybe in the course of a week.

1247
00:55:28,400 --> 00:55:30,080
Speaker 2: What about it Like a guy like a John Mayer.

1248
00:55:30,560 --> 00:55:35,040
Speaker 10: Oh, he's stunning, stunning, great, He's he's like a student

1249
00:55:35,120 --> 00:55:38,160
Speaker 10: of guitar. I mean, it's like and his identity change

1250
00:55:38,200 --> 00:55:41,320
Speaker 10: is quite a bit. I mean he's rhythmically, his chops

1251
00:55:41,400 --> 00:55:45,279
Speaker 10: are first rate. He can play Jeff Beck almost like

1252
00:55:45,400 --> 00:55:47,640
Speaker 10: Jeff Beck and that's a pretty high compliment because that's

1253
00:55:47,680 --> 00:55:52,000
Speaker 10: my favorite guitar player. He's a blues aficionado. I mean,

1254
00:55:52,040 --> 00:55:53,560
Speaker 10: he can play pretty much anything.

1255
00:55:54,920 --> 00:55:57,640
Speaker 3: Rod Phillips is the head of iHeart Country, and he

1256
00:55:57,719 --> 00:55:59,440
Speaker 3: talked about how a song gets on the radio and

1257
00:55:59,480 --> 00:56:02,279
Speaker 3: how that process works. Rod also talks about why certain

1258
00:56:02,360 --> 00:56:05,960
Speaker 3: songs get played more than others. But educate me on

1259
00:56:06,120 --> 00:56:09,480
Speaker 3: how a song ends up on the radio, because it's

1260
00:56:09,480 --> 00:56:10,759
Speaker 3: got to go through a lot of steps before that.

1261
00:56:10,920 --> 00:56:16,640
Speaker 12: Sure, well, it really starts outside of our industry, being

1262
00:56:16,719 --> 00:56:20,640
Speaker 12: the radio industry. It starts from the artist and probably

1263
00:56:20,719 --> 00:56:23,200
Speaker 12: the manager working with the label, meaning the folks that

1264
00:56:23,640 --> 00:56:27,040
Speaker 12: run Universal Records or Wonder Music Nashville.

1265
00:56:27,080 --> 00:56:30,080
Speaker 2: They go to their label and they've got people who

1266
00:56:30,360 --> 00:56:31,279
Speaker 2: work in A and R.

1267
00:56:32,760 --> 00:56:36,040
Speaker 12: Who are picking what they think are the best songs

1268
00:56:36,120 --> 00:56:38,399
Speaker 12: in terms of we think this sound has the best

1269
00:56:38,480 --> 00:56:41,160
Speaker 12: chance to be a hit, typically on the radio or

1270
00:56:41,480 --> 00:56:42,799
Speaker 12: wherever else they're pushing music.

1271
00:56:43,000 --> 00:56:49,480
Speaker 3: So songs come to you already like this is the song, correct, not,

1272
00:56:49,640 --> 00:56:50,439
Speaker 3: here's eleven songs.

1273
00:56:50,480 --> 00:56:51,640
Speaker 2: Pick whichever wanted to play on the radio.

1274
00:56:51,719 --> 00:56:54,680
Speaker 12: Correct, it's a single song from an album or the

1275
00:56:54,800 --> 00:56:58,600
Speaker 12: next single from the album, And they say we think

1276
00:56:58,680 --> 00:57:00,759
Speaker 12: this has the best shot. We hope you because we're

1277
00:57:00,800 --> 00:57:04,120
Speaker 12: going to push this now. As a program director, either

1278
00:57:04,239 --> 00:57:06,400
Speaker 12: on a national or local level, I can go get

1279
00:57:06,440 --> 00:57:08,200
Speaker 12: a different song. But if I'm going to be the

1280
00:57:08,280 --> 00:57:11,080
Speaker 12: only one playing it and everybody else is playing the

1281
00:57:11,160 --> 00:57:13,960
Speaker 12: song that a bunch of people who are experts in

1282
00:57:14,000 --> 00:57:16,960
Speaker 12: their own field have picked, then you're always sort of

1283
00:57:17,040 --> 00:57:19,600
Speaker 12: just gonna be an outlier and you're not participating in

1284
00:57:19,640 --> 00:57:21,960
Speaker 12: the song that's most likely going to be a hit.

1285
00:57:22,640 --> 00:57:26,200
Speaker 3: And it's hard to change a single song trajectory about

1286
00:57:26,200 --> 00:57:28,360
Speaker 3: being one or two or just five stations. Correct, It

1287
00:57:28,400 --> 00:57:32,120
Speaker 3: almost has to be a unified front as proposed by

1288
00:57:32,200 --> 00:57:32,960
Speaker 3: the record label.

1289
00:57:33,120 --> 00:57:33,440
Speaker 5: Correct.

1290
00:57:33,640 --> 00:57:34,840
Speaker 2: So they come to you, they say, this is a

1291
00:57:34,880 --> 00:57:36,360
Speaker 2: single Kicking Fish. Just made that up.

1292
00:57:36,520 --> 00:57:38,560
Speaker 3: So they bring you kick and Fish, and you're a

1293
00:57:38,640 --> 00:57:42,040
Speaker 3: radio you're the guy. But does every single get pitched

1294
00:57:42,040 --> 00:57:46,919
Speaker 3: to you, like, every single one of them from every artist? Yeah?

1295
00:57:47,560 --> 00:57:49,640
Speaker 2: Yeah, so they all every song comes to But then

1296
00:57:49,680 --> 00:57:53,760
Speaker 2: what do you do, especially if it's a new artist. Well,

1297
00:57:54,760 --> 00:57:55,880
Speaker 2: I mean that's a loaded question.

1298
00:57:57,400 --> 00:57:57,600
Speaker 10: You know.

1299
00:57:57,880 --> 00:58:04,720
Speaker 12: We at any given time there are probably seventy five

1300
00:58:05,040 --> 00:58:08,560
Speaker 12: to ninety songs being pitched all new.

1301
00:58:08,840 --> 00:58:10,240
Speaker 2: Like seventy five to ninety new songs.

1302
00:58:10,520 --> 00:58:12,400
Speaker 12: Yeah, well let's just say, let's say thirty of them

1303
00:58:12,440 --> 00:58:14,960
Speaker 12: are are already solidly on the chart.

1304
00:58:15,040 --> 00:58:17,360
Speaker 2: What you play in your countdown? Okay, so now there's

1305
00:58:17,640 --> 00:58:19,400
Speaker 2: what there's forty.

1306
00:58:19,120 --> 00:58:23,360
Speaker 12: Five, call it forty five, fifty sometimes sixty songs, and

1307
00:58:23,520 --> 00:58:27,720
Speaker 12: you're choosing from those songs to decide one or two

1308
00:58:28,160 --> 00:58:31,280
Speaker 12: to put on a playlist that week. I mean, you

1309
00:58:31,360 --> 00:58:33,680
Speaker 12: might put three or four on in a week sometimes,

1310
00:58:33,760 --> 00:58:36,240
Speaker 12: but that's you usually don't have that much room. I mean,

1311
00:58:36,560 --> 00:58:39,080
Speaker 12: there's usually the thirty songs you have to play because

1312
00:58:39,120 --> 00:58:42,040
Speaker 12: they're solidly on the chart. Some other stuff you're playing

1313
00:58:42,040 --> 00:58:44,920
Speaker 12: in a new category. Now you're deciding from the rest

1314
00:58:45,520 --> 00:58:48,160
Speaker 12: what you think has the best chance. Now, if I

1315
00:58:48,240 --> 00:58:49,960
Speaker 12: know that Dirk s Bentley's coming out with a song

1316
00:58:50,080 --> 00:58:52,960
Speaker 12: he just released gold, I think it's fantastic, Suddenly that

1317
00:58:53,640 --> 00:58:55,600
Speaker 12: kind of goes to the front of the line, if

1318
00:58:55,640 --> 00:58:57,280
Speaker 12: you will, from a selection process.

1319
00:58:58,560 --> 00:58:59,919
Speaker 2: But all of them are vail.

1320
00:59:01,160 --> 00:59:03,479
Speaker 12: And then to the point we made earlier, if Noah

1321
00:59:03,520 --> 00:59:06,680
Speaker 12: Schnacky's got a song in Minneapolis and Greg Thinksi's good,

1322
00:59:06,760 --> 00:59:08,320
Speaker 12: he may go and get that one, and that might

1323
00:59:08,360 --> 00:59:11,160
Speaker 12: be the sixty sixth song being pitched.

1324
00:59:12,240 --> 00:59:14,439
Speaker 2: So it's that's why it's not easy.

1325
00:59:14,520 --> 00:59:16,840
Speaker 12: I mean, you know, Luke Comb's emerging and becoming a

1326
00:59:16,880 --> 00:59:19,479
Speaker 12: superstars is is not the norm.

1327
00:59:20,080 --> 00:59:23,760
Speaker 3: So if kicking Fish is presented, somebody calls me and goes, no, man,

1328
00:59:23,880 --> 00:59:26,280
Speaker 3: I like that song, my butt, where's the cowboy hat?

1329
00:59:26,280 --> 00:59:27,640
Speaker 2: And if you don't play that, you ain't country.

1330
00:59:27,960 --> 00:59:30,840
Speaker 3: That's not on us because it wasn't presented to For

1331
00:59:30,920 --> 00:59:33,240
Speaker 3: the most part radio, it wasn't even an option to

1332
00:59:33,480 --> 00:59:36,200
Speaker 3: because anyone in radio knows if they play it, they're

1333
00:59:36,240 --> 00:59:39,280
Speaker 3: by themselves and if they're going to create a story,

1334
00:59:39,320 --> 00:59:42,000
Speaker 3: it's going to take forever because it's one station. So

1335
00:59:42,600 --> 00:59:46,600
Speaker 3: it isn't the person's fault at the radio station. It

1336
00:59:46,720 --> 00:59:50,160
Speaker 3: isn't the person's fault that's running the radio company. It's

1337
00:59:50,200 --> 00:59:52,520
Speaker 3: not anyone's fault. It was just a song was chosen

1338
00:59:52,600 --> 00:59:55,760
Speaker 3: by the record label and the artist. Yep, I think

1339
00:59:55,880 --> 00:59:57,720
Speaker 3: there's and I would be confused about that too if

1340
00:59:57,760 --> 01:00:00,640
Speaker 3: I hadn't worked inside of this for a long time.

1341
01:00:00,920 --> 01:00:03,720
Speaker 3: But also I'm almost starting to be a bit disconnected

1342
01:00:03,760 --> 01:00:05,560
Speaker 3: from the radio part of it because I don't do

1343
01:00:05,640 --> 01:00:07,040
Speaker 3: that really as much anymore.

1344
01:00:07,240 --> 01:00:10,080
Speaker 12: Which I like that because then I get feedback from

1345
01:00:10,120 --> 01:00:13,800
Speaker 12: you on other stuff that's yeah, that that I haven't

1346
01:00:13,800 --> 01:00:14,360
Speaker 12: heard about yet.

1347
01:00:14,400 --> 01:00:14,880
Speaker 10: I like that too.

1348
01:00:15,400 --> 01:00:15,880
Speaker 11: Be a honest with you.

1349
01:00:16,000 --> 01:00:18,400
Speaker 2: Yeah, it's a good thing. People be like, why does

1350
01:00:18,480 --> 01:00:19,400
Speaker 2: radio I don't know.

1351
01:00:19,480 --> 01:00:21,280
Speaker 3: I don't know what's going on, you know, And I'd

1352
01:00:21,320 --> 01:00:22,440
Speaker 3: be like, well, let me call her od and ask

1353
01:00:22,480 --> 01:00:23,040
Speaker 3: a question or two.

1354
01:00:23,080 --> 01:00:24,160
Speaker 2: But I really don't know anymore.

1355
01:00:24,480 --> 01:00:28,440
Speaker 3: So, okay, you have a song that goes and you're

1356
01:00:28,440 --> 01:00:30,040
Speaker 3: picking up you putting in new music? Is there like

1357
01:00:30,120 --> 01:00:33,400
Speaker 3: a national new music category? Because the national that's that's

1358
01:00:33,440 --> 01:00:35,320
Speaker 3: quite the big word with a lot of If it's

1359
01:00:35,320 --> 01:00:36,680
Speaker 3: playing national, it's getting a lot of spins.

1360
01:00:37,120 --> 01:00:37,959
Speaker 7: Not on the verge.

1361
01:00:38,000 --> 01:00:39,560
Speaker 3: But where would you put a song that you like?

1362
01:00:40,280 --> 01:00:41,560
Speaker 3: It's a song you're like, I think this has got

1363
01:00:41,560 --> 01:00:44,120
Speaker 3: a lot of potential. Do you put it at every

1364
01:00:44,200 --> 01:00:45,000
Speaker 3: station at two pm?

1365
01:00:45,640 --> 01:00:46,120
Speaker 2: Do you put it?

1366
01:00:46,280 --> 01:00:46,320
Speaker 5: Like?

1367
01:00:46,400 --> 01:00:48,640
Speaker 2: What do you do as soon as the song's new artist,

1368
01:00:48,760 --> 01:00:50,280
Speaker 2: new song? You believe in it, But it's not the

1369
01:00:50,360 --> 01:00:50,840
Speaker 2: on the verge?

1370
01:00:50,880 --> 01:00:53,280
Speaker 12: Well, I don't put them at every station in terms

1371
01:00:53,320 --> 01:00:58,320
Speaker 12: of the stations that iHeart owns. But again I have

1372
01:00:58,480 --> 01:01:02,360
Speaker 12: influence in terms of when you say national, we have

1373
01:01:02,520 --> 01:01:06,360
Speaker 12: some programs that do go out nationally. Your show Women

1374
01:01:06,440 --> 01:01:08,440
Speaker 12: of My Heart Country, you obviously pick some.

1375
01:01:08,480 --> 01:01:08,920
Speaker 7: Music for that.

1376
01:01:09,080 --> 01:01:10,000
Speaker 5: We pick some music for that.

1377
01:01:10,240 --> 01:01:12,320
Speaker 12: So when we picked the songs that go on that show,

1378
01:01:12,400 --> 01:01:15,280
Speaker 12: it plays, you know, that weekend on one hundred and

1379
01:01:15,320 --> 01:01:17,840
Speaker 12: fifty different radio stations or one hundred and twenty five really.

1380
01:01:19,160 --> 01:01:23,560
Speaker 12: But you know, because we're sort of the net, we

1381
01:01:23,720 --> 01:01:28,000
Speaker 12: control the national pieces, we're not taking as many out there,

1382
01:01:28,120 --> 01:01:32,320
Speaker 12: out of left field chances as individual stations or regions

1383
01:01:32,360 --> 01:01:35,320
Speaker 12: of the country might be. If that may, yeah, we're

1384
01:01:35,560 --> 01:01:37,440
Speaker 12: taking them up. It's not going to hurt as bad, right,

1385
01:01:37,520 --> 01:01:39,680
Speaker 12: We're taking the best of the best, if you will. Yeah,

1386
01:01:40,440 --> 01:01:42,280
Speaker 12: And then the ones that are going to be the best,

1387
01:01:42,480 --> 01:01:45,120
Speaker 12: it's okay that we don't go with them immediately because

1388
01:01:45,560 --> 01:01:47,760
Speaker 12: I always say that that I do believe the hits

1389
01:01:47,920 --> 01:01:50,360
Speaker 12: rise right to the top. I mean, it's hard to

1390
01:01:50,400 --> 01:01:52,200
Speaker 12: hold a real hit down. I'm sure there's a lot

1391
01:01:52,240 --> 01:01:54,840
Speaker 12: of great music that never makes it, because it's like

1392
01:01:55,120 --> 01:01:58,080
Speaker 12: there's great basketball players who the NBA never discovered, right,

1393
01:01:59,200 --> 01:02:01,240
Speaker 12: But for the most part, the best hits, I think

1394
01:02:01,360 --> 01:02:04,200
Speaker 12: do make it through the clutter, if you will, of

1395
01:02:04,320 --> 01:02:08,160
Speaker 12: a lot of really good music. But from a national standpoint,

1396
01:02:08,200 --> 01:02:11,360
Speaker 12: we can sort of wait and see what pops out

1397
01:02:11,400 --> 01:02:15,880
Speaker 12: of the you know, Southwest or out of Florida or

1398
01:02:16,000 --> 01:02:19,640
Speaker 12: something that then shows itself that wasn't already obvious.

1399
01:02:20,480 --> 01:02:22,560
Speaker 2: Do you get at your position people going what do

1400
01:02:22,600 --> 01:02:26,800
Speaker 2: you do a man in a country music Yeah? Oh yeah,

1401
01:02:26,920 --> 01:02:31,160
Speaker 2: it's still that reaches you. Oh yeah, who would tell

1402
01:02:31,200 --> 01:02:31,480
Speaker 2: you that?

1403
01:02:33,040 --> 01:02:34,840
Speaker 12: Well, so that's a good point when when when you

1404
01:02:35,000 --> 01:02:39,520
Speaker 12: asked it, I get the feedback. Because we also a

1405
01:02:40,240 --> 01:02:43,600
Speaker 12: big radio company, we still do more research. Probably nobody

1406
01:02:43,680 --> 01:02:44,160
Speaker 12: comes to you.

1407
01:02:44,320 --> 01:02:47,440
Speaker 3: I'm saying because if somebody you don't have a face

1408
01:02:47,560 --> 01:02:51,360
Speaker 3: that people know and connect with country music because you're

1409
01:02:51,400 --> 01:02:53,720
Speaker 3: the guy making the decision and Jathan God's upfront being like,

1410
01:02:53,840 --> 01:02:56,800
Speaker 3: I'm the guy I have that have the face that's

1411
01:02:56,840 --> 01:02:57,120
Speaker 3: up front.

1412
01:02:57,120 --> 01:02:58,160
Speaker 2: People can get to me very.

1413
01:02:58,040 --> 01:02:59,800
Speaker 3: Easy, I think, call me, they can message me, and

1414
01:03:00,080 --> 01:03:01,520
Speaker 3: you know they're like, you suck, You're not country, this

1415
01:03:01,640 --> 01:03:02,320
Speaker 3: music is not country.

1416
01:03:02,400 --> 01:03:04,600
Speaker 2: So I hear it all the time. Yeah that's true.

1417
01:03:04,600 --> 01:03:07,080
Speaker 12: I guess it's not a one on one personal People

1418
01:03:07,280 --> 01:03:11,600
Speaker 12: are not contacting me personally, but I feel the feedback

1419
01:03:11,800 --> 01:03:13,880
Speaker 12: because we ask a lot of people and then we

1420
01:03:14,080 --> 01:03:17,640
Speaker 12: roll up under research teams. But what are country fans

1421
01:03:18,080 --> 01:03:22,040
Speaker 12: in total saying about, you know, the strength or lack

1422
01:03:22,080 --> 01:03:23,920
Speaker 12: of strength, or what they like about country music, but

1423
01:03:24,000 --> 01:03:27,439
Speaker 12: they don't like about country music. So Research, I don't

1424
01:03:27,480 --> 01:03:31,440
Speaker 12: know what is that. So Research is like any company,

1425
01:03:31,600 --> 01:03:34,480
Speaker 12: they reach out to consumers. I mean, we find ways

1426
01:03:34,520 --> 01:03:36,720
Speaker 12: to find people who listen to the radio, who listen

1427
01:03:36,760 --> 01:03:38,959
Speaker 12: to the Bobby Bone Show, who listen to country radio

1428
01:03:39,040 --> 01:03:43,160
Speaker 12: and don't listen to your show, who consume country music

1429
01:03:43,480 --> 01:03:45,880
Speaker 12: on streaming but not so much on radio.

1430
01:03:45,960 --> 01:03:46,880
Speaker 2: We talk to all those people.

1431
01:03:47,320 --> 01:03:49,360
Speaker 12: In other words, we reach out to them and we

1432
01:03:49,440 --> 01:03:52,240
Speaker 12: talk to them about why they're using things, and you

1433
01:03:52,360 --> 01:03:54,720
Speaker 12: collect that data, but you also reach out to those people.

1434
01:03:54,880 --> 01:03:59,080
Speaker 2: And now it's online. The people go and listen to

1435
01:03:59,200 --> 01:04:00,160
Speaker 2: pieces of music.

1436
01:04:00,080 --> 01:04:02,000
Speaker 12: Online and they can tell the people like and go

1437
01:04:02,240 --> 01:04:04,240
Speaker 12: here's the link. You can definitely find people, we can

1438
01:04:04,280 --> 01:04:07,320
Speaker 12: definitely send them to. And this happens in you know,

1439
01:04:07,440 --> 01:04:09,240
Speaker 12: the auto industry. I mean I get them all the time.

1440
01:04:09,280 --> 01:04:09,640
Speaker 5: Will you go?

1441
01:04:09,800 --> 01:04:12,360
Speaker 2: And we want to ask you questions about four trucks?

1442
01:04:13,520 --> 01:04:14,520
Speaker 2: So we do the same thing.

1443
01:04:14,880 --> 01:04:17,120
Speaker 3: How many people do you think is a good sample

1444
01:04:17,200 --> 01:04:19,919
Speaker 3: size for a week of making decisions about music?

1445
01:04:20,800 --> 01:04:24,640
Speaker 12: Well, I mean I can tell you that that radio

1446
01:04:25,240 --> 01:04:28,240
Speaker 12: stations can can use one hundred people and feel good

1447
01:04:28,280 --> 01:04:28,600
Speaker 12: about it.

1448
01:04:29,120 --> 01:04:32,080
Speaker 2: Now, that's sort of over time too.

1449
01:04:32,160 --> 01:04:35,200
Speaker 12: You wouldn't want to go and have one research project

1450
01:04:35,360 --> 01:04:37,360
Speaker 12: for the year and talk to one hundred people in

1451
01:04:37,440 --> 01:04:40,680
Speaker 12: any town. It's it's too narrow. But if you're consistently

1452
01:04:40,800 --> 01:04:43,360
Speaker 12: talking to a group of one hundred and another group

1453
01:04:43,360 --> 01:04:45,640
Speaker 12: of one hundred, another group of one hundred, over time,

1454
01:04:45,880 --> 01:04:50,160
Speaker 12: you can see what people's tendencies are if you will,

1455
01:04:50,920 --> 01:04:52,960
Speaker 12: so you use I mean most research companies don't talk

1456
01:04:53,040 --> 01:04:55,080
Speaker 12: to even when you look at a gallop pole.

1457
01:04:55,160 --> 01:04:56,840
Speaker 2: I mean, you would probably know better than me.

1458
01:04:56,960 --> 01:05:01,080
Speaker 12: But they'll survey where the presidentdential races and they'll be

1459
01:05:01,160 --> 01:05:05,400
Speaker 12: talking to nationwide couple thousand people, Yeah, nationwide, Yeah like

1460
01:05:05,520 --> 01:05:06,880
Speaker 12: that not a lot.

1461
01:05:07,120 --> 01:05:11,360
Speaker 3: So what we're saying is you do depend on people's opinion, sure,

1462
01:05:11,680 --> 01:05:14,960
Speaker 3: on the format, on the actual actual amusing.

1463
01:05:15,080 --> 01:05:15,240
Speaker 7: Yeah.

1464
01:05:15,520 --> 01:05:17,880
Speaker 12: We asked him what they think about Luke Bryan as

1465
01:05:17,920 --> 01:05:22,600
Speaker 12: a persona versus you know, here's Luke Brian's song, what

1466
01:05:22,680 --> 01:05:25,000
Speaker 12: do you think of it? We ask them what they

1467
01:05:25,000 --> 01:05:27,240
Speaker 12: think about their radio station, what they think about the

1468
01:05:27,320 --> 01:05:28,520
Speaker 12: morning show on that radio stitte.

1469
01:05:28,520 --> 01:05:29,640
Speaker 2: We ask them a lot of stuff.

1470
01:05:30,480 --> 01:05:33,080
Speaker 9: Let's take a quick pause for a message from our sponsor,

1471
01:05:43,160 --> 01:05:45,360
Speaker 9: and we're back on the Bobby Cast.

1472
01:05:45,880 --> 01:05:48,760
Speaker 3: CMA Awards producer Robert Deaton talks about what goes into

1473
01:05:48,800 --> 01:05:51,640
Speaker 3: an awards show and the biggest risks he's ever taken.

1474
01:05:51,920 --> 01:05:54,360
Speaker 3: Robert also shares how Chris Stapleton justin Timberlake and that

1475
01:05:54,440 --> 01:05:57,240
Speaker 3: performance came together. Remember it blew everybody away and kind

1476
01:05:57,280 --> 01:05:59,480
Speaker 3: of launched Chris Stapleton into the mainstream.

1477
01:06:00,640 --> 01:06:01,920
Speaker 2: What does a producer do?

1478
01:06:02,040 --> 01:06:03,120
Speaker 3: Because I think a lot of people see it on

1479
01:06:03,200 --> 01:06:05,840
Speaker 3: TV pop up and go producer, you know, for Roberty,

1480
01:06:06,280 --> 01:06:10,480
Speaker 3: they don't really know what that entails. So like if

1481
01:06:10,520 --> 01:06:12,600
Speaker 3: we were to go talk to explain it, like I'm five,

1482
01:06:12,960 --> 01:06:13,880
Speaker 3: what does a producer do?

1483
01:06:14,120 --> 01:06:19,840
Speaker 7: So every creative decision goes through me? So set design,

1484
01:06:20,200 --> 01:06:24,120
Speaker 7: lighting design, individual performances, who gets on the show, what

1485
01:06:24,240 --> 01:06:28,800
Speaker 7: are they going to sing? Every single aspect of the

1486
01:06:28,840 --> 01:06:32,360
Speaker 7: show goes through me. So now I have a great team.

1487
01:06:32,480 --> 01:06:36,800
Speaker 7: Of course, I've got great people, lighting designers, set designer.

1488
01:06:37,680 --> 01:06:40,320
Speaker 7: I think that you know, a producer has to have

1489
01:06:40,360 --> 01:06:43,880
Speaker 7: a good taste, you know, I think that's really important.

1490
01:06:44,800 --> 01:06:47,400
Speaker 7: So yeah, everything goes through me, every creative decision.

1491
01:06:48,480 --> 01:06:50,400
Speaker 3: Just I'm gonna veer around a bit when you talk

1492
01:06:50,440 --> 01:06:53,200
Speaker 3: about creative decisions and at times you take risks as

1493
01:06:53,240 --> 01:06:55,240
Speaker 3: a producer. And I don't know if this was a

1494
01:06:55,320 --> 01:06:59,960
Speaker 3: risk or not, but I was watching the CMA Festival special, yeah,

1495
01:07:00,520 --> 01:07:03,840
Speaker 3: and to me, I thought Brothers Osbourne stole the show.

1496
01:07:04,560 --> 01:07:07,040
Speaker 3: Now I'm biased because I love those guys and I'm

1497
01:07:07,040 --> 01:07:10,000
Speaker 3: friends with those guys, but I really thought they stole

1498
01:07:10,080 --> 01:07:12,560
Speaker 3: the show. And there was a point where there was

1499
01:07:12,600 --> 01:07:16,040
Speaker 3: a really long John guitar solo yes on Network TV

1500
01:07:16,680 --> 01:07:20,280
Speaker 3: in primetime seven minutes, and I'm thinking to myself as

1501
01:07:20,320 --> 01:07:23,760
Speaker 3: it's happening, like I love this and I enjoyed this.

1502
01:07:23,880 --> 01:07:26,720
Speaker 3: But that was a risk and I think it paid off.

1503
01:07:26,800 --> 01:07:29,880
Speaker 3: But for you to put that first of all, Brothers Osborne,

1504
01:07:29,920 --> 01:07:33,640
Speaker 3: who to the mainstream aren't so known yet correct and

1505
01:07:34,960 --> 01:07:36,240
Speaker 3: guitar solo.

1506
01:07:36,120 --> 01:07:40,080
Speaker 7: For that long, right, sometimes I feel like you have

1507
01:07:40,200 --> 01:07:41,919
Speaker 7: to do it because it's great.

1508
01:07:42,840 --> 01:07:43,000
Speaker 10: You know.

1509
01:07:44,440 --> 01:07:47,000
Speaker 7: Sure, I'm an answer to the ratings, and I answered

1510
01:07:47,000 --> 01:07:52,160
Speaker 7: to ABC and in the CMA, But sometimes isn't the

1511
01:07:52,240 --> 01:07:56,320
Speaker 7: answer good enough that it's just great? And so it

1512
01:07:56,480 --> 01:08:00,919
Speaker 7: was great, and there was in and I didn't know them.

1513
01:08:01,440 --> 01:08:04,160
Speaker 7: I met them the day of That's when I met

1514
01:08:04,200 --> 01:08:08,680
Speaker 7: them during rehearsal and they I'm in the truck and

1515
01:08:08,720 --> 01:08:10,480
Speaker 7: I'm looking at going, oh man, I'm gonna have to

1516
01:08:10,520 --> 01:08:13,240
Speaker 7: cut this down. It's like this is going on and

1517
01:08:13,360 --> 01:08:17,160
Speaker 7: on and on. And then you watched how he it

1518
01:08:17,360 --> 01:08:22,240
Speaker 7: was genius, how he created that guitar solo, that how

1519
01:08:22,439 --> 01:08:24,640
Speaker 7: the movements worked in it, and how it progressed. And

1520
01:08:26,080 --> 01:08:27,439
Speaker 7: so we looked at it in the edit and I

1521
01:08:27,520 --> 01:08:29,360
Speaker 7: was like, oh, we just got to do it. I

1522
01:08:29,479 --> 01:08:30,920
Speaker 7: was like, let's just put it in and see if

1523
01:08:30,960 --> 01:08:32,040
Speaker 7: ABC says anything.

1524
01:08:32,600 --> 01:08:36,040
Speaker 3: That's such a like that's such a big time commitment

1525
01:08:36,240 --> 01:08:37,960
Speaker 3: for such an out of the box thing it is.

1526
01:08:38,240 --> 01:08:39,519
Speaker 2: Did you think they were going to come back and

1527
01:08:39,520 --> 01:08:40,200
Speaker 2: say you need to cut?

1528
01:08:40,280 --> 01:08:42,800
Speaker 7: I did think they were going to cut. I thought

1529
01:08:42,960 --> 01:08:47,439
Speaker 7: I thought they would call back. Luckily, you know, there's

1530
01:08:47,600 --> 01:08:50,240
Speaker 7: music guys. You're a music guy, right, you get you know,

1531
01:08:51,320 --> 01:08:54,920
Speaker 7: growing up, I was all one. Growing up, I was

1532
01:08:54,960 --> 01:08:58,680
Speaker 7: about TV and TV shows and music. That's all I

1533
01:08:58,800 --> 01:09:00,600
Speaker 7: was about. Just I would on the back of the

1534
01:09:00,640 --> 01:09:03,640
Speaker 7: album covers, you know who played on this record and

1535
01:09:03,720 --> 01:09:09,080
Speaker 7: who did that? And I just love music. And so luckily, uh,

1536
01:09:09,520 --> 01:09:13,000
Speaker 7: there's a guy at ABC. He came over from Kimmel.

1537
01:09:13,000 --> 01:09:15,280
Speaker 7: He was the music booker. I know him, Scott, I

1538
01:09:15,560 --> 01:09:17,680
Speaker 7: know him well. Yeah he's a great guy.

1539
01:09:17,760 --> 01:09:18,400
Speaker 2: Yeah, great guy.

1540
01:09:18,640 --> 01:09:21,680
Speaker 7: And so Scott called me and said I love the

1541
01:09:21,720 --> 01:09:24,960
Speaker 7: brothers Osborne and I was like, great, we're going to

1542
01:09:25,040 --> 01:09:27,439
Speaker 7: keep it all right, He's like, absolutely, keep it all.

1543
01:09:27,640 --> 01:09:29,920
Speaker 2: So Scott was the guy that saw it and said

1544
01:09:29,920 --> 01:09:32,360
Speaker 2: this is good. Let's keep it. It's like the perfect team.

1545
01:09:32,640 --> 01:09:34,839
Speaker 2: It is like it's two music lovers.

1546
01:09:36,120 --> 01:09:40,280
Speaker 7: ABC is in trouble. No, but no, surely it is

1547
01:09:40,360 --> 01:09:44,920
Speaker 7: too music lovers. And and again I've poked things again

1548
01:09:45,120 --> 01:09:47,000
Speaker 7: just because it's it's the right thing to do, like

1549
01:09:47,080 --> 01:09:50,720
Speaker 7: girl Crush. You know, when I first booked it, I

1550
01:09:50,800 --> 01:09:53,560
Speaker 7: booked it for the Billboard Awards and it wasn't the

1551
01:09:53,680 --> 01:09:57,160
Speaker 7: hit now that everybody remembers in the award winning and uh,

1552
01:09:57,920 --> 01:10:00,120
Speaker 7: it was just one of those things. Man, it's like,

1553
01:10:00,880 --> 01:10:02,599
Speaker 7: we should book this because it's great.

1554
01:10:03,520 --> 01:10:06,920
Speaker 3: And and we did talk to me a second. We'll

1555
01:10:06,960 --> 01:10:08,639
Speaker 3: just stay on the CMA Awards for a minute. There's

1556
01:10:08,640 --> 01:10:10,439
Speaker 3: a lot, but we're talking about a risk, and I

1557
01:10:10,760 --> 01:10:13,240
Speaker 3: can I the open. Last year's CMA Awards.

1558
01:10:13,000 --> 01:10:18,519
Speaker 7: Was a risk. Last year's mean the fiftieth Oh in Dallas. No, No,

1559
01:10:18,760 --> 01:10:22,240
Speaker 7: the fiftieth for me here in Nashville. The fiftieth anniversary

1560
01:10:22,240 --> 01:10:23,160
Speaker 7: of the CMA Awards.

1561
01:10:24,040 --> 01:10:27,960
Speaker 3: Oh, that's right, that's right, because all the acts, it

1562
01:10:28,040 --> 01:10:30,280
Speaker 3: was a legendary that's right, because you had a lot

1563
01:10:30,320 --> 01:10:34,400
Speaker 3: of legends that some of them were really older, older, older,

1564
01:10:34,680 --> 01:10:37,280
Speaker 3: like because what it was I'm remembering now what it

1565
01:10:37,400 --> 01:10:40,560
Speaker 3: was is they all played part of a song and

1566
01:10:40,680 --> 01:10:42,600
Speaker 3: at the beginning of the CMAS it.

1567
01:10:42,640 --> 01:10:47,759
Speaker 7: Was like this one song after another of all different greats.

1568
01:10:48,080 --> 01:10:51,040
Speaker 2: Yes, but some of them were really old. Well, you know,

1569
01:10:51,360 --> 01:10:52,000
Speaker 2: it's a struggle.

1570
01:10:52,120 --> 01:10:53,519
Speaker 7: It was a risk, and I will tell you I

1571
01:10:53,600 --> 01:10:57,200
Speaker 7: had calls from people going, wow, that you are really wow.

1572
01:10:57,840 --> 01:11:02,680
Speaker 7: Just managers and by the way, we're for you, we

1573
01:11:02,840 --> 01:11:07,320
Speaker 7: want you to do this. Uh. And when you get

1574
01:11:08,280 --> 01:11:10,839
Speaker 7: when you see you know, when you get Charlie Daniels

1575
01:11:10,920 --> 01:11:14,040
Speaker 7: or Roy Acuff, I mean, I'm sorry Charlie Daniels or

1576
01:11:14,200 --> 01:11:18,479
Speaker 7: Roy Clark and they're thanking you for being there. It's like,

1577
01:11:18,520 --> 01:11:22,360
Speaker 7: you don't need to thank me. You've earned being here.

1578
01:11:23,120 --> 01:11:25,040
Speaker 7: But it was it was a risk, but it was

1579
01:11:25,080 --> 01:11:26,439
Speaker 7: also the rehearsal was tough.

1580
01:11:26,560 --> 01:11:26,720
Speaker 3: Man.

1581
01:11:27,479 --> 01:11:30,040
Speaker 7: It was like it was a nightmare.

1582
01:11:30,439 --> 01:11:31,960
Speaker 3: Okay, you had people you can fall back on, like

1583
01:11:32,040 --> 01:11:33,880
Speaker 3: I remember if again. I'm just gonna for a memory,

1584
01:11:34,080 --> 01:11:34,960
Speaker 3: like Paisley.

1585
01:11:34,760 --> 01:11:38,960
Speaker 7: Was Paisley, Carrie Underwood and Alabama and Roy Clark.

1586
01:11:38,680 --> 01:11:39,840
Speaker 2: And they were in it.

1587
01:11:39,960 --> 01:11:41,920
Speaker 3: So it was almost like a balancing act where you

1588
01:11:42,080 --> 01:11:46,280
Speaker 3: kind of had to stack someone who maybe it was

1589
01:11:46,360 --> 01:11:48,280
Speaker 3: older and couldn't move as well as they used to

1590
01:11:48,720 --> 01:11:50,000
Speaker 3: against someone who could.

1591
01:11:50,880 --> 01:11:53,880
Speaker 7: Just in case that's correct. It was funny. We were,

1592
01:11:54,080 --> 01:11:56,839
Speaker 7: like I said, we never did get a one full rehearsal.

1593
01:11:57,720 --> 01:11:59,200
Speaker 7: I mean the first time you saw it was on

1594
01:11:59,280 --> 01:12:02,680
Speaker 7: the air, and so it was just like, you know,

1595
01:12:02,720 --> 01:12:05,280
Speaker 7: because we were bouncing back and forth between bands, between

1596
01:12:05,320 --> 01:12:09,160
Speaker 7: Bras band and Carrie's band, and it was it was

1597
01:12:09,240 --> 01:12:11,960
Speaker 7: so important to me though, but so it was a

1598
01:12:12,360 --> 01:12:16,439
Speaker 7: train wreck nightmare the rehearsal. So I'm walking across the stage,

1599
01:12:16,439 --> 01:12:18,280
Speaker 7: I got my head down and I hear a voice

1600
01:12:19,400 --> 01:12:22,360
Speaker 7: look better on paper, didn't it? And it was Vince Gill.

1601
01:12:23,840 --> 01:12:27,519
Speaker 7: I'm think it'll be fine, and Vince is like, yeah,

1602
01:12:27,560 --> 01:12:28,720
Speaker 7: it'll be good, it'll be good.

1603
01:12:29,080 --> 01:12:32,599
Speaker 2: Who was it that was struggling rehearsal where you're like, man.

1604
01:12:33,320 --> 01:12:36,759
Speaker 7: You know what it was? It wasn't necessarily artists struggling.

1605
01:12:37,040 --> 01:12:39,920
Speaker 7: It was the number of artists and the time, you know,

1606
01:12:40,960 --> 01:12:43,840
Speaker 7: just the time period of going from one to the next,

1607
01:12:43,880 --> 01:12:47,479
Speaker 7: because you know, transitions. It was the transitions And it

1608
01:12:47,640 --> 01:12:52,160
Speaker 7: wasn't any one particular artist. We had a hard time with.

1609
01:12:53,000 --> 01:12:56,240
Speaker 7: Of all things, we had a hard time with Mountain

1610
01:12:56,320 --> 01:13:01,360
Speaker 7: Music Alabama, Alabama, yea, of all things, just music. You know,

1611
01:13:02,000 --> 01:13:04,599
Speaker 7: we were playing the wrong chord or something and only

1612
01:13:04,840 --> 01:13:07,080
Speaker 7: Randy could hear it, and it was like, so that

1613
01:13:07,160 --> 01:13:09,880
Speaker 7: took a minute. But it was just the sheer number

1614
01:13:09,920 --> 01:13:12,400
Speaker 7: of artists back and forth. But I will tell you

1615
01:13:13,920 --> 01:13:16,719
Speaker 7: it came off. I've looked at it five hundred times.

1616
01:13:17,240 --> 01:13:19,400
Speaker 7: It's like the proudest thing I've ever done.

1617
01:13:19,560 --> 01:13:21,719
Speaker 3: So once you do that and it comes off early

1618
01:13:21,800 --> 01:13:23,640
Speaker 3: on in a TV show, and that's the hardest thing.

1619
01:13:23,720 --> 01:13:25,559
Speaker 3: Were you able to kind of go a little bit

1620
01:13:25,600 --> 01:13:27,000
Speaker 3: even though it was early on the show?

1621
01:13:27,560 --> 01:13:30,800
Speaker 7: Yeah? Well, I will tell you the first reaction is

1622
01:13:32,880 --> 01:13:35,479
Speaker 7: we could be men in here, right? But I cried.

1623
01:13:36,680 --> 01:13:38,519
Speaker 2: It was like, son of us, are men in here world?

1624
01:13:40,080 --> 01:13:40,280
Speaker 13: Yeah?

1625
01:13:40,400 --> 01:13:40,560
Speaker 1: Or not?

1626
01:13:41,479 --> 01:13:41,639
Speaker 13: Yeah?

1627
01:13:43,920 --> 01:13:48,479
Speaker 7: So I cried. It was when I knew by the

1628
01:13:48,560 --> 01:13:51,439
Speaker 7: time we got to Alan, I knew we were through it,

1629
01:13:51,600 --> 01:13:55,479
Speaker 7: and I knew it was great. And then, because you

1630
01:13:55,520 --> 01:13:59,200
Speaker 7: know what, growing up, I grew up in Wilmington, North Carolina,

1631
01:14:00,040 --> 01:14:02,719
Speaker 7: and my dad worked. My father worked at a television station.

1632
01:14:03,160 --> 01:14:09,280
Speaker 7: He had a Friday night country music show. I was five, six, seven, eight,

1633
01:14:09,439 --> 01:14:11,560
Speaker 7: nine years old and he had a and I was

1634
01:14:11,640 --> 01:14:15,200
Speaker 7: on the show. I was a square dancer on the show.

1635
01:14:15,360 --> 01:14:19,040
Speaker 7: So and so what he would do is book all

1636
01:14:19,080 --> 01:14:21,760
Speaker 7: the country music Grandel Loppery stars that were coming through,

1637
01:14:23,479 --> 01:14:30,439
Speaker 7: buck Owens, Ray Pilla, Jack Greene, Jenny Seeley. So I

1638
01:14:30,600 --> 01:14:33,120
Speaker 7: was always around this as a kid. So I felt

1639
01:14:33,200 --> 01:14:35,559
Speaker 7: pressure even in that. I was like, I gotta get

1640
01:14:35,560 --> 01:14:39,680
Speaker 7: this right, not for me, but for them and for

1641
01:14:39,800 --> 01:14:42,880
Speaker 7: the history and what we're what we're trying to accomplish.

1642
01:14:42,960 --> 01:14:45,680
Speaker 7: So yeah, I cried at the end of it. And

1643
01:14:45,760 --> 01:14:47,519
Speaker 7: then and I did feel that way. I felt like

1644
01:14:48,360 --> 01:14:49,960
Speaker 7: we're going to be because I knew what I had

1645
01:14:50,040 --> 01:14:52,120
Speaker 7: coming up to. I knew I had George Straight and

1646
01:14:52,160 --> 01:14:55,200
Speaker 7: Alan Jackson. I knew I had this great duet with

1647
01:14:55,360 --> 01:15:01,360
Speaker 7: Garth and Tricia. You know, I had Garth singing Don't

1648
01:15:01,400 --> 01:15:03,880
Speaker 7: Close your Eyes by Keith Whitley. I mean, does it

1649
01:15:04,040 --> 01:15:05,920
Speaker 7: get any better than that? So I knew I had

1650
01:15:05,960 --> 01:15:09,200
Speaker 7: those things that you kind of like the old Al

1651
01:15:09,280 --> 01:15:12,519
Speaker 7: Joelson thing, you ain't seen nothing yet. I felt that way,

1652
01:15:14,000 --> 01:15:15,080
Speaker 7: but it was a lot of pressure.

1653
01:15:15,640 --> 01:15:17,360
Speaker 3: I have you to think for a big part of

1654
01:15:17,439 --> 01:15:20,800
Speaker 3: my career that some things that I get to do

1655
01:15:20,840 --> 01:15:22,960
Speaker 3: as far as breaking artists. So I'll set you up

1656
01:15:22,960 --> 01:15:24,439
Speaker 3: with the story and then you'll see where you come

1657
01:15:24,479 --> 01:15:24,840
Speaker 3: into play.

1658
01:15:24,880 --> 01:15:25,040
Speaker 5: Here.

1659
01:15:26,760 --> 01:15:29,040
Speaker 2: Man, it's been now. I don't even know the timeline,

1660
01:15:29,080 --> 01:15:29,720
Speaker 2: but I can't.

1661
01:15:29,920 --> 01:15:31,839
Speaker 3: There was this artist that lived in town as a songwriter,

1662
01:15:32,120 --> 01:15:34,000
Speaker 3: and I kept bringing him in and nobody knew me.

1663
01:15:34,000 --> 01:15:36,040
Speaker 3: It was I can't bring him in and he didn't

1664
01:15:36,040 --> 01:15:36,880
Speaker 3: have a record out or anything.

1665
01:15:37,240 --> 01:15:37,680
Speaker 7: I called him.

1666
01:15:37,680 --> 01:15:38,920
Speaker 3: The first time I called him, I called him my home.

1667
01:15:38,960 --> 01:15:40,640
Speaker 3: He was in the power and he's like, hey, go back,

1668
01:15:40,640 --> 01:15:42,760
Speaker 3: and I'm wet in the shower. I'm like cool, So

1669
01:15:42,840 --> 01:15:45,040
Speaker 3: he came up. Nobody was blew the rip roof off.

1670
01:15:45,200 --> 01:15:47,160
Speaker 3: Second time came up. No, I started getting in trouble

1671
01:15:47,200 --> 01:15:50,120
Speaker 3: for bringing them in because my bosses who don't some

1672
01:15:50,160 --> 01:15:51,840
Speaker 3: of them don't listen to the show because they're nash

1673
01:15:51,920 --> 01:15:53,880
Speaker 3: or they're in New York or LA, and they're like, hey,

1674
01:15:54,600 --> 01:15:58,200
Speaker 3: people are reporting back that Bobby who has five million listeners,

1675
01:15:58,400 --> 01:16:00,600
Speaker 3: So why is he playing this unknown artist on the

1676
01:16:00,640 --> 01:16:05,640
Speaker 3: show that doesn't have any hits. So my direct boss said, hey,

1677
01:16:05,680 --> 01:16:07,120
Speaker 3: what what are you wind this dude? I was like,

1678
01:16:07,280 --> 01:16:11,240
Speaker 3: trust me, he's really good. And then thank you Robert Deaton,

1679
01:16:11,680 --> 01:16:15,040
Speaker 3: because you put Stapleton on with Justin Kimberlake and it

1680
01:16:15,200 --> 01:16:17,679
Speaker 3: was it's that's the I think it's the biggest moment

1681
01:16:17,720 --> 01:16:20,559
Speaker 3: in the in the last five years of the CMA.

1682
01:16:20,680 --> 01:16:23,000
Speaker 3: I think that's the biggest moment that And I don't

1683
01:16:23,000 --> 01:16:24,080
Speaker 3: know how you did because I want to ask what

1684
01:16:24,200 --> 01:16:26,120
Speaker 3: that what went into that decision, but you made me

1685
01:16:26,160 --> 01:16:30,439
Speaker 3: look brilliant, like you putting that in creating that that's

1686
01:16:30,479 --> 01:16:33,639
Speaker 3: what made Stapleton what he is to people. He already

1687
01:16:33,720 --> 01:16:36,800
Speaker 3: was awesome, people just hadn't seen him yet. He would

1688
01:16:36,800 --> 01:16:37,920
Speaker 3: come to my studio be blown away.

1689
01:16:37,920 --> 01:16:39,519
Speaker 2: I'd be like, how is this guy not something?

1690
01:16:40,120 --> 01:16:43,160
Speaker 3: But you're the one who put him on, And because

1691
01:16:43,160 --> 01:16:44,760
Speaker 3: of you, I get to break artists like crazy now,

1692
01:16:44,880 --> 01:16:46,880
Speaker 3: like my company is like you know what I quit?

1693
01:16:46,960 --> 01:16:49,439
Speaker 3: You just do you? And because you put those two together,

1694
01:16:49,840 --> 01:16:53,599
Speaker 3: they finally gave me the you go ahead, Okay, we'll

1695
01:16:53,680 --> 01:16:54,240
Speaker 3: leave you alone.

1696
01:16:54,400 --> 01:16:54,920
Speaker 7: So I got to know.

1697
01:16:55,000 --> 01:16:57,240
Speaker 2: First of all, thank you very much for that. Secondly,

1698
01:16:57,280 --> 01:16:58,120
Speaker 2: how did that come together?

1699
01:16:58,880 --> 01:17:05,400
Speaker 7: Well, I had been already in touch with Justin for

1700
01:17:05,520 --> 01:17:09,040
Speaker 7: several years and trying to figure out a way to

1701
01:17:09,080 --> 01:17:11,280
Speaker 7: get him on the show. We were closed one year.

1702
01:17:11,439 --> 01:17:13,559
Speaker 7: We thought we were going to do a remote from

1703
01:17:14,080 --> 01:17:16,880
Speaker 7: I think it was in New Jersey, and then you

1704
01:17:16,960 --> 01:17:22,120
Speaker 7: know what, his manager call and said, listen, he definitely

1705
01:17:22,200 --> 01:17:25,360
Speaker 7: wants to do the CMA Awards one day, but he

1706
01:17:25,400 --> 01:17:27,000
Speaker 7: wants when he does them, he wants to do him

1707
01:17:27,040 --> 01:17:29,320
Speaker 7: in the room. He wants to be there. I'm like,

1708
01:17:30,160 --> 01:17:33,080
Speaker 7: totally get it. You know what, he should be here

1709
01:17:33,120 --> 01:17:35,560
Speaker 7: because this is a great room. You know, it's like

1710
01:17:36,520 --> 01:17:39,799
Speaker 7: if you're an artist and you haven't done the CMA Awards,

1711
01:17:40,400 --> 01:17:42,560
Speaker 7: it's like I have people at a genre all the

1712
01:17:42,600 --> 01:17:45,080
Speaker 7: time going. I had the best time. It was awesome.

1713
01:17:45,160 --> 01:17:49,320
Speaker 7: I loved the people. There's writers and you know, it's

1714
01:17:49,360 --> 01:17:56,839
Speaker 7: just great. So I've found out through Chris Stapleton's management

1715
01:17:56,880 --> 01:18:01,599
Speaker 7: that they were friends and uh, and so I reached

1716
01:18:01,640 --> 01:18:05,040
Speaker 7: out and Chris reached out, but we both reached out.

1717
01:18:05,720 --> 01:18:08,479
Speaker 7: When you got the yeah, he'll do it, it was

1718
01:18:08,560 --> 01:18:11,720
Speaker 7: on the phone with Justin. Really yeah, So this is

1719
01:18:11,760 --> 01:18:19,439
Speaker 7: what happened? So how much? So the questions are from justin, well,

1720
01:18:19,920 --> 01:18:23,960
Speaker 7: how much time do we have? And I said, as

1721
01:18:24,040 --> 01:18:29,599
Speaker 7: much as you want. You know, it's like, because well,

1722
01:18:29,680 --> 01:18:31,400
Speaker 7: first of all, let me back up this one bit.

1723
01:18:31,640 --> 01:18:35,400
Speaker 7: My son. You know, he was a I guess junior

1724
01:18:35,479 --> 01:18:39,080
Speaker 7: in high school at the time. Like I mean, I

1725
01:18:39,200 --> 01:18:44,479
Speaker 7: knew Chris Dableton's record backwards and forwards, like every note

1726
01:18:44,720 --> 01:18:49,120
Speaker 7: because my son was such a huge fan from the

1727
01:18:49,280 --> 01:18:52,439
Speaker 7: day the record came out. So I am constantly hearing

1728
01:18:52,520 --> 01:18:56,280
Speaker 7: this record Traveler, right, Traveler, and it's a great record,

1729
01:18:57,600 --> 01:19:00,840
Speaker 7: and so I knew everything about the record.

1730
01:19:01,960 --> 01:19:02,120
Speaker 1: Uh.

1731
01:19:02,600 --> 01:19:04,400
Speaker 7: And then he comes out with all these nominations.

1732
01:19:04,640 --> 01:19:04,920
Speaker 5: That was.

1733
01:19:05,600 --> 01:19:07,320
Speaker 7: That was I will tell you that was a surprise.

1734
01:19:08,400 --> 01:19:11,519
Speaker 3: He's so beloved in the industry that a lot of

1735
01:19:11,560 --> 01:19:13,960
Speaker 3: people in Nashville are like, this is the underdog guy

1736
01:19:14,000 --> 01:19:15,960
Speaker 3: who's so good, that's unknown, we're voting for him.

1737
01:19:16,320 --> 01:19:16,639
Speaker 7: Correct.

1738
01:19:17,400 --> 01:19:20,519
Speaker 2: Yeah, So he gets all the nominations and you go, okay, all.

1739
01:19:20,439 --> 01:19:22,640
Speaker 7: Right, So then we reach out to Chris. So then

1740
01:19:22,680 --> 01:19:26,840
Speaker 7: we have a telephone call. It's myself, Chris Stapleton, justin

1741
01:19:26,880 --> 01:19:33,599
Speaker 7: Timberlake and management. So the questions are, again, how much

1742
01:19:33,680 --> 01:19:36,360
Speaker 7: time do we have? It's like how much do you want?

1743
01:19:37,680 --> 01:19:40,040
Speaker 7: You can have whatever you want. This this is going

1744
01:19:40,120 --> 01:19:42,599
Speaker 7: to be great. And then the other question was where

1745
01:19:42,640 --> 01:19:45,439
Speaker 7: are we going to be in the show? And I said,

1746
01:19:46,720 --> 01:19:49,880
Speaker 7: you know, were you you know, for most people don't know,

1747
01:19:50,000 --> 01:19:54,120
Speaker 7: but the highest rated show, the highest rated points of

1748
01:19:54,160 --> 01:19:58,960
Speaker 7: a television show are crossing the hours, shoe. I was like,

1749
01:19:59,200 --> 01:20:02,320
Speaker 7: let's cross the first hour, I said, And then I

1750
01:20:02,400 --> 01:20:05,719
Speaker 7: said are those the right answers? And Justin started laughing

1751
01:20:05,800 --> 01:20:08,679
Speaker 7: and Chris and Justin's like, yeah, those are the right answers.

1752
01:20:09,520 --> 01:20:11,360
Speaker 3: So then you have to decide what to do. Now

1753
01:20:11,400 --> 01:20:13,960
Speaker 3: who gets it because he was drinking away and it

1754
01:20:14,200 --> 01:20:21,280
Speaker 3: was the dave down and stable and cover. Yes, help

1755
01:20:21,320 --> 01:20:21,680
Speaker 3: me out, myke.

1756
01:20:21,760 --> 01:20:23,559
Speaker 5: D what's uh?

1757
01:20:25,640 --> 01:20:27,719
Speaker 2: How do you guys decide on the song tennessee tennesse whiskey?

1758
01:20:27,760 --> 01:20:30,479
Speaker 7: Thank you very much U. So they decided on that.

1759
01:20:31,240 --> 01:20:32,760
Speaker 2: So they and they come to you and say, hey,

1760
01:20:32,800 --> 01:20:33,280
Speaker 2: this is what we like to do.

1761
01:20:33,360 --> 01:20:35,439
Speaker 7: This is what we like to do. And I say

1762
01:20:35,479 --> 01:20:40,320
Speaker 7: you of course you got, of course you know this

1763
01:20:40,479 --> 01:20:42,040
Speaker 7: is what we want to do. And but I tell

1764
01:20:42,040 --> 01:20:45,240
Speaker 7: you what was interesting though, because you know, you know, uh,

1765
01:20:45,800 --> 01:20:48,479
Speaker 7: as far as the look is concerned. You know a

1766
01:20:48,560 --> 01:20:51,439
Speaker 7: lot of artists like Justin Timberlake. They bring in, you know,

1767
01:20:52,640 --> 01:20:56,760
Speaker 7: tons of people from Los Angeles or wherever, and uh,

1768
01:20:57,479 --> 01:20:59,479
Speaker 7: we got on the phone and we're like, this is

1769
01:20:59,560 --> 01:21:02,080
Speaker 7: what we we all the three of us kind of

1770
01:21:02,200 --> 01:21:06,120
Speaker 7: decided what we thought it ought to look like and uh,

1771
01:21:07,000 --> 01:21:07,840
Speaker 7: and then we just did it.

1772
01:21:08,120 --> 01:21:09,639
Speaker 2: Did you feel like it was special the first time

1773
01:21:09,680 --> 01:21:10,800
Speaker 2: they did it together on stage?

1774
01:21:11,160 --> 01:21:11,479
Speaker 5: I did.

1775
01:21:11,720 --> 01:21:13,679
Speaker 7: I thought it was really great.

1776
01:21:14,439 --> 01:21:16,360
Speaker 3: Okay, there's a lot of it, but I did not

1777
01:21:16,439 --> 01:21:19,639
Speaker 3: a few great tonight. Yes, I thought it was great.

1778
01:21:20,360 --> 01:21:25,160
Speaker 7: I did not. I did not know that. So we

1779
01:21:25,280 --> 01:21:30,400
Speaker 7: do the rehearsal, it's it's great, Okay, it's obviously going

1780
01:21:30,479 --> 01:21:35,920
Speaker 7: to be a moment. Justin came up to me at

1781
01:21:35,960 --> 01:21:41,519
Speaker 7: the producer's table and said, don't worry about it. I'll

1782
01:21:41,600 --> 01:21:45,120
Speaker 7: really bring it up tonight. I was like at fifty

1783
01:21:46,520 --> 01:21:50,400
Speaker 7: it was like, oh, okay, great, thanks. You know, I'm like,

1784
01:21:50,720 --> 01:21:52,360
Speaker 7: I'm already on to the next rehearsal. You know what

1785
01:21:52,400 --> 01:21:55,160
Speaker 7: I'm saying. It's like And it was very polite of

1786
01:21:55,280 --> 01:21:58,920
Speaker 7: him to do that and very professional. But yeah, but

1787
01:21:59,040 --> 01:22:00,360
Speaker 7: they brought it up. Did as you know?

1788
01:22:00,479 --> 01:22:02,600
Speaker 2: It was the thing when it was happening when it

1789
01:22:02,720 --> 01:22:03,080
Speaker 2: was live.

1790
01:22:03,720 --> 01:22:07,040
Speaker 7: Yes, I did know it was. You could see even backstage,

1791
01:22:07,120 --> 01:22:08,799
Speaker 7: you could feel the room changing.

1792
01:22:09,479 --> 01:22:09,599
Speaker 1: Uh.

1793
01:22:09,840 --> 01:22:13,200
Speaker 7: And then what we also started doing was seeing the

1794
01:22:13,360 --> 01:22:15,280
Speaker 7: reaction of every of of the audience.

1795
01:22:15,320 --> 01:22:17,160
Speaker 2: I mean you can for me, it was mine blinde.

1796
01:22:17,240 --> 01:22:18,160
Speaker 7: It was crazy my mind.

1797
01:22:18,439 --> 01:22:19,840
Speaker 2: I was like, this is the great thing I've seen,

1798
01:22:20,280 --> 01:22:21,080
Speaker 2: this mix.

1799
01:22:21,120 --> 01:22:24,280
Speaker 7: Of all of it. I just started telling the camera guys,

1800
01:22:24,320 --> 01:22:27,800
Speaker 7: start shooting the audience, you know, because that was also

1801
01:22:28,000 --> 01:22:31,360
Speaker 7: the story. Like you, I mean, you cut to anybody,

1802
01:22:31,760 --> 01:22:36,599
Speaker 7: you cut to any artist, and you can it's there's

1803
01:22:36,720 --> 01:22:43,160
Speaker 7: no it was genuine, genuine love, genuine genuine awe.

1804
01:22:43,840 --> 01:22:44,000
Speaker 5: You know.

1805
01:22:44,479 --> 01:22:49,080
Speaker 7: I think there was all for justin Timberlake and going,

1806
01:22:49,200 --> 01:22:51,960
Speaker 7: oh my gosh, it's justin Timberlake. And I think there

1807
01:22:52,120 --> 01:22:54,200
Speaker 7: was love for Chris Stapleton.

1808
01:22:54,000 --> 01:22:56,479
Speaker 2: And a holy crap, like how have we not known

1809
01:22:56,520 --> 01:22:57,720
Speaker 2: this guy until right now?

1810
01:22:57,880 --> 01:22:58,000
Speaker 5: Right?

1811
01:22:59,360 --> 01:23:02,920
Speaker 3: Martha Earl, who is Kane Brown's manager, talks to me

1812
01:23:03,000 --> 01:23:05,400
Speaker 3: here about how she got into management and how and

1813
01:23:05,520 --> 01:23:08,559
Speaker 3: why Caane Brown caught her attention way back in twenty fifteen.

1814
01:23:09,720 --> 01:23:11,920
Speaker 3: When you want to get into management at that age,

1815
01:23:12,400 --> 01:23:15,960
Speaker 3: you know, twenties, early thirties, what is management?

1816
01:23:16,040 --> 01:23:17,080
Speaker 2: What did it mean to you?

1817
01:23:17,320 --> 01:23:17,519
Speaker 5: Then?

1818
01:23:18,160 --> 01:23:19,639
Speaker 7: Oh my gosh, I had no idea.

1819
01:23:19,840 --> 01:23:23,280
Speaker 13: I mean, it's really I'm so fortunate because the first

1820
01:23:23,360 --> 01:23:26,720
Speaker 13: artist that I managed was just up and coming, and

1821
01:23:27,320 --> 01:23:31,559
Speaker 13: so he allowed me to learn alongside him. So I remember,

1822
01:23:31,680 --> 01:23:34,200
Speaker 13: I thought we had him. He was opening up for

1823
01:23:34,560 --> 01:23:37,880
Speaker 13: Rodney Atkins. Is his name's Greg Bates. He does he'd won.

1824
01:23:38,000 --> 01:23:41,200
Speaker 13: He I did it for the girl, great songwriter and

1825
01:23:41,320 --> 01:23:44,320
Speaker 13: he so we So he was opening for Rodney Atkins

1826
01:23:44,520 --> 01:23:47,600
Speaker 13: like a casino in Biloxi, Mississippi. And I was like,

1827
01:23:47,640 --> 01:23:50,519
Speaker 13: all right, we got a gig. And so I didn't know,

1828
01:23:50,640 --> 01:23:52,360
Speaker 13: so I thought you had to advance the gig. And

1829
01:23:52,520 --> 01:23:55,920
Speaker 13: so I don't know why I called the casino. I

1830
01:23:55,960 --> 01:23:58,479
Speaker 13: should have just called Rodney Ack. Whatever you learned, I

1831
01:23:58,560 --> 01:24:00,680
Speaker 13: called the casino in this like Grouchy Man was like,

1832
01:24:01,600 --> 01:24:03,920
Speaker 13: you want to advance the gig? And I was like, yeah,

1833
01:24:04,400 --> 01:24:07,240
Speaker 13: yes I do. And he was like, okay, well all right,

1834
01:24:07,280 --> 01:24:08,800
Speaker 13: what do you need? And I was like, I have

1835
01:24:09,000 --> 01:24:12,320
Speaker 13: no idea, and he goes, okay, how many dys do

1836
01:24:12,360 --> 01:24:12,599
Speaker 13: you need?

1837
01:24:13,080 --> 01:24:14,360
Speaker 2: I don't know what a d I is?

1838
01:24:14,880 --> 01:24:16,800
Speaker 13: He was, and then he just starts laughing, and so

1839
01:24:16,880 --> 01:24:19,360
Speaker 13: then he just starts telling me, idea, is your guy

1840
01:24:19,439 --> 01:24:22,640
Speaker 13: playing a guitar? Yes, okay, you need a d I

1841
01:24:22,840 --> 01:24:24,280
Speaker 13: because he's going to plug his guitar.

1842
01:24:24,360 --> 01:24:25,759
Speaker 2: And is he singing?

1843
01:24:26,000 --> 01:24:28,720
Speaker 13: And I said, yes, okay, you need a microphone. Is

1844
01:24:28,800 --> 01:24:32,400
Speaker 13: he bringing anyone else? No, okay, you just advanced your

1845
01:24:32,400 --> 01:24:32,800
Speaker 13: first show.

1846
01:24:32,840 --> 01:24:35,800
Speaker 2: And I was like, all right, that's crazy. And so

1847
01:24:35,920 --> 01:24:37,920
Speaker 2: I guess you go to your first show? Yeah, we go.

1848
01:24:38,080 --> 01:24:39,720
Speaker 13: We drove down there. I had I had a read

1849
01:24:40,160 --> 01:24:43,880
Speaker 13: Folkswagen Jetta and drove. Although it's a long long drive

1850
01:24:44,120 --> 01:24:45,200
Speaker 13: to Biloxi.

1851
01:24:44,800 --> 01:24:46,479
Speaker 2: Because it's water, it's gonna drive all the way down

1852
01:24:46,479 --> 01:24:47,280
Speaker 2: the water way down there.

1853
01:24:47,360 --> 01:24:47,559
Speaker 5: Yeah.

1854
01:24:47,720 --> 01:24:49,880
Speaker 2: Yeah, So you finished your first show?

1855
01:24:49,960 --> 01:24:50,080
Speaker 11: Is it?

1856
01:24:50,160 --> 01:24:50,200
Speaker 3: Like?

1857
01:24:50,479 --> 01:24:52,360
Speaker 2: Is it a high? Is it your first amazing? You're like,

1858
01:24:52,400 --> 01:24:53,680
Speaker 2: we just did it our first show. I just got

1859
01:24:53,760 --> 01:24:56,760
Speaker 2: me fifteen percent and you know what, Yeah, I mean

1860
01:24:56,800 --> 01:24:58,479
Speaker 2: it wasn't. I mean, if you do the math, it's

1861
01:24:58,520 --> 01:24:59,120
Speaker 2: not it wasn't.

1862
01:24:59,200 --> 01:24:59,800
Speaker 7: I spent more.

1863
01:25:00,479 --> 01:25:04,200
Speaker 2: But that's okay. So what did you learn from your

1864
01:25:04,280 --> 01:25:05,439
Speaker 2: time with Greg?

1865
01:25:05,600 --> 01:25:08,400
Speaker 3: If I were to say you get one lesson to

1866
01:25:08,439 --> 01:25:10,240
Speaker 3: share with the world about your time with Greg as

1867
01:25:10,280 --> 01:25:11,240
Speaker 3: a manager, what'd you learn?

1868
01:25:11,720 --> 01:25:14,840
Speaker 13: I would say that I learned that God, that's a

1869
01:25:15,000 --> 01:25:18,280
Speaker 13: great question, I would say. During my time with him,

1870
01:25:18,400 --> 01:25:21,519
Speaker 13: I learned how to be confident in being a manager

1871
01:25:21,720 --> 01:25:25,000
Speaker 13: and be confident in asking questions and saying I don't know,

1872
01:25:25,720 --> 01:25:27,160
Speaker 13: but I'm going to go figure it out. I'm going

1873
01:25:27,200 --> 01:25:29,080
Speaker 13: to go find out. I'm going to go I'm going

1874
01:25:29,160 --> 01:25:31,080
Speaker 13: to admit that I don't know the answer.

1875
01:25:30,840 --> 01:25:31,479
Speaker 2: To something.

1876
01:25:32,840 --> 01:25:36,240
Speaker 3: Because you were unexperienced. I'm assuming there was a fear

1877
01:25:36,280 --> 01:25:38,400
Speaker 3: in admitting you were an experience because then people would

1878
01:25:38,400 --> 01:25:39,520
Speaker 3: think of you as an experience.

1879
01:25:40,000 --> 01:25:41,720
Speaker 13: Yeah, I mean there was there was some of that,

1880
01:25:41,880 --> 01:25:45,280
Speaker 13: but you know I did. I did ask a lot

1881
01:25:45,360 --> 01:25:46,960
Speaker 13: of questions, and a lot of people helped me.

1882
01:25:47,160 --> 01:25:48,240
Speaker 2: You know, a lot of people.

1883
01:25:48,400 --> 01:25:51,160
Speaker 13: His booking agent, Mark Dennis, who works at CAA, he

1884
01:25:51,320 --> 01:25:55,760
Speaker 13: was really helpful early days, the label, Jimmy Harnan Scott,

1885
01:25:56,040 --> 01:25:56,559
Speaker 13: they were great.

1886
01:25:56,720 --> 01:25:59,120
Speaker 2: They were very help patient with me. So from Greg,

1887
01:25:59,720 --> 01:26:00,479
Speaker 2: then what happens.

1888
01:26:00,800 --> 01:26:04,200
Speaker 13: So when I was working at another management company, so

1889
01:26:04,400 --> 01:26:06,760
Speaker 13: I had we did the big machine deal, I knew

1890
01:26:06,760 --> 01:26:08,640
Speaker 13: I want to do management full time. I went to

1891
01:26:08,720 --> 01:26:11,560
Speaker 13: work with a management company and I really learned a

1892
01:26:11,760 --> 01:26:14,200
Speaker 13: ton there. And that was with a manager named Jason

1893
01:26:14,200 --> 01:26:16,720
Speaker 13: Nowen who manages Casey Musgraves and Dan and Shay and

1894
01:26:16,760 --> 01:26:20,000
Speaker 13: a bunch of people. And so when I started working there,

1895
01:26:20,080 --> 01:26:23,679
Speaker 13: they had just launched the k C album that first,

1896
01:26:23,760 --> 01:26:27,640
Speaker 13: that amazing record, same trailer, Yeah, and I remember just

1897
01:26:28,160 --> 01:26:32,000
Speaker 13: observing how they did it, and it was so different

1898
01:26:32,120 --> 01:26:35,679
Speaker 13: than coming from a big, big machine where country radio

1899
01:26:35,960 --> 01:26:39,240
Speaker 13: was that was the biggest promotion, the way you promote

1900
01:26:39,280 --> 01:26:43,320
Speaker 13: an artist to more like media marketing with Casey, it

1901
01:26:43,439 --> 01:26:45,360
Speaker 13: was just fascinating to watch it, and so I was

1902
01:26:45,439 --> 01:26:47,880
Speaker 13: able to learn, Wow, there's different ways that you can

1903
01:26:47,960 --> 01:26:49,920
Speaker 13: reach people, and that I think is something that I've

1904
01:26:49,960 --> 01:26:52,800
Speaker 13: applied even now with Kine. We have to reach people

1905
01:26:52,880 --> 01:26:56,040
Speaker 13: in different ways because not everybody's paying attention to a

1906
01:26:56,160 --> 01:26:58,800
Speaker 13: New York Times article, but also not everybody is listening

1907
01:26:58,840 --> 01:26:59,840
Speaker 13: to the radio all the time either.

1908
01:27:00,479 --> 01:27:04,400
Speaker 3: So working with Jason, what was your job there? Was

1909
01:27:04,439 --> 01:27:06,120
Speaker 3: it to help on a bunch of artists? Did you

1910
01:27:06,200 --> 01:27:06,920
Speaker 3: have your own artist?

1911
01:27:07,040 --> 01:27:07,640
Speaker 2: You were day to day on?

1912
01:27:07,880 --> 01:27:09,360
Speaker 13: So I had I was a day to day because

1913
01:27:09,360 --> 01:27:12,000
Speaker 13: I brought Greg with me and I was a day

1914
01:27:12,040 --> 01:27:16,600
Speaker 13: to day. And then Jason was that his company was

1915
01:27:16,640 --> 01:27:18,680
Speaker 13: going through a tran I don't want to say too

1916
01:27:18,760 --> 01:27:20,080
Speaker 13: much of his business, but it was going through a

1917
01:27:20,080 --> 01:27:23,320
Speaker 13: transitional period. So I wasn't able to really sign anything.

1918
01:27:23,960 --> 01:27:27,080
Speaker 13: And then so then I left because I was bored.

1919
01:27:27,960 --> 01:27:30,880
Speaker 13: I wanted to work on more projects, and so I left,

1920
01:27:31,120 --> 01:27:36,000
Speaker 13: and that would have been in January twenty fifteen. I

1921
01:27:36,080 --> 01:27:37,360
Speaker 13: left and kind of said, I'm going to go out

1922
01:27:37,400 --> 01:27:38,800
Speaker 13: on my own. I want to sign some more things

1923
01:27:38,800 --> 01:27:40,839
Speaker 13: because I wasn't really able to do that at Sandbox,

1924
01:27:40,920 --> 01:27:43,240
Speaker 13: which is his company. And so then I was just

1925
01:27:43,360 --> 01:27:44,920
Speaker 13: kind of on my own and I signed some arts.

1926
01:27:44,960 --> 01:27:48,840
Speaker 13: So just was working with some artists and I said,

1927
01:27:49,080 --> 01:27:51,800
Speaker 13: and this sounds like a very Oprah thing to say,

1928
01:27:51,920 --> 01:27:53,599
Speaker 13: but in January of twenty fifteen, I was like, I'm

1929
01:27:53,600 --> 01:27:56,439
Speaker 13: going to say yes to everything because something is out there.

1930
01:27:56,560 --> 01:27:57,240
Speaker 2: I can feel it.

1931
01:27:57,920 --> 01:28:00,519
Speaker 13: I know there's something coming, and I I don't want

1932
01:28:00,560 --> 01:28:03,600
Speaker 13: to miss it because I say no. So I was

1933
01:28:03,640 --> 01:28:06,360
Speaker 13: approached by a guy named Jay Frank to be a

1934
01:28:06,400 --> 01:28:09,200
Speaker 13: consultant for his company that he had, which was an

1935
01:28:09,200 --> 01:28:12,519
Speaker 13: independent record label, and so I said, okay, yeah, all right,

1936
01:28:12,600 --> 01:28:13,479
Speaker 13: I'll go try this out.

1937
01:28:13,800 --> 01:28:14,519
Speaker 2: Yes, I'll do it.

1938
01:28:15,000 --> 01:28:17,479
Speaker 13: Meanwhile managing a couple other little acts, and then I

1939
01:28:17,600 --> 01:28:20,160
Speaker 13: got in there and Jay said, hey, also we have

1940
01:28:20,280 --> 01:28:22,240
Speaker 13: this one guy. He's a country guy. We signed we

1941
01:28:22,280 --> 01:28:26,120
Speaker 13: saw him online. His name's Kane Brown. He's from Chattanooga, Tennessee.

1942
01:28:26,600 --> 01:28:29,160
Speaker 13: And Jay Jay admitted he said, I don't really know

1943
01:28:29,320 --> 01:28:31,000
Speaker 13: if I know what to do with it. And I said, well,

1944
01:28:31,080 --> 01:28:33,120
Speaker 13: let me meet him. And I met Cain and I

1945
01:28:33,280 --> 01:28:35,320
Speaker 13: said to Jay, I said, everything else you're working on,

1946
01:28:35,640 --> 01:28:37,800
Speaker 13: like respectfully, this is the thing.

1947
01:28:38,040 --> 01:28:38,639
Speaker 7: This is the thing.

1948
01:28:39,120 --> 01:28:42,400
Speaker 2: And he was like, okay, all right, why what struck

1949
01:28:42,479 --> 01:28:44,439
Speaker 2: you in a meeting with Kan? Well, Kane?

1950
01:28:44,560 --> 01:28:45,960
Speaker 13: The first met I had with him, Dan, you know,

1951
01:28:46,040 --> 01:28:49,200
Speaker 13: Kane's shy. He's very very shy and so and he's

1952
01:28:49,240 --> 01:28:50,760
Speaker 13: come out of his shell quite a bit as he's

1953
01:28:50,800 --> 01:28:53,000
Speaker 13: gotten older, but he was very shy and didn't say much,

1954
01:28:53,080 --> 01:28:55,640
Speaker 13: but he just has there is a he has a

1955
01:28:55,800 --> 01:28:58,639
Speaker 13: charisma to him where when he walks in the room,

1956
01:28:58,800 --> 01:29:01,200
Speaker 13: like you turn your head like you know what I mean.

1957
01:29:01,280 --> 01:29:03,880
Speaker 13: Like he has like almost that like energy force field

1958
01:29:04,040 --> 01:29:07,040
Speaker 13: energy that like draws you in. And so I was

1959
01:29:07,200 --> 01:29:11,040
Speaker 13: he's an incredible singer, and he's obviously bi racial, and

1960
01:29:12,040 --> 01:29:16,639
Speaker 13: I was fascinated by how he had marketed himself online

1961
01:29:16,680 --> 01:29:19,479
Speaker 13: on Facebook. He marketed himself, you know, and he was

1962
01:29:19,600 --> 01:29:22,200
Speaker 13: and he understood. He would say, you know, those early

1963
01:29:22,280 --> 01:29:22,920
Speaker 13: videos when.

1964
01:29:22,760 --> 01:29:24,799
Speaker 2: He was going viral. I mean he was he was growing.

1965
01:29:25,800 --> 01:29:28,800
Speaker 13: He was growing twenty five thousand followers a day, and

1966
01:29:28,920 --> 01:29:31,040
Speaker 13: we would watch it because he would post a video

1967
01:29:31,880 --> 01:29:33,599
Speaker 13: and he would say I'm going to sing a cover

1968
01:29:33,680 --> 01:29:35,880
Speaker 13: of check Yes or No by George Strait, and most

1969
01:29:35,920 --> 01:29:39,040
Speaker 13: people were like this guy, you know, because country music

1970
01:29:39,120 --> 01:29:42,040
Speaker 13: didn't look like Cam Brown in twenty fifteen, and that's

1971
01:29:42,080 --> 01:29:43,920
Speaker 13: part of that's part of the attraction to me too,

1972
01:29:44,040 --> 01:29:46,120
Speaker 13: is that country music didn't look like Came Brown and

1973
01:29:46,200 --> 01:29:47,360
Speaker 13: now it does a little bit more.

1974
01:29:47,400 --> 01:29:51,400
Speaker 3: I think with you meeting Kane, I mean he maybe

1975
01:29:51,439 --> 01:29:52,760
Speaker 3: he didn't, but he kind of had to say yes

1976
01:29:52,840 --> 01:29:55,720
Speaker 3: to you too. Or did he just not have any

1977
01:29:55,800 --> 01:29:57,400
Speaker 3: leverage at all and was like I'll take anybody that's

1978
01:29:57,400 --> 01:29:58,240
Speaker 3: smart and knows what's going on.

1979
01:29:58,520 --> 01:29:58,920
Speaker 10: No, he did.

1980
01:29:59,080 --> 01:30:00,880
Speaker 13: He had another guy that was working with him at

1981
01:30:00,920 --> 01:30:05,320
Speaker 13: the company, and and so I was always just very like, Hey,

1982
01:30:05,360 --> 01:30:07,080
Speaker 13: if you ever need if you have a question, I

1983
01:30:07,120 --> 01:30:10,400
Speaker 13: can help you answer it. And then one day he

1984
01:30:10,520 --> 01:30:13,600
Speaker 13: sent me a text message. It's like classic Kate. He

1985
01:30:13,640 --> 01:30:16,000
Speaker 13: sent me a text message and said, Hey, do you

1986
01:30:16,400 --> 01:30:17,280
Speaker 13: want to be my person?

1987
01:30:17,840 --> 01:30:19,559
Speaker 2: And I was like, I pitto.

1988
01:30:19,560 --> 01:30:21,960
Speaker 13: A phone call was like dude, of course, yeah, I'll

1989
01:30:21,960 --> 01:30:24,680
Speaker 13: be your person. He's like okay, and then that was

1990
01:30:24,840 --> 01:30:26,720
Speaker 13: that was kind of that which I.

1991
01:30:26,760 --> 01:30:31,280
Speaker 3: Asked that question, asking why do you think Cain felt

1992
01:30:31,360 --> 01:30:33,840
Speaker 3: like you are the right person for him?

1993
01:30:34,320 --> 01:30:37,280
Speaker 13: I think because even before I was his quote person,

1994
01:30:37,520 --> 01:30:40,280
Speaker 13: I took him he wanted to hear some songs, and

1995
01:30:40,400 --> 01:30:45,560
Speaker 13: he wanted to meet some songwriters. And I think he creatively,

1996
01:30:45,680 --> 01:30:49,760
Speaker 13: I think he knew that I understood like musically where

1997
01:30:49,840 --> 01:30:52,519
Speaker 13: he wanted to go and put and introduced him to

1998
01:30:52,640 --> 01:30:56,080
Speaker 13: some people. And I never asked anything in return for that,

1999
01:30:57,400 --> 01:31:01,160
Speaker 13: And then I don't know personality wise, like like we

2000
01:31:01,320 --> 01:31:03,000
Speaker 13: always just kind of connected.

2001
01:31:04,640 --> 01:31:07,200
Speaker 3: Hey, thanks for listening to this special of the Bobby

2002
01:31:07,240 --> 01:31:10,280
Speaker 3: Cast Behind the Scenes of the Music Industry, Part one.

2003
01:31:10,600 --> 01:31:12,599
Speaker 3: Stay tuned for Part two, coming out later this week.

2004
01:31:12,720 --> 01:31:14,240
Speaker 3: We got a lot more here, and then make sure

2005
01:31:14,280 --> 01:31:17,200
Speaker 3: you're subscribed to the Bobbycast wherever you are listening to

2006
01:31:17,280 --> 01:31:19,559
Speaker 3: this now, and then please rate at five stars.

2007
01:31:21,000 --> 01:31:23,040
Speaker 2: This has been a Bobby Cast production.