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Speaker 1: This is me eater podcast coming at you shirtless, severely,

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Speaker 1: bug bitten, and in my case, underwear listening podcast. You

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Speaker 1: can't predict anything presented by on X Hunt creators are

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Speaker 1: the most comprehensive digital mapping system for hunters. Download the

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Speaker 1: Hunt app from the iTunes or Google play store. Nor

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Speaker 1: where you stand with on x ok everybody, We're on

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Speaker 1: We're on a I'm tempted to say we're on Luke

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Speaker 1: colmes Is tour bus, but that's not accurate. We're on

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Speaker 1: the tour bus of Luke Colms's band. Correct, we are.

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Speaker 1: We are on the band's bus and they sleep in

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Speaker 1: little submarine Mariner bums. Yeah, which is also great because

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Speaker 1: I feel like this is a prime opportunity to tell

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Speaker 1: them that I've just destroyed their bus. They're not gonna

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Speaker 1: the floor feels a little bit right now as they're

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Speaker 1: listening to this. What has he done to our bus?

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Speaker 1: They won't know until shows start again. Is little like

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Speaker 1: a little funny prank in each bunk that you can't

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Speaker 1: see here. But we have a lot of great mediator

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Speaker 1: stickers and I'm we'll soon be finding out which bunk

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Speaker 1: my vegan band members sleeps in. And I'll probably just

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Speaker 1: pop this right above it so that every night when

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Speaker 1: he goes to sleep, he'll be looking at it. Uh

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Speaker 1: okay um starting with because that was that was the beautiful,

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Speaker 1: lovely Luke Holms wanta do introsset tone and go as

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Speaker 1: though dealing poker, honest pitelis just regularly here again. Yeah,

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Speaker 1: I'm read isable younger brother of the brothers. H I'm

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Speaker 1: dan Isbell and I'm a member of the Brothers. And

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Speaker 1: I'm also a member of the Fabbian Eagles, the Eagle

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Speaker 1: Fabian Sea. And then Luke Torque, Luke Torque, Yeah, luketical

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Speaker 1: to whose whose new nickname is just it's just torqu

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Speaker 1: It's it's kind of hard having to Luke's playing a

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Speaker 1: little Torque. Yeah, so just Torque now, I guess we

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Speaker 1: had to figure out. Like I originally, I was like,

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Speaker 1: oh man, I was like really fighting to be the Luke,

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Speaker 1: and then torqu came along and I was like, damn dude,

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Speaker 1: I wish I was like fucking reciprocating saw or something,

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Speaker 1: you know, like axe or something cool like that. But

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Speaker 1: now I'm not horsepower maybe yeah, horsepower HP. Yeah. The

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Speaker 1: Isabel Isabel Brothers are from born in Tennessee, well born

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Speaker 1: in born in Jackson, but from Savannah, Tennessee, west West Tennessee. Yeah,

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Speaker 1: right where The easiest way to tell is right where Mississippi,

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Speaker 1: Alabama and Tennessee meets with a county above that in

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Speaker 1: savannahs the county seat. But we spent the majority of

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Speaker 1: our lives in Mississippi. Oh so okay, So that's all

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Speaker 1: I was trying to sort out. Yeah, I thought I

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Speaker 1: assumed you were born there, well, grandparents lived there. I

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Speaker 1: went to Mississippi state. My band like my my my

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Speaker 1: bandmates say country Dan is from Mississippi in the sophisticated Dan, Yeah,

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Speaker 1: from Tennessee. I guess, tell uh, tell people what you

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Speaker 1: do for a living. So Read and I are both

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Speaker 1: staff songwriters at a couple of different polishing companies, and

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Speaker 1: we literally write songs in hopes that artists cut them

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Speaker 1: on records and then maybe singles. That's kind of what

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Speaker 1: we do. Yeah, yeah, I right, Dan rites for Sony

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Speaker 1: and I actually right, Luke and one of our buddies,

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Speaker 1: Jonathan Singleton, started a publishing company, and I did a

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Speaker 1: joint venture with his company and a company called Big

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Speaker 1: Machine Publishing, And yeah, we We write four or five

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Speaker 1: times a week with different either co writers or artists

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Speaker 1: and and go in with ideas, licks, melodies, whatever, and

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Speaker 1: try to create a three minute product that an artist,

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Speaker 1: you know, like Luke or somebody else will will dig

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Speaker 1: and can relate to and throw it on the red

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Speaker 1: and hopefully throw it on the radio. So when you're

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Speaker 1: doing this, I mean you're just you get together, like

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Speaker 1: like in the words John Pryan, ten am on a

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Speaker 1: Monday morning just about back then it was that you

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Speaker 1: have to go to eleven am on a Monday morning

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Speaker 1: in like an office early start. I mean, we will

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Speaker 1: now write a song pretty much pretty much. It's kind

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Speaker 1: of like that. Weirdly enough, is it? Is it like

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Speaker 1: like full on music studio. You just kind of like

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Speaker 1: every each publishing house is different. So like we're Dan's

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Speaker 1: at Sony A TV. They have actually two buildings. One

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Speaker 1: it's called the fire hall, which is an old fire

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Speaker 1: station that they bought. There's a couple of rooms in

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Speaker 1: there that's kind of the vibe of your spots here.

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Speaker 1: And then they have their office that's across the parking lot,

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Speaker 1: which is like two story, newer looking office building where

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Speaker 1: the track guys track guys, but the executives are in there.

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Speaker 1: They work in that same building, and then there are

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Speaker 1: rooms provided. But it can and that's where you're going

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Speaker 1: into do it. It can be sterile, like going to

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Speaker 1: a college classroom. It can be very sterile. And because

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Speaker 1: it feels like you're working from a cubicle up there,

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Speaker 1: like it's very very plain. Man. I mean, here's the thing.

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Speaker 1: It's like, you're not gonna be in your job or whatever.

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Speaker 1: You're not gonna walk in inspired every day regardless of

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Speaker 1: where you're doing it. But but you can be inspired

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Speaker 1: in other places and bring that kind of into the

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Speaker 1: room and go, hey, man, my wife told me to

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Speaker 1: wash the dishes this morning, and I got to thinking

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Speaker 1: that's a pretty decent hook. I should wash the car,

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Speaker 1: wash the dishes. But you can't wash my love away

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Speaker 1: from you or whatever really quick because you're just sitting

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Speaker 1: here in a tour bus right now. No. I mean,

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Speaker 1: I'm just saying it can be like a somewhat sterile environment.

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Speaker 1: But at the same time, when you're in your head

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Speaker 1: and it's you're using the majority of your imgination anyway,

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Speaker 1: it's kind of just a central meeting place to to

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Speaker 1: get it done, you know what I mean. So if

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Speaker 1: you want to break for lunch, you can walk outside

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Speaker 1: and you're right there. The publisher that you're trying to

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Speaker 1: get the song too is literally across the parking lot

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Speaker 1: um and it's just kind of a central meeting place

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Speaker 1: for I mean, if I walked into the place and

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Speaker 1: it was just a bunch of John Prime posters and

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Speaker 1: Willie Nelson's and they were incense burning in the corner,

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Speaker 1: I don't know that I wud be any more inspired

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Speaker 1: than I am when I'm in a point which totally

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Speaker 1: had that that rooms in Nashville somewhere, like there's a

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Speaker 1: bunch of and if you were in that room, you

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Speaker 1: beat you on. God, I wish youd get these freaking

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Speaker 1: pictures will the Nelson off this wall so I could think, Yeah,

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Speaker 1: there's no rhyme or reason to how you do it,

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Speaker 1: you know you just as long as you ended end

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Speaker 1: the product that everybody likes and agrees with. Man, you

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Speaker 1: write one in this this bus, You've written We've written

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Speaker 1: songs on you know, outside, We've written songs on the porch,

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Speaker 1: just kind of wherever you feel like doing it. Do

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Speaker 1: you guys have an obligation to how many songs you're

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Speaker 1: supposed to write per or whatever. Twelve whole songs a

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Speaker 1: year is a standard contract, which sent doesn't sound like

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Speaker 1: very much, but when you're splitting them up three ways,

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Speaker 1: in four ways and two ways, it counts as the

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Speaker 1: fourth of a song or half of a song. You

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Speaker 1: so contractually within the year you're supposed to write twelve.

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Speaker 1: That's that's the normal twelve full quote unquote. But we're

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Speaker 1: right way, I mean, yeah, we all all three of us. Yeah,

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Speaker 1: I'm amazed at the efficiency when you guys say that

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Speaker 1: you guys can in four or five hours start to

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Speaker 1: finish and have a song. I would say, probably, what Luke,

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Speaker 1: seventy five percent of the time that's the case. But

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Speaker 1: there is that weird where you go, Man, my brain

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Speaker 1: is absolute mush, my dogs pissing all over everything in

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Speaker 1: the house. At this point, kids, it cool if we

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Speaker 1: break and maybe come back and finish this up another

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Speaker 1: Because some days, dude, especially in like a late like

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Speaker 1: a Friday, when you're just like smoked, after sitting in

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Speaker 1: a room trying to make word a drum for forty hours,

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Speaker 1: at this point, you may just cut it half, you

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Speaker 1: know what I mean? Yeah, I already, like you don't

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Speaker 1: have a clear direction of where that second verse is

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Speaker 1: gonna go or something like that. You say, Hey, maybe

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Speaker 1: we just sit on this for a day, and if

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Speaker 1: I got a lot of big dudes like don't a

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Speaker 1: lot of big time guys aren't doing Fridays even now,

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Speaker 1: like a lot of guys that are getting because like,

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Speaker 1: the quality of who you're writing with can be as

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Speaker 1: important as right in that extra day. You know, if

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Speaker 1: you're writing four days a week with you know, if

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Speaker 1: you write with Eric Church and then you write with

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Speaker 1: whoever you know, big time artist writer guys, that's different

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Speaker 1: than saying I gotta go in and write with five

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Speaker 1: people that I don't know, aren't proven or whatever. That's tougher.

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Speaker 1: That's tougher in my opinion, to do. So the bigger

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Speaker 1: guys are they're doing less less quote unquote work, but

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Speaker 1: they're just they have a lot more avenues to success

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Speaker 1: for that potential song. You know, Um, what is the

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Speaker 1: is part of me? You're saying this, but hand out

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Speaker 1: you guys. See, I know there's a lot of mystique

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Speaker 1: and creating stuff, but it seems like it's a something

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Speaker 1: that I thought used to kind of occur in people's

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Speaker 1: minds are like on their back porch or whatever, like

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Speaker 1: realizing that it's formalized. Is that normal for Is that

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Speaker 1: normal for other musical genres where you're like, like are

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Speaker 1: making it's like you're making a product. I think you

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Speaker 1: would be shocked. I think what I'm trying to say

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Speaker 1: is that our genre is the most creative. Absolutely, Like

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Speaker 1: you pop out there, you pop out to l anybody,

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Speaker 1: and it is like an assembly line. There's fourteen guys

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Speaker 1: on one song, three guys in a separate room working

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Speaker 1: on lyrics, three guys in a separate room right on

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Speaker 1: the track, three guys in a separate room doing the create,

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Speaker 1: trying to create a signature lick for this thing. And

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Speaker 1: it's like, after all that's gone, that's nine dudes. They

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Speaker 1: may decide that sampling an old queen song is the

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Speaker 1: way to go, So then you have to slap everyone

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Speaker 1: that wrote that queen song on top of the nine

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Speaker 1: guys that wrote it together. And you're talking fourteen or

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Speaker 1: fifteen dudes are credited with writing that one song. That's

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Speaker 1: what it's really like on really popular music. It's insane.

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Speaker 1: That's even crazy to me, you know, and I've never

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Speaker 1: been out LA to write, but I just from my

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Speaker 1: experience in Nashville and how we do it there. No,

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Speaker 1: I can't imagine being in a room with that many

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Speaker 1: people trying to get something and then they meet back

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Speaker 1: up together and then they put it all. You know,

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Speaker 1: they might have a little twenty second track thing they

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Speaker 1: build together in the beginning and go all right, here's

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Speaker 1: the basis, and this guy is sitting there humming something.

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Speaker 1: You know, what would be an our name an artist

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Speaker 1: who like a pop artist who's probably unless you don't

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Speaker 1: want to whose processes like this, all of them? Yea,

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Speaker 1: I would say it would be easy, you're doing anything.

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Speaker 1: The guys who aren't, who like I would say Edge

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Speaker 1: Hearing that he's a pure song he's absolute, but he's

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Speaker 1: also the biggest artist in the Beyonce would be a

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Speaker 1: good example of someone who's probably not they're not literally

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Speaker 1: connected to their songs as as much as like I

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Speaker 1: would say it, Edge Hearing or us. You know, I

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Speaker 1: think Adele is probably one of the more organic one's

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Speaker 1: out there. But I guess what I'm trying trying to

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Speaker 1: say is like, like they're they're inspired artists right there there,

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Speaker 1: I make this analogy all the time. In Nashville, there's like,

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Speaker 1: I have a guy work with who's like kind of

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Speaker 1: a rock guy, right, so when he comes in, everything

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Speaker 1: he everything he throws out is gonna be his. He

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Speaker 1: has to write his own original ideas, like has to.

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Speaker 1: He can't say anything that isn't true to his life.

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Speaker 1: So it's he wants to do this, it's gonna sound

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Speaker 1: like this, We're gonna and your job as a songwriter

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Speaker 1: that day is to help him convey the message that

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Speaker 1: he wants to convey. Correct. So then they're guys like

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Speaker 1: Luke who are pretty consistently inspired and have ideas and

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Speaker 1: know what direction they want to go with songs, but

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Speaker 1: are also open to what maybe you've had happened in

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Speaker 1: your life in the past six months, or or some

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Speaker 1: sort of hook that you tucked back for them. And

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Speaker 1: then you have other guys and and look, I'm not

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Speaker 1: saying any any one of these three people and I'm

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Speaker 1: talking about here are wrong. It's just different ways of

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Speaker 1: doing the business. So this far, this far, this guy

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Speaker 1: over here, he may be just an entertainer and he

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Speaker 1: don't necessarily care what he's thinking about as long as

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Speaker 1: he's on Dancing with the Stars or something, you know

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Speaker 1: what I mean, He just all he wants you to

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Speaker 1: do is to give him a product. So and for

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Speaker 1: this guy, there would be no real point in me

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Speaker 1: and this other guy getting together write a song for

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Speaker 1: this guy. Right, Maybe not even me and Luke get

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Speaker 1: together and write a song for this guy, even though

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Speaker 1: Luke can do that. And I'll make the statement that

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Speaker 1: the guy he's talking about is not a specific person obviously,

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Speaker 1: but the guy that goes and strictly cut songs is

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Speaker 1: the is the pillar of giving these dudes jobs, because

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Speaker 1: without those guys, there's no these guys. If all the

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Speaker 1: artists wrote their own songs, there would be no songwriting community.

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Speaker 1: It wouldn't exist because those guys would just write their

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Speaker 1: own songs in their house and put albums out and

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Speaker 1: that would be it. How how big is this songwriting community? So?

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Speaker 1: How many? How many? I mean it? I mean it's

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Speaker 1: been I think in the year like nineteen nine, there

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Speaker 1: were almost ten thousand professional songwriters in Nashville that had

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Speaker 1: publishing deals. Now I think it's under five hundred COVID records.

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Speaker 1: I mean, it's hard to it's hard to make money.

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Speaker 1: It's the records don't records you don't make. You could

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Speaker 1: get an album cut and not even a single, not

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Speaker 1: get on the radio in the nineties and make a

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Speaker 1: make a good amount of money. Don't know the X

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Speaker 1: amount of dollargic. I gotta I gotta very specific for

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Speaker 1: the situation. So the Shni Twain album that came out

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Speaker 1: in the nineties is double Diamond, which means that album

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Speaker 1: sold legitimately sold. That album sold twenty five million copies. Right,

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Speaker 1: So the royalty, the predetermined royalty rate per CD sale

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Speaker 1: is ten cents per song to the writer that wrote it. Right,

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Speaker 1: So there is a song on that album that one

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Speaker 1: dude wrote. It's a solo, right, which means he made

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Speaker 1: two and a half million dollars having a song on

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Speaker 1: that album that didn't even get played on the radio

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Speaker 1: nowadays because it wasn't even like that particular two and

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Speaker 1: never made like a Billboard hit or whatever. But so

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Speaker 1: he gets But like, if me and Dana Reid wrote

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Speaker 1: that song, we'd be splitting that ten cents three ways,

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Speaker 1: but which would still be a tremendous amount of money.

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Speaker 1: But now, if you write a song that's not a single,

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Speaker 1: I mean the revenue stream is just there's nothing there.

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Speaker 1: So you have two different types. It's one of the

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Speaker 1: best selling albums of all time. You know, one should

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Speaker 1: explain single, you say, that's explain the difference between album cut.

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Speaker 1: A song promoted to radio by your record label is

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Speaker 1: a single? What you're hearing? Song that you're hearing when

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Speaker 1: you turn the pop station on and you hear that

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Speaker 1: justin Bieber song or whatever. His team he's cranking out

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Speaker 1: his own ship for sure on his back porch. I

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Speaker 1: hope that. Okay, he's a big hunter for sure. No,

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Speaker 1: but it's like so that their team is collectively going,

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Speaker 1: we think this is a hit. So there, that's the

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Speaker 1: song they're choosing to promote to radio as their next single.

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Speaker 1: And so an album cut quote unquote is a song

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Speaker 1: that's on the record that never gets chosen as a single.

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Speaker 1: But it's a part of thee. But I don't want

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Speaker 1: get too deep in the weeds out here on industry stuff.

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Speaker 1: But it used to be that a single was released

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Speaker 1: as a single A side B side. Yeah, that's the

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Speaker 1: you know, when they were doing forty five and you know,

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Speaker 1: and vinyls and stuff, that was what going. That's where

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Speaker 1: it came from this a single song, and then there

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Speaker 1: was a B side. There's two songs on it. You know,

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Speaker 1: you play the one side, it's the single, and then

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Speaker 1: you play the b's some unknown, which is what another

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Speaker 1: word for album cuts would be B sides. That's the

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Speaker 1: same thing, is a B side. Can you guys take

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Speaker 1: a stab I don't care which one he does it,

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Speaker 1: take a stab at articulating the connection between UH contemporary

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Speaker 1: country music and in in a broad sense, the outdoors,

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Speaker 1: like the outdoors is revered, sure, right, nature and I

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Speaker 1: don't know about nature. The outdoors and outdoor lifestyles are

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Speaker 1: revered by country music. It's like you you not say

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Speaker 1: bad stuff about that stuff. I'm not exactly sure what

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Speaker 1: you question. I get what I think he's not a question,

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Speaker 1: not a question I'd like you to speak to that.

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Speaker 1: I think he's saying, speak to the correlation of the

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Speaker 1: outdoor lifestyle in our particular genre of music. Oh, God's touchy,

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Speaker 1: isn't it? Is it touching? Well, I just don't think

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Speaker 1: it happens as much as it used to it. Are

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Speaker 1: you saying like lyrical content? Lyric that lyrical content? Okay,

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Speaker 1: let's say this. I mean who are the toughest guys,

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Speaker 1: you know, the guys that cut logs, the guys that yeah,

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Speaker 1: for surely, yeah, man, I could see him outside. I

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Speaker 1: could see him running, Yeah, probably outdoors? He no way

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Speaker 1: is he really? Is he faster than him in the stage?

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Speaker 1: It's softer, man, tell you, man, I had a bold

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Speaker 1: kind of tough traditional tough like weird ship. All right?

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Speaker 1: Is that now? Perception is reality, right, especially with the

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Speaker 1: concept of social media. So to me, I feel like

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Speaker 1: as an outsider, I'm a pure what what Nashville would

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Speaker 1: refer to as a launch pale songwriter. All Right, I

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Speaker 1: have no desire. I have no desire to explain that

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Speaker 1: to people. Okay, I go into work, I wrote a song,

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Speaker 1: and I go home. I don't live with that song

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Speaker 1: for the week. And you know what I mean, I

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Speaker 1: write another one tomorrow. It's my job. I clocked you

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Speaker 1: the clock out kind of deal when you take your lunch,

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Speaker 1: play all the work, right, no performing. I mean, I'll

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Speaker 1: do a Bluebird show every now and then, but nothing.

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Speaker 1: Not not really surprised. I don't want to lose track

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Speaker 1: of It's surprised to me the way you guys use

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Speaker 1: the word artist like you don't regard yourself as an artist.

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Speaker 1: You feel little artist as a performer. I regard myself

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Speaker 1: as the utmost of an artist. But that's not who

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Speaker 1: I hear that's artist to be a performer. That's not

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Speaker 1: what Nashville titles. Well, there's a miscommunication of what artist

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Speaker 1: really means an industry terms an industry. I mean, Luke

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Speaker 1: is an artist because he's literally developing his own ideas.

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Speaker 1: That's what to me what art is. Yeah, okay, that's

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Speaker 1: what I would define it as well. So I'd say,

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Speaker 1: you're an artist, you're a songwriter. You're an artist. You're

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Speaker 1: a songwriter, you're an artist. You're a songwriter and a performer.

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Speaker 1: Let's so let's say just knock the word performer out

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Speaker 1: and replace it with artist. Yeah, they're the same thing,

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Speaker 1: because we're saying that at the time, you wanted to

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Speaker 1: be an artist, but now you're a songwriter. Professional about this,

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Speaker 1: Just replace artist with performers. At a time you wanted

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Speaker 1: to be a performer and now you're just a songwriter

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Speaker 1: an artist. Okay, So back to the back, to the back,

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Speaker 1: to the perception's reality. So I'm I think, um, it

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Speaker 1: looks pretty cool to be a big country, tough guy

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Speaker 1: right to be seen as that. And so if you

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Speaker 1: sing about it now, you back it up with a

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Speaker 1: little bit of social media then before you, I mean,

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Speaker 1: you post one picture with a deer head, or maybe

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Speaker 1: you out there just fishing, you know, or maybe you're

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Speaker 1: do a little trap shooting, and all of a sudden

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Speaker 1: there's a little bit of a manliness attached to the name.

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Speaker 1: And so when that song comes through talking about drinking

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Speaker 1: cold beers on outside under the stars, they can back

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Speaker 1: it up with a little bit of pictures. Like it's

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Speaker 1: like cred or something country creb, that's what we called it. Yeah,

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Speaker 1: like like you, you're like trying to up your credibility too.

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Speaker 1: So I think it's more almost that because if you

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Speaker 1: were to go listen to the top songs on the

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Speaker 1: radio right now, I mean, I don't think there's maybe

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Speaker 1: not one that mentions the outdoors. The song that me

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Speaker 1: and Dan wrote that's about to go to radio talks

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Speaker 1: about eight point bucks first to cut cornfields. But that's

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Speaker 1: probably the only one. Oh yeah, but it's like, yeah,

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Speaker 1: I almost guarantee almost about you. And but it used

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Speaker 1: to not. Uh. Usually what you get with pop music

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Speaker 1: is them talking about, you know, their money or or

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Speaker 1: the girl or their boys or whatever in a confined space.

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Speaker 1: But with with country music, it's it's more nostalgia, you know,

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Speaker 1: and and and you right to to a feeling that

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Speaker 1: you're comfortable with, which is which with most of guys

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Speaker 1: like us, we we grew up in the outdoors and

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Speaker 1: that's and you try to write what you know. And

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Speaker 1: so for me and Luke and Dan Man, we're yeah,

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Speaker 1: we're trying to write music that speaks to people and

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Speaker 1: people can see and putting a little color in there

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Speaker 1: if it's a if it's coke cane shooting coke cans

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Speaker 1: with a bb gun on the creek or whatever. Yeah,

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Speaker 1: like the song I'll play last night the real kids too.

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Speaker 1: I like that to appreciate that. Um that that's that

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Speaker 1: was just out there. Um. But not with you doing it. No, Well,

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Speaker 1: I'll say I can send you let me do it. Well,

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Speaker 1: that'd be cute anyway. My whole point is that that

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Speaker 1: you gotta think about your audience, right, So, especially as

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Speaker 1: an artist. I mean, let's just go back to Biber.

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Speaker 1: Biber is not caring his He didn't he didn't care

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Speaker 1: to be represented as an outdoors guy because the people

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Speaker 1: listen to me could give a hot shit less if

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Speaker 1: he's ever shot at duck in his life, as opposed

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Speaker 1: to country music, where you have guys who are are

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Speaker 1: appealing to these people who think manliness associated with countryiness

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Speaker 1: is hot, sexy, cold, or someone that would they'd like

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00:22:34,000 --> 00:22:39,719
Speaker 1: to be depending on female kinna. A couple of years ago,

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Speaker 1: I read this book I wish you could remember the

398
00:22:41,160 --> 00:22:43,960
Speaker 1: name of it. It It was about Nashville and the sixties

399
00:22:45,080 --> 00:22:47,440
Speaker 1: because of the history Nashville, but focused on Nashville and

400
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Speaker 1: the sixties, and reading it, I was surprised that dudes

401
00:22:52,640 --> 00:22:57,440
Speaker 1: like Whalen Right and people from his era and David

402
00:22:57,440 --> 00:23:01,440
Speaker 1: Allen Cole comes in and out of it um drug

403
00:23:01,480 --> 00:23:06,399
Speaker 1: addicts and they it seems that they spent at times

404
00:23:06,440 --> 00:23:11,560
Speaker 1: in their life the bulk of their time playing uh pinball.

405
00:23:14,400 --> 00:23:20,359
Speaker 1: But that isn't what the like in describing their life.

406
00:23:20,359 --> 00:23:23,840
Speaker 1: They don't describe their life that way. No, they would

407
00:23:23,840 --> 00:23:26,600
Speaker 1: be like, let's go to Luke and Bock Texas, right,

408
00:23:26,680 --> 00:23:30,400
Speaker 1: not like let's go um snored a bunch of cocaine music.

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Speaker 1: Dude like shiploads and phat amine and play pinball for

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Speaker 1: days on end. Correct. Yeah, absolutely, because how that's kind

411
00:23:38,560 --> 00:23:41,119
Speaker 1: of boring, right, j J's market, Right, that's where they

412
00:23:41,119 --> 00:23:45,439
Speaker 1: went exactly. Yep. Um. I got an interesting story. One

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Speaker 1: of our best friends songwriters, guy named Michael Hady, and

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Speaker 1: he's from that era. I mean he was. He's had

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Speaker 1: hits in the what sixties, seventies, eighties, nineties, early todays, seventies,

416
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Speaker 1: starts there. Yeah, he's the only one running right now

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Speaker 1: that's hits. And he tells us like five different decades

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00:24:02,520 --> 00:24:08,600
Speaker 1: he's had a number. He's awesome. Crutch Man just takes

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00:24:09,119 --> 00:24:17,080
Speaker 1: no ship, no lunch pail. So wrote a bunch of

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Speaker 1: those church songs. He wrote George Jones, uh still doing time,

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00:24:23,560 --> 00:24:27,359
Speaker 1: that's yeah. And he also wrote Eric Churches drinking My Hands.

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Speaker 1: So that's how far apart he wrote ten rounds. Yeah,

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00:24:30,720 --> 00:24:33,520
Speaker 1: he said some great, great songs. But my point is,

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Speaker 1: so back in the day him Christofferson, I think it

425
00:24:39,000 --> 00:24:44,080
Speaker 1: was whaling and maybe Merle we're at a cuff Rose,

426
00:24:44,119 --> 00:24:46,360
Speaker 1: which is an older version of what Sony a TV

427
00:24:46,520 --> 00:24:49,680
Speaker 1: is now where I work now, And that's exactly what

428
00:24:49,760 --> 00:24:51,679
Speaker 1: they would do. They would all pile in on the

429
00:24:51,760 --> 00:24:54,000
Speaker 1: Thursday after they had written for four days and they

430
00:24:54,080 --> 00:24:56,800
Speaker 1: play songs to each other and they was just two

431
00:24:57,119 --> 00:24:59,639
Speaker 1: lines of cocaine. And he said, man, we were I

432
00:24:59,640 --> 00:25:01,720
Speaker 1: don't think Mammy saying this. We were jacked out of

433
00:25:01,720 --> 00:25:05,120
Speaker 1: our brains and we went to it was like three

434
00:25:05,200 --> 00:25:07,320
Speaker 1: thirty four o'clock in the morning, and they went to

435
00:25:07,359 --> 00:25:11,520
Speaker 1: find the key to lock the door, and that they

436
00:25:11,520 --> 00:25:13,560
Speaker 1: had lost the keys to lock the publish and coming

437
00:25:13,640 --> 00:25:16,479
Speaker 1: up to leave. So they're like, well, what do we do?

438
00:25:16,560 --> 00:25:18,280
Speaker 1: And they're like, I don't know where all we none

439
00:25:18,320 --> 00:25:20,280
Speaker 1: of us can drive, you know, And they were taxis

440
00:25:20,320 --> 00:25:23,480
Speaker 1: back then. So they just all leaned up against the

441
00:25:23,520 --> 00:25:27,760
Speaker 1: door right like that way if anyone came into steal something,

442
00:25:27,760 --> 00:25:29,960
Speaker 1: that would knock them all over and they would wake up.

443
00:25:30,800 --> 00:25:33,560
Speaker 1: So they the next morning when the secretary guy there

444
00:25:33,760 --> 00:25:36,760
Speaker 1: came in the back door unlocked. It came in and there,

445
00:25:36,920 --> 00:25:40,800
Speaker 1: and it took a picture of my buddy Whalen, Christofferson

446
00:25:40,880 --> 00:25:44,040
Speaker 1: and Haggard all leaned up against this glass door, passed

447
00:25:44,040 --> 00:25:46,840
Speaker 1: out after a night of rocket How cool is that

448
00:25:48,440 --> 00:25:51,240
Speaker 1: he's got that picture? Man? But speaking to your point,

449
00:25:51,359 --> 00:25:54,080
Speaker 1: I think it's also like those guys you're saying, you know,

450
00:25:54,119 --> 00:25:55,960
Speaker 1: dow lines and then go play pinball, and you can't

451
00:25:56,080 --> 00:25:58,960
Speaker 1: you can't write songs about Those artists are very in

452
00:25:59,000 --> 00:26:01,960
Speaker 1: tune and in touch with their fan, the fan base.

453
00:26:02,000 --> 00:26:04,359
Speaker 1: He's just about to say, it's it's very similar to

454
00:26:04,440 --> 00:26:09,680
Speaker 1: what happens now because those guys were doing something that

455
00:26:09,720 --> 00:26:12,640
Speaker 1: their fans would totally have not liked to hear them

456
00:26:13,880 --> 00:26:18,240
Speaker 1: sing about. Because at that time, the country fan was

457
00:26:18,560 --> 00:26:23,600
Speaker 1: even more conservative as far as their religious beliefs and

458
00:26:23,640 --> 00:26:26,360
Speaker 1: their lifestyle than they are nowadays. You know what I mean.

459
00:26:26,359 --> 00:26:28,480
Speaker 1: Nowadays you can be more loose with what you talk

460
00:26:28,560 --> 00:26:31,800
Speaker 1: about and and do this. It's still the most conservative,

461
00:26:32,240 --> 00:26:37,080
Speaker 1: you know, ethically speaking genre that exists, but way less

462
00:26:37,119 --> 00:26:39,240
Speaker 1: so than it was in the seventies. And those guys

463
00:26:39,280 --> 00:26:42,959
Speaker 1: were doing way more extreme ship than the guys are

464
00:26:43,000 --> 00:26:46,000
Speaker 1: doing now. That kind of stuff doesn't go on anymore

465
00:26:46,000 --> 00:26:49,000
Speaker 1: because it just can't. But in the feare of social media,

466
00:26:49,200 --> 00:26:51,399
Speaker 1: and you know, you just you would be you know,

467
00:26:51,480 --> 00:26:55,280
Speaker 1: quote unquote canceled in you know, a hot second man,

468
00:26:55,320 --> 00:26:56,800
Speaker 1: if it were to get out that you were doing

469
00:26:56,800 --> 00:27:00,880
Speaker 1: that kind of stuff. I mean, the reason I bring

470
00:27:00,920 --> 00:27:06,399
Speaker 1: that up is and hanging out with you guys. Uh,

471
00:27:06,560 --> 00:27:09,720
Speaker 1: it's gonna sound corny and hanging out with you guys

472
00:27:09,800 --> 00:27:14,320
Speaker 1: for a few days. I was kind of I've felt like, oh,

473
00:27:14,400 --> 00:27:22,600
Speaker 1: you know, they like they exemplify what I felt that, like,

474
00:27:22,720 --> 00:27:27,640
Speaker 1: you exemplify the things that are applauded in the genre

475
00:27:29,440 --> 00:27:31,280
Speaker 1: in a way that I was. I was like would

476
00:27:31,320 --> 00:27:33,680
Speaker 1: have been more cynical about not cynical in a bad way,

477
00:27:33,720 --> 00:27:36,840
Speaker 1: but just like like I understand that that there's certain

478
00:27:37,200 --> 00:27:40,440
Speaker 1: tropes and certain things that are gonna you know, like

479
00:27:40,440 --> 00:27:42,960
Speaker 1: like that that seem appealing to people going to the

480
00:27:43,040 --> 00:27:47,040
Speaker 1: river at night to swim whatever, like like agriculture being

481
00:27:47,400 --> 00:27:52,760
Speaker 1: like agriculture being good. Um, right, and it's like like

482
00:27:52,920 --> 00:27:56,320
Speaker 1: certain ideals and like good ideals too that like you

483
00:27:56,800 --> 00:27:58,960
Speaker 1: when you make a commitment, but let's do a friend

484
00:27:59,200 --> 00:28:01,959
Speaker 1: and make a commitment to your wife, you commit your

485
00:28:01,960 --> 00:28:07,600
Speaker 1: family like you stay um and like anyone, you realize

486
00:28:07,640 --> 00:28:11,160
Speaker 1: there's probably a lot of there's probably a lot of

487
00:28:12,040 --> 00:28:15,679
Speaker 1: uh bus it gets built into it. But then hang

488
00:28:15,680 --> 00:28:17,239
Speaker 1: out you guys. If you doesn't like holy ship, man,

489
00:28:17,240 --> 00:28:23,520
Speaker 1: these dudes a light country songs as a compliment. As

490
00:28:23,520 --> 00:28:27,800
Speaker 1: a compiment, yeah, man, I mean that's that's what that's

491
00:28:27,800 --> 00:28:30,280
Speaker 1: what you want to be, because you know, the last

492
00:28:30,320 --> 00:28:32,040
Speaker 1: thing I want to do is is try to write

493
00:28:32,040 --> 00:28:35,919
Speaker 1: a song that that it's fake. You know, to me,

494
00:28:36,840 --> 00:28:41,680
Speaker 1: you gotta understand we can't take the credit for that. Better,

495
00:28:41,680 --> 00:28:44,720
Speaker 1: I gotta back up what I'm saying. Better, Dan, what

496
00:28:44,720 --> 00:28:46,600
Speaker 1: I'm telling. I'm not gonna tell what the story is about.

497
00:28:47,240 --> 00:28:49,640
Speaker 1: Dan here was telling He'll have to tell you the

498
00:28:49,640 --> 00:28:51,800
Speaker 1: story on his own. He's telling me a very funny

499
00:28:51,840 --> 00:28:55,520
Speaker 1: story that had a way different point but with within

500
00:28:55,680 --> 00:28:59,480
Speaker 1: the story it touched on agriculture. But within the story

501
00:28:59,760 --> 00:29:02,640
Speaker 1: he explain, it's an important part of the story that

502
00:29:02,680 --> 00:29:07,120
Speaker 1: he explains how an evening goes down in his home,

503
00:29:07,840 --> 00:29:12,400
Speaker 1: and in his home at night before bedtime, him and

504
00:29:12,440 --> 00:29:16,080
Speaker 1: his wife like to go outside and light a fire

505
00:29:16,640 --> 00:29:19,680
Speaker 1: and sit by the fire and spend an hour throwing

506
00:29:19,720 --> 00:29:22,680
Speaker 1: the tennis ball for the dog, in which they have

507
00:29:22,760 --> 00:29:25,560
Speaker 1: a couple of drinks, stare at the flames, and then

508
00:29:25,600 --> 00:29:28,320
Speaker 1: go to bed. I'm like, that's some country music ship

509
00:29:28,520 --> 00:29:30,520
Speaker 1: right there, man. And he wasn't telling me to be

510
00:29:30,560 --> 00:29:34,560
Speaker 1: like amsterdamn Country a crazy story that I don't want

511
00:29:34,560 --> 00:29:37,000
Speaker 1: to tell you, but it was just a detail in

512
00:29:37,080 --> 00:29:39,040
Speaker 1: the story. And I'm like, man, that's like a country song. Well,

513
00:29:39,040 --> 00:29:41,640
Speaker 1: I think that that had me going think about how

514
00:29:41,680 --> 00:29:43,000
Speaker 1: me and my wife by the time we put our

515
00:29:43,080 --> 00:29:47,480
Speaker 1: kids to bed. Sometimes, man, we just like we don't

516
00:29:47,480 --> 00:29:51,440
Speaker 1: do the whole fire and everything. We just gotta just

517
00:29:52,920 --> 00:29:55,920
Speaker 1: like put the house bed together, go to bed. I'm

518
00:29:55,960 --> 00:29:57,840
Speaker 1: guarantee you there's nights that they don't go osside and

519
00:29:58,040 --> 00:30:02,480
Speaker 1: sit around the Every night, I'll walk out. That's not true.

520
00:30:02,560 --> 00:30:04,360
Speaker 1: Every night and I walk out shirtless and shut the

521
00:30:04,400 --> 00:30:06,480
Speaker 1: chickens up. That is true, I do. I was about

522
00:30:06,480 --> 00:30:09,440
Speaker 1: to say that. I was about to say, it's not

523
00:30:09,520 --> 00:30:12,400
Speaker 1: like we do that, but don't come creeping on me

524
00:30:12,440 --> 00:30:14,360
Speaker 1: at six am, or you're gonna you're gonna see a

525
00:30:14,360 --> 00:30:15,959
Speaker 1: lot more than me than you want to because I'm

526
00:30:15,960 --> 00:30:20,840
Speaker 1: gonna let them chickens out in my drawers. But I mean, dude,

527
00:30:20,840 --> 00:30:22,960
Speaker 1: it's just it's what we love to do. And it

528
00:30:23,520 --> 00:30:28,120
Speaker 1: was never contrived. It was never hey, man, let's learn

529
00:30:28,200 --> 00:30:32,280
Speaker 1: these things to uh see more country. I mean, our

530
00:30:32,360 --> 00:30:36,320
Speaker 1: dad and our mom made we ate gravy and biscuits,

531
00:30:36,680 --> 00:30:39,960
Speaker 1: and uh we listened to skinnered on the way to church.

532
00:30:40,760 --> 00:30:43,200
Speaker 1: Fishing on the weekends. We went fishing on the weekends

533
00:30:43,240 --> 00:30:47,479
Speaker 1: off the bank. We we pulled out stripers and pilate

534
00:30:47,560 --> 00:30:49,800
Speaker 1: them on the bank. And I mean we were never

535
00:30:49,960 --> 00:30:52,920
Speaker 1: like had dogs as best friends constantly. It wasn't just

536
00:30:53,280 --> 00:30:55,160
Speaker 1: I mean we played tennis ball baseball in the backyard

537
00:30:55,280 --> 00:30:57,640
Speaker 1: is kind of where we grew up. And so it's

538
00:30:57,840 --> 00:31:00,479
Speaker 1: it's it's a beautiful thing to be able to not

539
00:31:00,600 --> 00:31:03,480
Speaker 1: have to fake it. And and I think that maybe

540
00:31:03,520 --> 00:31:06,840
Speaker 1: what makes our uh point of view or or or

541
00:31:06,920 --> 00:31:10,040
Speaker 1: songwriting craft, if you will, feel a little more authentic,

542
00:31:10,480 --> 00:31:13,520
Speaker 1: is because that's all we know how to talk about.

543
00:31:13,840 --> 00:31:15,880
Speaker 1: And with that, I mean't fake it. Yeah, And and

544
00:31:16,080 --> 00:31:18,760
Speaker 1: I would I venture to say that if even if

545
00:31:18,800 --> 00:31:21,719
Speaker 1: Luke wasn't a performer artist or you know, and we

546
00:31:21,720 --> 00:31:24,480
Speaker 1: weren't songwriters, nothing about our lives, which should we still

547
00:31:24,480 --> 00:31:26,800
Speaker 1: be doing, We'll be doing the same thing. We'll be

548
00:31:26,840 --> 00:31:30,400
Speaker 1: living the same way where we're at. But thank you

549
00:31:30,440 --> 00:31:32,880
Speaker 1: for saying that. I appreciate you saying that. Yeah, I

550
00:31:32,960 --> 00:31:35,600
Speaker 1: think we bring out the good. Yeah, that's a great

551
00:31:35,600 --> 00:31:40,560
Speaker 1: compliment for sure. No, I've enjoyed it. Man, do you guys, Uh,

552
00:31:42,160 --> 00:31:45,200
Speaker 1: this might not come It's the thing that goes on

553
00:31:45,280 --> 00:31:49,160
Speaker 1: in the North. We're now and then uh, in the North,

554
00:31:49,320 --> 00:31:54,560
Speaker 1: people like to just as a joke, Now, and then gosh,

555
00:31:54,600 --> 00:31:59,880
Speaker 1: here we speculate upon the lives of Southerners the same thing.

556
00:32:00,000 --> 00:32:02,600
Speaker 1: It's crazy. That's what I didn't know until this. I

557
00:32:02,600 --> 00:32:06,080
Speaker 1: didn't know that was a thing. I didn't know that

558
00:32:06,120 --> 00:32:13,320
Speaker 1: you guys went down there goofed on us for four

559
00:32:14,280 --> 00:32:19,200
Speaker 1: even plant food. We just plant per salmon trees. He does, pity, Oh,

560
00:32:19,320 --> 00:32:22,200
Speaker 1: per salmons. You got some per salmon trees up there,

561
00:32:22,360 --> 00:32:29,080
Speaker 1: you know, per salmon? Okay, but usually two box will

562
00:32:29,120 --> 00:32:34,160
Speaker 1: come in per salmon. Wait about sex per salmon. You

563
00:32:34,200 --> 00:32:39,320
Speaker 1: guys not know what you sound like. I mean, it's got,

564
00:32:39,360 --> 00:32:42,360
Speaker 1: it's nice. You're always told growing up. The reason that

565
00:32:42,560 --> 00:32:45,120
Speaker 1: you don't realize that you have an accent because everybody

566
00:32:45,120 --> 00:32:49,200
Speaker 1: on the news does it in like a Midwest accent.

567
00:32:50,400 --> 00:32:53,080
Speaker 1: When I had to in the news, you know, it's

568
00:32:53,080 --> 00:32:56,000
Speaker 1: like done how we sound, and so you don't notice it.

569
00:32:56,200 --> 00:33:00,560
Speaker 1: I had to take a class um called I think

570
00:33:00,600 --> 00:33:03,240
Speaker 1: it was all by Roger Gillis, and it was a

571
00:33:03,320 --> 00:33:10,080
Speaker 1: class called the Structure of Modern English and actually actually

572
00:33:10,840 --> 00:33:14,880
Speaker 1: interesting and I kidding. And in this class, in this

573
00:33:14,960 --> 00:33:19,880
Speaker 1: class it talked, it had like all these dialects on

574
00:33:19,920 --> 00:33:21,920
Speaker 1: the map, and it was saying and it was looking at.

575
00:33:21,920 --> 00:33:23,760
Speaker 1: It was he was focused for a while. I I

576
00:33:23,800 --> 00:33:26,200
Speaker 1: can't remember feels him or not, but it doesn't matter.

577
00:33:26,640 --> 00:33:29,440
Speaker 1: He was focused at He was focused on three figures,

578
00:33:30,360 --> 00:33:36,160
Speaker 1: Dan Rather, Peter Jennings, and Brokaw because it was that

579
00:33:36,240 --> 00:33:40,800
Speaker 1: era and he was like, what, how did we decide

580
00:33:41,040 --> 00:33:45,920
Speaker 1: what a normal American? Sounds like? That's pretty interesting and

581
00:33:45,960 --> 00:33:48,680
Speaker 1: it and it focused on this circle that kind of

582
00:33:48,720 --> 00:33:52,440
Speaker 1: like included like remember it captured Chicago and it was

583
00:33:52,480 --> 00:33:56,840
Speaker 1: like the circle. It was kind of like, this is

584
00:33:56,960 --> 00:34:00,760
Speaker 1: what we've decided. It sounds like, this is the steps

585
00:34:00,800 --> 00:34:03,960
Speaker 1: that you go to to represent that sound. And he

586
00:34:04,040 --> 00:34:09,239
Speaker 1: presented it through like who presents America's news and like

587
00:34:09,600 --> 00:34:16,080
Speaker 1: that's America. Everything else derivates. Yeah, well, and that can

588
00:34:16,200 --> 00:34:19,239
Speaker 1: leave people who are from that area probably feeling pretty

589
00:34:19,280 --> 00:34:29,640
Speaker 1: damn cocky. Yes, and those left out he also uh

590
00:34:29,719 --> 00:34:32,160
Speaker 1: in the same class. They got into this notion that

591
00:34:32,440 --> 00:34:36,479
Speaker 1: if he said that if at the time, I can't,

592
00:34:36,560 --> 00:34:38,800
Speaker 1: I wish I could be fields the Revolutionary War or

593
00:34:38,840 --> 00:34:42,600
Speaker 1: the Civil War, if you had somehow made a barrier

594
00:34:42,640 --> 00:34:47,560
Speaker 1: along the Mason Dixon line, that there was no exchange

595
00:34:48,640 --> 00:34:50,960
Speaker 1: that by now, which is now then because it's a

596
00:34:51,000 --> 00:34:54,000
Speaker 1: long time ago, that by now these two groups would

597
00:34:54,000 --> 00:34:57,840
Speaker 1: not be able to communicate. Wow. And he talked about

598
00:34:57,840 --> 00:35:00,920
Speaker 1: because and he looked at the technology g that's emerged,

599
00:35:01,400 --> 00:35:04,719
Speaker 1: everything to do with automobiles, everything to do with computing,

600
00:35:05,040 --> 00:35:09,399
Speaker 1: everything to do with materials, fabrics, cultural stuff. It's like

601
00:35:09,920 --> 00:35:12,879
Speaker 1: it would be that at this point, no way are

602
00:35:12,880 --> 00:35:14,640
Speaker 1: you gonna say all that stuff was made up North.

603
00:35:15,480 --> 00:35:17,640
Speaker 1: We wouldn't have had the shared we wouldn't have no, no,

604
00:35:17,680 --> 00:35:19,880
Speaker 1: not at all. We wouldn't have the shared we wouldn't

605
00:35:19,920 --> 00:35:23,320
Speaker 1: have the shared exchange. Talking about how quickly things would drift.

606
00:35:23,880 --> 00:35:27,000
Speaker 1: Like the point being that it was like the vernacular

607
00:35:27,080 --> 00:35:34,600
Speaker 1: of the South, um, the a grarianism of the South,

608
00:35:34,680 --> 00:35:36,759
Speaker 1: the industrialism of the North at that time that it

609
00:35:36,760 --> 00:35:39,560
Speaker 1: would have been like we we would now we look

610
00:35:39,560 --> 00:35:43,520
Speaker 1: at like France, two separate. Super interesting. One of our

611
00:35:43,560 --> 00:35:47,720
Speaker 1: good buddies, Uh, Marty Smith, he uh, he was gutting

612
00:35:47,719 --> 00:35:52,640
Speaker 1: from North Carolina with a hard draw, right, but he

613
00:35:52,640 --> 00:35:55,120
Speaker 1: he was he wanted to be in some sort of

614
00:35:55,160 --> 00:35:58,879
Speaker 1: broadcasting thing, right. He wanted he that's all he wanted

615
00:35:58,920 --> 00:36:00,920
Speaker 1: to do was being broadcast. But he says, he has

616
00:36:01,000 --> 00:36:03,080
Speaker 1: this quote and he says, but you know, you boys

617
00:36:03,120 --> 00:36:07,000
Speaker 1: know he said, guys like guys that talk like us

618
00:36:07,080 --> 00:36:09,400
Speaker 1: don't get those positions, said that, and now he's in

619
00:36:09,440 --> 00:36:12,120
Speaker 1: the ESPN analysts. He works on NASCAR, of course, but

620
00:36:12,200 --> 00:36:16,800
Speaker 1: he sounds like us started to age que coach or something,

621
00:36:17,760 --> 00:36:20,320
Speaker 1: and it's it's it's almost like what makes Marty Marty too?

622
00:36:20,560 --> 00:36:23,279
Speaker 1: Is that that's his appeal as It's like he's I mean, one,

623
00:36:23,320 --> 00:36:27,920
Speaker 1: he's very intelligent, but he did start out in NASCAR,

624
00:36:28,239 --> 00:36:30,239
Speaker 1: so you kind of get the prejudice of like, well,

625
00:36:30,280 --> 00:36:32,799
Speaker 1: stick the Southern guy in the NASCAR thing. And he

626
00:36:32,840 --> 00:36:35,759
Speaker 1: does love NASCAR, so I mean, he's very knowledgeable on

627
00:36:35,760 --> 00:36:39,160
Speaker 1: that subject. So he was obviously the choice. And but

628
00:36:39,320 --> 00:36:42,880
Speaker 1: now he is mainstream. Now he does college football, I mean,

629
00:36:42,920 --> 00:36:45,640
Speaker 1: he does everything. Now, he's I would argue, one of

630
00:36:45,960 --> 00:36:49,040
Speaker 1: one of the most recognizable personalities. Media decided to celebrate

631
00:36:49,120 --> 00:36:52,000
Speaker 1: him as opposed absolutely, but I think it took him

632
00:36:52,040 --> 00:36:54,360
Speaker 1: a long time to get there though. To break down

633
00:36:54,400 --> 00:36:57,520
Speaker 1: that thing. Man, you don't just don't sound appealing to

634
00:36:58,239 --> 00:37:01,080
Speaker 1: the entire United States because is of your Southern accent.

635
00:37:01,400 --> 00:37:05,239
Speaker 1: His personality outspeaks his Southern drawal. And that's why I

636
00:37:05,280 --> 00:37:07,799
Speaker 1: think that's what ESPN gave into and now it's it's

637
00:37:07,840 --> 00:37:10,280
Speaker 1: it has become a part of the Marty Smith brand.

638
00:37:10,360 --> 00:37:12,560
Speaker 1: Is the way I talk, you know, the way he talks.

639
00:37:13,840 --> 00:37:16,799
Speaker 1: I'm I'm aware of it. Man, Like it's almost it

640
00:37:16,840 --> 00:37:20,120
Speaker 1: looks a lot better for me to not Uh, it

641
00:37:20,160 --> 00:37:22,080
Speaker 1: looks a lot better for me to not acknowledge this.

642
00:37:22,640 --> 00:37:25,880
Speaker 1: But I think that it's like fair to acknowledge that

643
00:37:26,600 --> 00:37:34,920
Speaker 1: there was there's a legit. Um it's not fanged. I

644
00:37:34,920 --> 00:37:37,880
Speaker 1: mean like it doesn't have like strong teeth. There is

645
00:37:37,920 --> 00:37:41,640
Speaker 1: a legit perception. It's true. Man, There's people like in

646
00:37:41,680 --> 00:37:44,960
Speaker 1: the north be nicest ship to whoever. But there's people

647
00:37:45,040 --> 00:37:50,640
Speaker 1: that when they hear like a southern country thing, it's

648
00:37:50,640 --> 00:37:54,719
Speaker 1: like whatever that person is saying is less important or

649
00:37:54,760 --> 00:37:59,359
Speaker 1: somehow less reliable. Dude, I'm telling me, I hate, I hate.

650
00:37:59,800 --> 00:38:02,680
Speaker 1: I'm they were experienced, but it's like a thing, you know.

651
00:38:02,719 --> 00:38:07,640
Speaker 1: I've even had good friends of mine talk about like

652
00:38:08,440 --> 00:38:10,880
Speaker 1: meet like they maybe like you know, meeting an engineer

653
00:38:11,360 --> 00:38:13,799
Speaker 1: from from somewhere, And at first they're kind of like,

654
00:38:14,560 --> 00:38:17,399
Speaker 1: how but you get I get what you're saying. How

655
00:38:17,400 --> 00:38:21,080
Speaker 1: would you yea? Who are you to tell me about

656
00:38:21,800 --> 00:38:26,120
Speaker 1: like the instructural integrity of such and such from Bingham

657
00:38:26,200 --> 00:38:30,279
Speaker 1: Metal under Arrest, Like, like, how would that should you

658
00:38:30,280 --> 00:38:34,880
Speaker 1: be telling me about corn? Well, I'll be telling you.

659
00:38:35,880 --> 00:38:37,399
Speaker 1: I hate to admit it, but it's like a thing

660
00:38:37,440 --> 00:38:38,960
Speaker 1: that you grew up around. We grew up, We grew

661
00:38:39,000 --> 00:38:40,560
Speaker 1: up on all kinds of other prejudices that I don't

662
00:38:40,560 --> 00:38:42,799
Speaker 1: really feel like you'ven talking about, but like, it's just

663
00:38:43,239 --> 00:38:45,840
Speaker 1: shitty things people say. There's cultural differences and it and

664
00:38:45,920 --> 00:38:48,200
Speaker 1: there's no doubt a better I probably shouldn't say talk

665
00:38:48,239 --> 00:38:51,480
Speaker 1: about this, but I actually the dated a girl recently,

666
00:38:51,920 --> 00:38:54,480
Speaker 1: you know, my past relationship sticky. I don't know if

667
00:38:54,480 --> 00:38:57,560
Speaker 1: you want to go there, but he was from Ohio,

668
00:38:57,840 --> 00:39:02,160
Speaker 1: northern't Ohio, and had a northern accent and the and

669
00:39:02,239 --> 00:39:05,080
Speaker 1: the whole thing. And I would go up there and

670
00:39:05,160 --> 00:39:09,160
Speaker 1: visit her family and almost would feel out of place. No,

671
00:39:09,400 --> 00:39:11,839
Speaker 1: not almost. I felt out of place every time I went,

672
00:39:12,080 --> 00:39:15,319
Speaker 1: because it was such a different environment that I grew

673
00:39:15,400 --> 00:39:18,120
Speaker 1: up in and that I knew every day. And honestly,

674
00:39:18,640 --> 00:39:21,319
Speaker 1: that put a big thing between me and her and

675
00:39:21,320 --> 00:39:23,080
Speaker 1: and and and we never like it was never a

676
00:39:23,120 --> 00:39:25,960
Speaker 1: spoken thing, but like the way we were raised in

677
00:39:26,000 --> 00:39:29,960
Speaker 1: the way you know, belief systems or whatever, like it

678
00:39:30,120 --> 00:39:33,760
Speaker 1: just something about where she's from and where I'm from

679
00:39:34,040 --> 00:39:37,239
Speaker 1: did not match up. Well, I don't think he's I

680
00:39:37,239 --> 00:39:39,560
Speaker 1: think you're kind of addressing more of the fact that

681
00:39:39,600 --> 00:39:41,480
Speaker 1: there there was like a little bit of a negative

682
00:39:41,520 --> 00:39:45,680
Speaker 1: connotation whenever someone spoke just stereotyped. I used to work

683
00:39:45,680 --> 00:39:48,120
Speaker 1: with a guy in Denver that, Uh, it's kind of

684
00:39:48,160 --> 00:39:50,240
Speaker 1: like a melting pot. It's like, it's not really anywhere,

685
00:39:50,239 --> 00:39:54,960
Speaker 1: It's Midwest, it's west. Where is So he was a

686
00:39:55,080 --> 00:39:58,799
Speaker 1: huge Hispanic influence to man. Yeah, so he was from Oklahoma,

687
00:39:58,920 --> 00:40:01,480
Speaker 1: had a really strong Southern draw. One of the smartest

688
00:40:01,520 --> 00:40:04,680
Speaker 1: people I've ever worked with. And it took a long

689
00:40:04,800 --> 00:40:08,000
Speaker 1: time for do we claim that Oklahoma? Does the South

690
00:40:08,000 --> 00:40:10,400
Speaker 1: claim Oklahoma? I feel like it. I don't think so.

691
00:40:10,480 --> 00:40:12,799
Speaker 1: I don't think we'll tell you what. We'll tell you

692
00:40:12,800 --> 00:40:16,640
Speaker 1: what South is. That's that's something. But he had he

693
00:40:16,640 --> 00:40:20,799
Speaker 1: had this really strong he's crazy smart. But when we

694
00:40:20,800 --> 00:40:24,160
Speaker 1: were working at at this company, um, it took a

695
00:40:24,160 --> 00:40:27,600
Speaker 1: while before people would acknowledge that what he was saying

696
00:40:27,840 --> 00:40:31,040
Speaker 1: was intelligent real and some of the people that were

697
00:40:31,080 --> 00:40:34,840
Speaker 1: maybe from the Upper Midwest maybe not as smart or

698
00:40:34,880 --> 00:40:36,560
Speaker 1: good at their job. But it seems like people took

699
00:40:36,640 --> 00:40:38,919
Speaker 1: him more serious right away because he talked differently. Because

700
00:40:38,920 --> 00:40:42,520
Speaker 1: he talked differently, I would venture to say that the

701
00:40:42,680 --> 00:40:46,600
Speaker 1: majority of those guys could give it rats less what

702
00:40:46,719 --> 00:40:51,360
Speaker 1: you think. Honestly, he kind of comes with the territory.

703
00:40:51,440 --> 00:40:56,719
Speaker 1: It's like, uh, I don't necessarily care if somebody thinks

704
00:40:56,760 --> 00:41:00,680
Speaker 1: I'm not is intelligent because of my dialect. I'll happily

705
00:41:00,760 --> 00:41:04,040
Speaker 1: walk out there. And because she she used a stomping

706
00:41:04,120 --> 00:41:07,360
Speaker 1: muddle in that ass and just go home. That's my buddy.

707
00:41:07,400 --> 00:41:08,960
Speaker 1: I was talking to him about it one day. He

708
00:41:09,280 --> 00:41:12,000
Speaker 1: was fluent in Mandarin. Nobody we even believe him. I

709
00:41:12,040 --> 00:41:16,920
Speaker 1: wouldn't believe he would. He would say something he's just choking.

710
00:41:17,080 --> 00:41:21,040
Speaker 1: Nobody could verify, like whatever. But I was talking to

711
00:41:21,120 --> 00:41:22,960
Speaker 1: He's like, no, I'd rather than assume that I'm I'm

712
00:41:23,000 --> 00:41:25,640
Speaker 1: an idiot and then surprise him then the other way around.

713
00:41:26,200 --> 00:41:40,200
Speaker 1: You know, Dan, you mentioned jokingly, Uh, well, I heard

714
00:41:40,239 --> 00:41:42,800
Speaker 1: you say two things that that um I heard you.

715
00:41:42,880 --> 00:41:46,040
Speaker 1: We're talking about like someone being distinctly northern, and you

716
00:41:46,239 --> 00:41:50,520
Speaker 1: mentioned I totally like and I welcome it. But like

717
00:41:50,719 --> 00:41:53,279
Speaker 1: some things that are funnier often funny because there's they're

718
00:41:53,280 --> 00:41:55,239
Speaker 1: like there's a like a hint of truth a little bit.

719
00:41:55,840 --> 00:41:58,520
Speaker 1: So you mentioned like you you joked about pretentiousness, and

720
00:41:58,560 --> 00:42:01,279
Speaker 1: then you joked about how we You said you felt

721
00:42:01,320 --> 00:42:04,080
Speaker 1: like we're sometimes that we sometimes, like on this show

722
00:42:05,680 --> 00:42:08,800
Speaker 1: discussed the South, discussed the South in the way You're like,

723
00:42:09,280 --> 00:42:11,800
Speaker 1: they talk about it, they don't know what they're talking about.

724
00:42:12,200 --> 00:42:16,080
Speaker 1: I just well, it would be like me talking about salmons.

725
00:42:16,239 --> 00:42:18,840
Speaker 1: You know what I mean. I'm never I'm just kidding.

726
00:42:19,080 --> 00:42:21,840
Speaker 1: I know. I'm just saying, in order to get the

727
00:42:22,520 --> 00:42:27,040
Speaker 1: flavor correct of of what you think you're talking about,

728
00:42:27,120 --> 00:42:29,000
Speaker 1: you got to spend a little time with it, you

729
00:42:29,080 --> 00:42:30,800
Speaker 1: know what I mean. And I'm not batting it on

730
00:42:31,000 --> 00:42:34,440
Speaker 1: you or or anybody else. I mean, we make we

731
00:42:34,520 --> 00:42:37,480
Speaker 1: make a lot of fun people that have stronger accents.

732
00:42:37,520 --> 00:42:39,799
Speaker 1: But it's not because it's my fa. If I could

733
00:42:40,160 --> 00:42:42,720
Speaker 1: lay out my favorite things in life, it's my favorite

734
00:42:42,920 --> 00:42:47,040
Speaker 1: is listening to you guys. Tell us how we sound.

735
00:42:49,800 --> 00:42:56,000
Speaker 1: We're pretty close, right, I'm just saying, no, man, I

736
00:42:56,080 --> 00:42:58,359
Speaker 1: think it's interesting that you said that about that there's

737
00:42:58,400 --> 00:43:01,200
Speaker 1: some truth. It always see us to be a little funny.

738
00:43:01,239 --> 00:43:02,879
Speaker 1: If there's a little truth in it, I would venture

739
00:43:02,960 --> 00:43:05,160
Speaker 1: to say that songs are the same way, if you

740
00:43:05,200 --> 00:43:08,279
Speaker 1: can find a way to sprinkle in some of your

741
00:43:08,400 --> 00:43:11,880
Speaker 1: reality into what you're trying to see. I mean, he

742
00:43:11,920 --> 00:43:13,759
Speaker 1: can speak to this way better than I can. As

743
00:43:13,800 --> 00:43:16,160
Speaker 1: far as it's probably a little bit easier to seeing

744
00:43:16,440 --> 00:43:19,360
Speaker 1: to forty people every night. If it's something you actually

745
00:43:19,400 --> 00:43:22,400
Speaker 1: live to believe in, Yeah, I would agree, man. I

746
00:43:22,480 --> 00:43:25,680
Speaker 1: mean I think for me, it's like there is no

747
00:43:26,000 --> 00:43:31,759
Speaker 1: need for me to feel like authentic, you know, Like

748
00:43:31,840 --> 00:43:33,680
Speaker 1: I don't feel that pressure that I think a lot

749
00:43:33,760 --> 00:43:37,600
Speaker 1: of other performers in my genre feel, you know, because

750
00:43:37,760 --> 00:43:39,600
Speaker 1: I feel like I'm very open and honest with my

751
00:43:39,760 --> 00:43:42,920
Speaker 1: fans about you know, where I came from and how

752
00:43:42,960 --> 00:43:44,719
Speaker 1: I grew up and the things that I did, you know,

753
00:43:44,800 --> 00:43:46,680
Speaker 1: and the things that you do now right and things

754
00:43:46,719 --> 00:43:48,480
Speaker 1: that I do now you know, And like I think

755
00:43:48,520 --> 00:43:52,719
Speaker 1: there's there's something there's something to be said about, you know,

756
00:43:52,840 --> 00:43:56,400
Speaker 1: somebody who can just be themselves like fully, and that's me,

757
00:43:56,920 --> 00:43:59,359
Speaker 1: you know what I feel. You know, it's like listen, man,

758
00:43:59,440 --> 00:44:01,400
Speaker 1: Like I'll tell you right right on this podcast. Like

759
00:44:01,400 --> 00:44:04,000
Speaker 1: I didn't grow up hunting. I just I didn't. It's

760
00:44:04,040 --> 00:44:05,920
Speaker 1: not something that my dad did. He grew up in

761
00:44:06,360 --> 00:44:09,479
Speaker 1: the rust belt in Ohio, and he didn't go hunting

762
00:44:09,560 --> 00:44:13,200
Speaker 1: with my grandfather because he was a truck driver, you know,

763
00:44:13,400 --> 00:44:15,960
Speaker 1: for his entire life. And they lived in a you know,

764
00:44:16,200 --> 00:44:19,600
Speaker 1: suburban neighborhood and outside of Akron, Ohio. So it just

765
00:44:19,760 --> 00:44:22,440
Speaker 1: wasn't something that they did. So that wasn't something that

766
00:44:22,600 --> 00:44:25,919
Speaker 1: my my father passed on to me. It was something

767
00:44:25,960 --> 00:44:29,200
Speaker 1: that I gained an interest in after I started doing

768
00:44:29,320 --> 00:44:34,000
Speaker 1: music as an escapism type thing from the daily grind

769
00:44:34,239 --> 00:44:37,160
Speaker 1: of my job. So I don't go out and say, man,

770
00:44:37,880 --> 00:44:41,760
Speaker 1: you know, I've been skinning squirrels since day one, using

771
00:44:41,840 --> 00:44:43,960
Speaker 1: bones like a toothpick, you know what I'm It's like,

772
00:44:44,280 --> 00:44:47,239
Speaker 1: I just don't say that because it's not true. And

773
00:44:47,360 --> 00:44:51,400
Speaker 1: so you know, I've always been cool with that, you know.

774
00:44:51,480 --> 00:44:54,520
Speaker 1: I'm just fine being who I am and and just

775
00:44:54,920 --> 00:45:01,000
Speaker 1: just telling people like it is, you know, And I think, like, yeah,

776
00:45:01,200 --> 00:45:04,120
Speaker 1: I think you've made I hate You've made it. Um,

777
00:45:06,920 --> 00:45:10,839
Speaker 1: I think you've made being open about who you are

778
00:45:11,200 --> 00:45:16,640
Speaker 1: and like verbalizing your flaws or whatever like part of

779
00:45:16,760 --> 00:45:22,040
Speaker 1: like your thing, which puts you in a pretty comfortable position. Like, man,

780
00:45:22,120 --> 00:45:24,960
Speaker 1: I hope the ship doesn't catch up to me, no doubt,

781
00:45:25,000 --> 00:45:27,400
Speaker 1: and I definitely, I definitely think that that would be

782
00:45:27,480 --> 00:45:31,680
Speaker 1: an exhausting position. But isn't that what does isn't that

783
00:45:31,760 --> 00:45:34,759
Speaker 1: what a lie does across the board, if you make

784
00:45:34,880 --> 00:45:38,040
Speaker 1: this stuff regardless of what it is. And I realized

785
00:45:38,120 --> 00:45:41,200
Speaker 1: recognized this honestly about what ten years ago in my

786
00:45:41,400 --> 00:45:45,000
Speaker 1: life that I told you honest, this long way to

787
00:45:45,000 --> 00:45:46,840
Speaker 1: get your honest. I said, dude, if you want to

788
00:45:46,840 --> 00:45:48,480
Speaker 1: find the quickest way back to the truck, you need

789
00:45:48,520 --> 00:45:50,439
Speaker 1: to follow your boy, because I'm gonna find I'm gonna

790
00:45:50,480 --> 00:45:53,080
Speaker 1: find it. I'm gonna find the easiest, fastest way back

791
00:45:53,120 --> 00:45:55,200
Speaker 1: to the truck. And he was like, all right, man,

792
00:45:55,239 --> 00:45:57,440
Speaker 1: we'll try your way this time, you know, which actually

793
00:45:57,480 --> 00:46:01,279
Speaker 1: turned out to be wrong. Sorry, But I mean I

794
00:46:01,920 --> 00:46:06,480
Speaker 1: decided ten years ago that it it took less energy

795
00:46:07,400 --> 00:46:09,560
Speaker 1: because because we all have energy, right, you're devoting so

796
00:46:09,640 --> 00:46:11,719
Speaker 1: much energy towards certain things, right, you only have so

797
00:46:11,800 --> 00:46:14,880
Speaker 1: much to get, mental energy being a huge part of that, absolutely,

798
00:46:14,960 --> 00:46:19,239
Speaker 1: And it takes more mental and sometimes literal energy to

799
00:46:19,560 --> 00:46:23,279
Speaker 1: keep up the facade and sell the lie than it

800
00:46:23,440 --> 00:46:26,680
Speaker 1: does to just tell the truth and deal with the consequences.

801
00:46:27,160 --> 00:46:30,880
Speaker 1: And so we stopped, we stopped white fudging anything. And

802
00:46:31,000 --> 00:46:36,120
Speaker 1: I think the interesting thing is, like, if you're honest

803
00:46:36,200 --> 00:46:41,360
Speaker 1: from the jump in in our genre, I don't I

804
00:46:41,520 --> 00:46:45,320
Speaker 1: don't think there are any consequences, you know what I mean? Like,

805
00:46:45,400 --> 00:46:48,279
Speaker 1: I don't think anyone's gonna go that, God, I don't

806
00:46:48,360 --> 00:46:52,080
Speaker 1: skin Big Bucks. Well, if you don't talk about skinning

807
00:46:52,160 --> 00:46:54,719
Speaker 1: Big Bucks, no one's gonna say that you're not doing it.

808
00:46:55,680 --> 00:46:57,840
Speaker 1: So just sing and talk about the ship that you

809
00:46:58,000 --> 00:47:01,800
Speaker 1: actually do. That the thing that people need to understand,

810
00:47:01,920 --> 00:47:05,880
Speaker 1: like they try to come in and fit this mold

811
00:47:06,040 --> 00:47:10,200
Speaker 1: that's perceived that's really not even there. Man. There's nobody

812
00:47:10,280 --> 00:47:14,600
Speaker 1: in town going signing a guy and going, we gotta

813
00:47:14,640 --> 00:47:20,320
Speaker 1: get this guy in a food plot. That's not happening.

814
00:47:20,600 --> 00:47:22,520
Speaker 1: You know, nobody's doing that, you know what I mean?

815
00:47:22,640 --> 00:47:25,080
Speaker 1: And so I don't understand why there are some guys

816
00:47:25,160 --> 00:47:28,719
Speaker 1: who are feel so pressured to try to like fit

817
00:47:28,840 --> 00:47:32,239
Speaker 1: in with their fan base. Like guy that does it

818
00:47:32,320 --> 00:47:38,759
Speaker 1: well is Eric Church just does what he does so

819
00:47:39,040 --> 00:47:45,360
Speaker 1: unapologetically and is so left of center of what I

820
00:47:45,480 --> 00:47:49,120
Speaker 1: think the stereotypical the guy that maybe doesn't listen to

821
00:47:49,200 --> 00:47:52,439
Speaker 1: country music thinks what a country music singer is, he's

822
00:47:52,480 --> 00:47:55,759
Speaker 1: so left of that mold and so outside of the

823
00:47:56,360 --> 00:48:01,319
Speaker 1: confines of that particular you know, stereotype. But he's never

824
00:48:01,719 --> 00:48:05,080
Speaker 1: in a magazine going dude, I'm a big hunter and

825
00:48:05,239 --> 00:48:07,000
Speaker 1: I'm out fish and all the time. Like, he never

826
00:48:07,080 --> 00:48:11,239
Speaker 1: says that, so he doesn't have to try to acknowledge

827
00:48:11,280 --> 00:48:14,719
Speaker 1: that or back it up with photo evidence or you know,

828
00:48:14,800 --> 00:48:17,600
Speaker 1: I need to feel like he's cooler than somebody else.

829
00:48:17,640 --> 00:48:20,839
Speaker 1: So he doesn't do that, which fucking makes him cool.

830
00:48:21,239 --> 00:48:23,560
Speaker 1: That's what makes him cool is that he doesn't do that,

831
00:48:23,800 --> 00:48:26,439
Speaker 1: in my opinion, to like it or leave it. Yeah,

832
00:48:26,520 --> 00:48:28,239
Speaker 1: you know, it's take it or leave it thing. Take

833
00:48:28,320 --> 00:48:32,000
Speaker 1: me as I am or not. I make music that

834
00:48:32,239 --> 00:48:36,520
Speaker 1: I like people like it, and I don't make music

835
00:48:36,760 --> 00:48:38,800
Speaker 1: for people that aren't going to like it. So I

836
00:48:38,920 --> 00:48:41,840
Speaker 1: don't care if people don't like it. I like that

837
00:48:41,960 --> 00:48:50,040
Speaker 1: a lot good stuff. That's a hook I appreciate about

838
00:48:50,239 --> 00:48:52,719
Speaker 1: I think I appreciate about country is that you can

839
00:48:54,160 --> 00:48:59,600
Speaker 1: uh embrace things that are becoming increasing like hot for

840
00:49:00,040 --> 00:49:03,400
Speaker 1: bowl outside, Like you look at a dude, you know,

841
00:49:03,520 --> 00:49:09,440
Speaker 1: even like actors, who's the who's the Yeah? Well yeah,

842
00:49:09,520 --> 00:49:12,040
Speaker 1: but he gets slapped in the face every time he

843
00:49:12,120 --> 00:49:15,040
Speaker 1: does it. Man. Oh, and he'd like be like, oh, yeah,

844
00:49:15,160 --> 00:49:17,279
Speaker 1: we killed a lamb on the farm, and then all

845
00:49:17,280 --> 00:49:22,520
Speaker 1: of a sudden just like yeah, he's got a kind

846
00:49:22,560 --> 00:49:25,759
Speaker 1: of chill on it, you know, and by the back

847
00:49:25,800 --> 00:49:30,200
Speaker 1: of the saying like knowledge and I bet other people.

848
00:49:30,680 --> 00:49:32,120
Speaker 1: I wish I could. I wish I could say this

849
00:49:32,239 --> 00:49:34,480
Speaker 1: dude's name, but I don't want to just bed be

850
00:49:34,520 --> 00:49:37,320
Speaker 1: helpful if I could say it, like explaining to me

851
00:49:37,480 --> 00:49:41,160
Speaker 1: flat out, explaining me over the phone that he's a

852
00:49:41,280 --> 00:49:45,239
Speaker 1: closeted hunter and he's got a secret game room. No

853
00:49:45,520 --> 00:49:49,040
Speaker 1: way a secret game room because he has to hold

854
00:49:49,080 --> 00:49:55,560
Speaker 1: a certain perception. He had a little thing building. It's serious.

855
00:49:55,600 --> 00:49:59,360
Speaker 1: There's like people that can't go near it, can't be

856
00:49:59,520 --> 00:50:02,960
Speaker 1: seen at that. And it's like the fact that that

857
00:50:03,680 --> 00:50:05,600
Speaker 1: the fact that I'm one hand in America, you could

858
00:50:05,640 --> 00:50:10,160
Speaker 1: have uh involvement right involvement in media and be in

859
00:50:10,200 --> 00:50:13,200
Speaker 1: the public spotlight and have it be that you can't

860
00:50:13,800 --> 00:50:16,360
Speaker 1: and if you do, you gotta lie to have it

861
00:50:16,440 --> 00:50:19,160
Speaker 1: be that you don't. But then here's this other like

862
00:50:19,360 --> 00:50:24,279
Speaker 1: thriving industry. Where were you. It's like how people come

863
00:50:24,320 --> 00:50:26,080
Speaker 1: and hit me, I'm not just thing late Like people

864
00:50:26,080 --> 00:50:28,680
Speaker 1: can talk about the polarization of America, you know, and

865
00:50:29,000 --> 00:50:32,640
Speaker 1: I'm like from the from a media standpoint, I'm super

866
00:50:32,719 --> 00:50:36,800
Speaker 1: sensitive political media. I'm like very sensitive and very nervous

867
00:50:37,760 --> 00:50:40,920
Speaker 1: of the polarization of America. Like I don't want it

868
00:50:40,960 --> 00:50:43,440
Speaker 1: to happen. Man, I'm like very worried about the fabric

869
00:50:43,520 --> 00:50:45,160
Speaker 1: or the country. But then the thing I keep reminding

870
00:50:45,200 --> 00:50:49,319
Speaker 1: myself is every single time I go outside, every time

871
00:50:49,360 --> 00:50:53,560
Speaker 1: I go outside, nice ship happens around me. I don't

872
00:50:53,600 --> 00:50:56,400
Speaker 1: have any idea what the dude next to me, the

873
00:50:56,520 --> 00:50:58,680
Speaker 1: dude next to him, the dude next to him, to

874
00:50:58,760 --> 00:51:02,160
Speaker 1: due next to him. I have no idea who they're

875
00:51:02,160 --> 00:51:05,280
Speaker 1: going to vote for. But when I see those guys,

876
00:51:06,520 --> 00:51:09,520
Speaker 1: it's what's going on. Man, you need help with anything.

877
00:51:09,840 --> 00:51:11,839
Speaker 1: I gotta be out of talent for the weekend. If

878
00:51:11,880 --> 00:51:15,000
Speaker 1: you don't mind checking in, I'm gonna go ahead and like, well,

879
00:51:15,040 --> 00:51:17,839
Speaker 1: I know you gotta go away. I'm gonna watch your situation.

880
00:51:18,400 --> 00:51:20,600
Speaker 1: Heads up. I saw the kids over there. They seem

881
00:51:20,640 --> 00:51:27,200
Speaker 1: to have a gun. Like it's like friendliness with positive interaction.

882
00:51:27,239 --> 00:51:29,640
Speaker 1: After positive interaction, I go to the gas station. People

883
00:51:29,640 --> 00:51:31,560
Speaker 1: are cool with the gas station, Like everybody go like

884
00:51:31,600 --> 00:51:33,359
Speaker 1: someone's cool and with you guys, everybody's cool. But then

885
00:51:33,360 --> 00:51:35,240
Speaker 1: all we hear about is like the world's falling apart.

886
00:51:35,560 --> 00:51:37,160
Speaker 1: But then then I think, like, how could it be,

887
00:51:37,239 --> 00:51:39,400
Speaker 1: Like you take something like an affinity for honey, Like,

888
00:51:39,480 --> 00:51:40,759
Speaker 1: how could it be that, Like, if you like this

889
00:51:40,920 --> 00:51:43,080
Speaker 1: kind of music, it's celebrated. If you're like this kind

890
00:51:43,120 --> 00:51:46,160
Speaker 1: of music, you gotta hide it. And there's the same

891
00:51:46,280 --> 00:51:47,800
Speaker 1: and a lot of the same people are listening to

892
00:51:47,880 --> 00:51:51,399
Speaker 1: all the same stuff, and blow, I can't figure out

893
00:51:51,480 --> 00:51:56,319
Speaker 1: where That's just like an example of it's just hard

894
00:51:56,400 --> 00:51:59,000
Speaker 1: to picture that we're all in these wildly different trips.

895
00:52:00,239 --> 00:52:04,359
Speaker 1: You think there's guys you think, like that particular guy

896
00:52:05,080 --> 00:52:07,040
Speaker 1: right for instance, I'm not sure who it is, we

897
00:52:07,280 --> 00:52:10,040
Speaker 1: haven't discussed, but you think that particular guy has like

898
00:52:11,280 --> 00:52:15,960
Speaker 1: another Instagram account, like just to follow me either. I

899
00:52:16,040 --> 00:52:17,960
Speaker 1: don't know, but you know what, that would figure out

900
00:52:18,000 --> 00:52:20,320
Speaker 1: why he wanted I could not figure out why he

901
00:52:20,360 --> 00:52:23,400
Speaker 1: wanted to get me on the phone. And I was like,

902
00:52:23,440 --> 00:52:25,120
Speaker 1: oh my god, this guy was the torch to the phone.

903
00:52:25,440 --> 00:52:27,719
Speaker 1: So I was like, I don't know what. I had

904
00:52:27,760 --> 00:52:29,319
Speaker 1: no idea. I was like, well, I definitely like if

905
00:52:29,360 --> 00:52:33,879
Speaker 1: this dude calls, you call him, I'll tell you later.

906
00:52:34,280 --> 00:52:36,719
Speaker 1: All he wanted to do. All he wanted me to

907
00:52:36,760 --> 00:52:39,600
Speaker 1: do is tell all he wanted he wanted to He

908
00:52:39,719 --> 00:52:42,919
Speaker 1: just wanted, yeah, some justification. Never heard another word from him. Wow,

909
00:52:43,040 --> 00:52:49,719
Speaker 1: he just wanted to shoot ship forty five minutes un Yeah, yeah, dude,

910
00:52:49,760 --> 00:52:54,000
Speaker 1: I can't imagine having to hide them. Man, that'd be awful.

911
00:52:54,920 --> 00:52:57,200
Speaker 1: I don't think I could just make your own stock

912
00:52:57,320 --> 00:53:01,239
Speaker 1: with your box box stop box stock on them. You know,

913
00:53:01,280 --> 00:53:06,880
Speaker 1: you can't even put that on the boxtagram. You know, Boxtagram.

914
00:53:07,239 --> 00:53:13,000
Speaker 1: That's gonna be my next Instagram box box. I think

915
00:53:13,040 --> 00:53:16,480
Speaker 1: you bring an interesting point. The second I get outside,

916
00:53:16,560 --> 00:53:18,799
Speaker 1: it seems like I go to gas station and people

917
00:53:18,840 --> 00:53:21,440
Speaker 1: are cool. You know, yeah, you're not like, Holy Cow

918
00:53:21,520 --> 00:53:23,600
Speaker 1: of the world's falling apart. I went to the gas

919
00:53:23,640 --> 00:53:32,000
Speaker 1: station and they punched me immediately. I'll take two. Uh.

920
00:53:33,000 --> 00:53:38,560
Speaker 1: I completely agree with that. I mean, it's just you know,

921
00:53:38,960 --> 00:53:41,719
Speaker 1: you get here. I got talking for a second. We

922
00:53:41,760 --> 00:53:44,800
Speaker 1: got on the bus after we've been out y'all U

923
00:53:45,000 --> 00:53:49,640
Speaker 1: Northern speaking jokers. We were just like, dude, there's not

924
00:53:49,680 --> 00:53:52,120
Speaker 1: a jerk in that whole group. We're like, this is

925
00:53:52,160 --> 00:53:55,239
Speaker 1: gonna be a fun guys were expecting out of eight

926
00:53:55,320 --> 00:53:57,520
Speaker 1: of us, there be one. You try to like sniff

927
00:53:57,560 --> 00:54:00,160
Speaker 1: him out, dude, there's more. There's more than at y'all there.

928
00:54:00,200 --> 00:54:02,040
Speaker 1: I mean, there's there's got a little bit of a

929
00:54:02,120 --> 00:54:09,920
Speaker 1: positive hours last night. But I'm just telling you. But

930
00:54:10,040 --> 00:54:13,560
Speaker 1: I'm just saying, you know, there's usually there's usually one

931
00:54:13,640 --> 00:54:16,560
Speaker 1: in there, and there one. Man, We've had an unbelievable week.

932
00:54:16,719 --> 00:54:20,640
Speaker 1: The landowners have been cool, you know. I just I

933
00:54:20,840 --> 00:54:24,239
Speaker 1: don't know if it's as bad as as they like

934
00:54:24,360 --> 00:54:28,080
Speaker 1: to say it is. Man. And I guarantee you based

935
00:54:28,160 --> 00:54:31,160
Speaker 1: on if anyone listening could see if you lined up

936
00:54:31,239 --> 00:54:33,680
Speaker 1: all the people here, I feel like it would be

937
00:54:33,760 --> 00:54:40,080
Speaker 1: a massive spectrum of political, religious, and social belief And

938
00:54:40,120 --> 00:54:42,960
Speaker 1: there hasn't been one guy that's like, Man, I don't

939
00:54:43,000 --> 00:54:45,319
Speaker 1: like that, dude. Man, I just don't get that guy.

940
00:54:45,960 --> 00:54:48,239
Speaker 1: Because we all have this common bond of like being

941
00:54:48,280 --> 00:54:54,200
Speaker 1: out here and enjoying ourselves, cooking, eating food, talking, laughing

942
00:54:54,239 --> 00:54:57,680
Speaker 1: and stuff like there's never once been like, you're honest,

943
00:54:58,000 --> 00:55:01,040
Speaker 1: who you voting for? What I mean, like, it's just

944
00:55:01,200 --> 00:55:04,360
Speaker 1: like that doesn't matter to me. And that's that's another

945
00:55:04,440 --> 00:55:06,560
Speaker 1: thing that's a beauty of of the outdoors is like

946
00:55:06,640 --> 00:55:08,880
Speaker 1: in a in a world and in a culture that

947
00:55:09,080 --> 00:55:13,920
Speaker 1: is ever changing. Man, daily outside is a constant you

948
00:55:14,000 --> 00:55:17,239
Speaker 1: know that that going to hunt a tree, stand sitting

949
00:55:17,239 --> 00:55:19,000
Speaker 1: in a tree and watching a buck walk out, is

950
00:55:19,800 --> 00:55:22,400
Speaker 1: that's that's the same, you know, like that's that's a

951
00:55:22,640 --> 00:55:25,279
Speaker 1: that's a constant thing that you can always escape to.

952
00:55:26,120 --> 00:55:33,759
Speaker 1: Bro coming in with those good nuggets right there. I'm

953
00:55:33,840 --> 00:55:36,080
Speaker 1: with you, and I've been thinking about it. I've been

954
00:55:36,120 --> 00:55:41,759
Speaker 1: thinking about that idea of the constancy of nature because

955
00:55:41,800 --> 00:55:46,040
Speaker 1: we've been working on this book. Project um. Not to

956
00:55:46,120 --> 00:55:48,520
Speaker 1: be confused with our wilderness skills and survival, but Project

957
00:55:48,600 --> 00:55:55,120
Speaker 1: Ladies and John was preorder. In fact, you can preorderize

958
00:55:55,360 --> 00:55:58,239
Speaker 1: where can they pre order Steve uh anywhere books are sold.

959
00:55:58,840 --> 00:56:09,280
Speaker 1: Anywhere books are sold. UM Boxers book project about kids

960
00:56:10,360 --> 00:56:13,960
Speaker 1: like having to do with kids in nature and in it.

961
00:56:15,120 --> 00:56:17,040
Speaker 1: In thinking about this book, I mean think about this

962
00:56:17,160 --> 00:56:24,840
Speaker 1: idea that uh that we invite kids are kids invite

963
00:56:24,920 --> 00:56:29,799
Speaker 1: people to like feel we we invite them to all

964
00:56:29,880 --> 00:56:34,360
Speaker 1: these like forms of community in in life, meaning like

965
00:56:34,560 --> 00:56:37,680
Speaker 1: your your community, like you know, the little place you live. Um,

966
00:56:37,920 --> 00:56:41,760
Speaker 1: we are invited to be participants in social media community.

967
00:56:42,120 --> 00:56:44,839
Speaker 1: We could be invited to be participants in like being

968
00:56:44,960 --> 00:56:48,960
Speaker 1: fans of uh Luke Hombs right, or fans of the

969
00:56:49,040 --> 00:56:51,799
Speaker 1: local high school community, and you feel like you're part

970
00:56:51,840 --> 00:56:53,600
Speaker 1: of that, and you might feel like you're part of

971
00:56:54,160 --> 00:56:56,960
Speaker 1: you know, church and you're part of that um. But

972
00:56:57,320 --> 00:57:02,480
Speaker 1: not doing enough to make not doing enough to invite

973
00:57:02,560 --> 00:57:07,319
Speaker 1: kids to feel like they're part of an ecosystem, right,

974
00:57:07,600 --> 00:57:10,960
Speaker 1: or like part of like a nature like something. And

975
00:57:11,080 --> 00:57:13,000
Speaker 1: so I was like looking at all these ways in

976
00:57:13,080 --> 00:57:16,520
Speaker 1: which you know you can You can just in your

977
00:57:16,560 --> 00:57:19,160
Speaker 1: own yard whatever it is. If you live in an

978
00:57:19,160 --> 00:57:21,080
Speaker 1: apartment like your balcony, I don't know wherever you are,

979
00:57:21,400 --> 00:57:24,840
Speaker 1: like you could participate and be like, man, I noticed

980
00:57:24,880 --> 00:57:28,000
Speaker 1: that the sun was a few months ago rolls over

981
00:57:28,040 --> 00:57:30,080
Speaker 1: there and not rises over here. When I turned out

982
00:57:30,080 --> 00:57:33,240
Speaker 1: my water and water comes out, Um, where did that

983
00:57:33,320 --> 00:57:37,000
Speaker 1: water come from? Like that? It did? It falls rains? Know?

984
00:57:37,160 --> 00:57:38,720
Speaker 1: How did you get here? Is that part of an aquifer?

985
00:57:38,840 --> 00:57:42,120
Speaker 1: Is the aquafer? Girl shrink when you flush your toilet? Like,

986
00:57:42,240 --> 00:57:44,400
Speaker 1: what is that water's path to the ocean? Right? And

987
00:57:44,440 --> 00:57:49,200
Speaker 1: you start piecing together that you're sort of involved with

988
00:57:49,840 --> 00:57:54,080
Speaker 1: the world, the physical world, and you'd invite to be

989
00:57:54,120 --> 00:57:57,400
Speaker 1: in that community. And I'll think about how it's perhaps

990
00:57:57,640 --> 00:58:02,440
Speaker 1: really comforting because there's this constant see right, son, all

991
00:58:02,480 --> 00:58:06,200
Speaker 1: these predictable patterns, And I'm always telling my kids this. Well,

992
00:58:06,240 --> 00:58:10,600
Speaker 1: the other day, uh, their day. A couple weeks ago,

993
00:58:10,800 --> 00:58:14,160
Speaker 1: we look up on the mountain near our house and

994
00:58:14,200 --> 00:58:17,120
Speaker 1: there's like a pillar of smoke coming out of the

995
00:58:17,160 --> 00:58:18,920
Speaker 1: mountain and it's like the size. It looks like like

996
00:58:19,000 --> 00:58:22,560
Speaker 1: the size of a wheelbarrel right burning. By the time

997
00:58:22,560 --> 00:58:24,440
Speaker 1: I'm going inside and get my spotting sculpe, that's some

998
00:58:24,560 --> 00:58:30,439
Speaker 1: bitches like over the ridge top the next day burns down.

999
00:58:30,560 --> 00:58:36,280
Speaker 1: Houses of friends of ours were like under evacuation standby

1000
00:58:36,400 --> 00:58:41,800
Speaker 1: for evacuation order. Small like we saw it like a campfire.

1001
00:58:42,680 --> 00:58:44,560
Speaker 1: Is that what it was? We saw it so small

1002
00:58:44,680 --> 00:58:47,800
Speaker 1: that we're debating whether the call nine one one or not. No,

1003
00:58:48,000 --> 00:58:52,360
Speaker 1: here's the thing. Two weeks earlier, they have this map

1004
00:58:52,440 --> 00:58:55,720
Speaker 1: that shows all the lightning strikes. Now saw a new firefighter.

1005
00:58:55,720 --> 00:58:56,800
Speaker 1: But I'm like, why do you guys just go if

1006
00:58:56,840 --> 00:58:58,320
Speaker 1: you know where they're at from radar, don't you just

1007
00:58:58,400 --> 00:59:00,040
Speaker 1: go to them all? He goes, because there's the I

1008
00:59:00,200 --> 00:59:03,560
Speaker 1: was and of them, you know, because you can't. I

1009
00:59:03,720 --> 00:59:04,919
Speaker 1: was like, well, if you know there's one day. Don't

1010
00:59:04,920 --> 00:59:08,360
Speaker 1: you go put it out like good luck. You know,

1011
00:59:08,440 --> 00:59:11,880
Speaker 1: it might be hundreds or thousands. That's that was ended

1012
00:59:11,960 --> 00:59:16,280
Speaker 1: up doing. It hit a tree a lightning strike two

1013
00:59:16,400 --> 00:59:23,560
Speaker 1: weeks earlier, God hit a tree, and it's smoldered inside

1014
00:59:23,600 --> 00:59:26,120
Speaker 1: the tree and underground. Then whatever. One day it's smoldered

1015
00:59:26,160 --> 00:59:30,800
Speaker 1: its way out from the outside. Oh yeah, just smoldered

1016
00:59:30,840 --> 00:59:32,680
Speaker 1: inside the tree. No one knew people, it's right by this,

1017
00:59:32,800 --> 00:59:34,200
Speaker 1: like hiking trail. No one knew there was like a

1018
00:59:34,680 --> 00:59:38,680
Speaker 1: little ember and air from a lightning strike blows up

1019
00:59:38,720 --> 00:59:42,480
Speaker 1: and like you know, burns eleven thousand acres. Then I'm

1020
00:59:42,520 --> 00:59:44,440
Speaker 1: sitting there and thinking this is like a long digression.

1021
00:59:44,840 --> 00:59:49,880
Speaker 1: But then I'm like, and there's also they're really scary,

1022
00:59:50,960 --> 00:59:56,160
Speaker 1: wildly unpredictable shit about being involved in the natural world,

1023
00:59:56,680 --> 00:59:58,880
Speaker 1: Like it's real consistent, cool, and then all of a sudden,

1024
00:59:58,960 --> 01:00:03,120
Speaker 1: it burns your house down. It burns your house down, man,

1025
01:00:03,560 --> 01:00:06,919
Speaker 1: So it's like a complex relationship with it. I don't

1026
01:00:06,920 --> 01:00:08,800
Speaker 1: even know what I was talking about, what you were

1027
01:00:08,840 --> 01:00:12,400
Speaker 1: talking about kids, kids. I heard this analogy one time

1028
01:00:12,440 --> 01:00:15,400
Speaker 1: that was pretty cool. Um Man, I hope you didn't

1029
01:00:15,400 --> 01:00:18,320
Speaker 1: say it, otherwise it's gonna like I'm giving you a

1030
01:00:18,680 --> 01:00:22,880
Speaker 1: like a compliment, and we don't have that terrible but

1031
01:00:23,400 --> 01:00:29,040
Speaker 1: it's it's essentially like if you take himself, if you

1032
01:00:29,120 --> 01:00:32,920
Speaker 1: take a bunch of plastic toys to uh, if we

1033
01:00:33,160 --> 01:00:35,600
Speaker 1: had a gymnasium and we put a hundred kindergarteners in it,

1034
01:00:36,000 --> 01:00:37,680
Speaker 1: you took a bunch of toys and you put them

1035
01:00:37,680 --> 01:00:39,840
Speaker 1: in the middle, and all the kids just flooded and

1036
01:00:39,960 --> 01:00:42,320
Speaker 1: played with them for fifteen to twenty minutes and eventually

1037
01:00:42,360 --> 01:00:45,760
Speaker 1: would get pretty exhausted. Not COVID safe, not saying in

1038
01:00:45,840 --> 01:00:48,440
Speaker 1: this current we would do that, but okay, and then

1039
01:00:49,440 --> 01:00:51,520
Speaker 1: and then you put them back. You know, you took

1040
01:00:51,520 --> 01:00:54,120
Speaker 1: all the toys out, He took a little bag and

1041
01:00:54,160 --> 01:00:55,560
Speaker 1: he walked there, and you opened the bag and there

1042
01:00:55,640 --> 01:00:58,000
Speaker 1: was a puppy in it, And how many kids would

1043
01:00:58,040 --> 01:01:00,720
Speaker 1: eventually just bam, get right on it. Everybody wants to

1044
01:01:00,760 --> 01:01:02,560
Speaker 1: touch and everybody wants to see it. And I think

1045
01:01:03,160 --> 01:01:06,720
Speaker 1: I think deep within us, even as as children were

1046
01:01:06,880 --> 01:01:10,160
Speaker 1: born with the idea of of wanting to be connected

1047
01:01:10,240 --> 01:01:13,520
Speaker 1: to that world, it's just we as adults have wrapped

1048
01:01:14,160 --> 01:01:18,680
Speaker 1: work and life and city and concrete around it so

1049
01:01:18,920 --> 01:01:23,360
Speaker 1: much they have to literally fight through layers of existence

1050
01:01:23,440 --> 01:01:26,720
Speaker 1: to even fill the grass under their feet. Man, And

1051
01:01:26,800 --> 01:01:28,680
Speaker 1: I want to make sure that with my child. I

1052
01:01:28,720 --> 01:01:31,520
Speaker 1: have a new one year old. I mean, we're already

1053
01:01:31,560 --> 01:01:35,120
Speaker 1: taking our shoes off and walking outside and and dealing

1054
01:01:35,360 --> 01:01:39,360
Speaker 1: dealing with with you know, with with figuring out that

1055
01:01:39,520 --> 01:01:41,720
Speaker 1: we are connected to that and how to take care

1056
01:01:41,760 --> 01:01:44,320
Speaker 1: of it responsibly and enjoy it at the same time.

1057
01:01:44,440 --> 01:01:47,440
Speaker 1: It doesn't have to be worked all the time, you know.

1058
01:01:48,320 --> 01:01:57,160
Speaker 1: Shane Mahoney said that on Randy Newberg's podcast, Randy's Podcast,

1059
01:01:59,800 --> 01:02:05,160
Speaker 1: What's Your Luke, this is your first hunt about on

1060
01:02:05,280 --> 01:02:11,560
Speaker 1: the Great Plains. Yeah, impressions, it's great. They are the

1061
01:02:11,640 --> 01:02:16,480
Speaker 1: Great Plains. Plains are great, and they are plain and

1062
01:02:16,560 --> 01:02:19,440
Speaker 1: they're great. No, no, man, it was. I mean it's

1063
01:02:19,560 --> 01:02:22,800
Speaker 1: obviously drastically different than anything I've I've done, you know,

1064
01:02:22,880 --> 01:02:26,439
Speaker 1: Like I said, I'm not not a lifelong hunter checking

1065
01:02:26,480 --> 01:02:29,600
Speaker 1: in here, so then I'm drawing off the past five

1066
01:02:29,720 --> 01:02:32,919
Speaker 1: or six years of my personal experience, which has mainly

1067
01:02:33,000 --> 01:02:36,360
Speaker 1: been hunting in the South, you know, and in the

1068
01:02:36,480 --> 01:02:39,400
Speaker 1: hardwoods of the South pretty much is where I've hunt

1069
01:02:39,400 --> 01:02:44,000
Speaker 1: you know, deer turkey. That's pretty much my lexicon of

1070
01:02:44,280 --> 01:02:45,960
Speaker 1: of going and hunting, you know, some bird on and

1071
01:02:46,080 --> 01:02:49,640
Speaker 1: stuff like that, but all in the same environment. So too.

1072
01:02:50,120 --> 01:02:52,680
Speaker 1: It wasn't a gradual move. It wasn't like, oh man,

1073
01:02:52,800 --> 01:02:55,680
Speaker 1: we went to Tennessee and then we slowly pittled out

1074
01:02:55,760 --> 01:02:59,160
Speaker 1: to like Missouri, and then we got into Kansas and

1075
01:02:59,320 --> 01:03:02,240
Speaker 1: it was like, you don't it wasn't working my way out.

1076
01:03:02,320 --> 01:03:05,840
Speaker 1: It was like it went from Tennessee to Wyoming like

1077
01:03:06,280 --> 01:03:08,360
Speaker 1: in two and a half hours, you know what I mean.

1078
01:03:08,960 --> 01:03:11,880
Speaker 1: And so you come out and it's like I remember

1079
01:03:11,960 --> 01:03:14,800
Speaker 1: thinking the first day that we went out, when me

1080
01:03:14,880 --> 01:03:17,160
Speaker 1: and you went out, and it was like, you see

1081
01:03:17,240 --> 01:03:21,520
Speaker 1: this animal that's eight hundred or a thousand yards away

1082
01:03:21,560 --> 01:03:23,680
Speaker 1: from you. It's cool to be able to see that.

1083
01:03:24,760 --> 01:03:29,360
Speaker 1: In Tennessee, it's like a it's a glimpse. It's a glimpse.

1084
01:03:29,560 --> 01:03:31,720
Speaker 1: Like they come out in an open spot and they

1085
01:03:31,800 --> 01:03:34,520
Speaker 1: might be out there for five minutes tops, and then

1086
01:03:34,560 --> 01:03:36,520
Speaker 1: they're back on the other side of the woods. You know,

1087
01:03:36,960 --> 01:03:39,720
Speaker 1: they're passing through or they're coming in to feed for

1088
01:03:39,920 --> 01:03:42,840
Speaker 1: five or ten minutes and they're back in the woods

1089
01:03:42,920 --> 01:03:45,880
Speaker 1: like they're safe places where they want to be, and

1090
01:03:45,920 --> 01:03:49,360
Speaker 1: there kind of is no safe quote unquote safe place

1091
01:03:49,480 --> 01:03:52,120
Speaker 1: for an animal to be in that sense. Here, like,

1092
01:03:52,160 --> 01:03:53,960
Speaker 1: there's not a lot of cover, there's not a lot

1093
01:03:54,040 --> 01:03:56,560
Speaker 1: of you know, places to like, there's not a lot

1094
01:03:56,600 --> 01:03:59,320
Speaker 1: of holes and crevices to get in. When we saw

1095
01:03:59,440 --> 01:04:02,760
Speaker 1: that saw that mule deer, you know, pushed up against

1096
01:04:02,800 --> 01:04:06,360
Speaker 1: that cliff face there, it was like, where where's he

1097
01:04:06,400 --> 01:04:08,640
Speaker 1: gonna sit out in the middle of the you know,

1098
01:04:08,960 --> 01:04:14,160
Speaker 1: thousand acre field, very hard to find little spot where

1099
01:04:14,240 --> 01:04:16,680
Speaker 1: something couldn't see him, And here we are, you know,

1100
01:04:17,600 --> 01:04:20,200
Speaker 1: ruining his spot, you know what I mean kind of thing.

1101
01:04:20,600 --> 01:04:22,440
Speaker 1: But it was so different, man, And it was so

1102
01:04:22,720 --> 01:04:26,760
Speaker 1: fun to to have like the challenge of getting to

1103
01:04:26,920 --> 01:04:30,840
Speaker 1: the animal. I think was my favorite part of it

1104
01:04:31,880 --> 01:04:33,200
Speaker 1: in a way, you know what I mean. It's never

1105
01:04:33,320 --> 01:04:35,320
Speaker 1: to me, it's never been about killing something that's not

1106
01:04:36,160 --> 01:04:39,000
Speaker 1: you mean, all the snaking around and going around man,

1107
01:04:39,200 --> 01:04:41,160
Speaker 1: like that was the neat thing and like and like

1108
01:04:41,240 --> 01:04:43,720
Speaker 1: obviously a huge part of it has been, you know,

1109
01:04:43,880 --> 01:04:45,680
Speaker 1: learning from you. It's been time with you out there

1110
01:04:45,800 --> 01:04:48,560
Speaker 1: was also you know, really awesome for me as well.

1111
01:04:48,760 --> 01:04:51,040
Speaker 1: That's not normal and a hunt obviously we're not gonna

1112
01:04:51,080 --> 01:04:52,960
Speaker 1: be hunting together every weekend, you know what I mean,

1113
01:04:53,040 --> 01:04:55,280
Speaker 1: So like that was neat, and I took that in

1114
01:04:55,440 --> 01:04:59,280
Speaker 1: as well. But it was like going with someone who

1115
01:04:59,400 --> 01:05:03,480
Speaker 1: knew what they were doing was huge for me. Like

1116
01:05:03,600 --> 01:05:06,120
Speaker 1: it wasn't like, all right, well we're gonna park the

1117
01:05:06,200 --> 01:05:08,440
Speaker 1: truck and there's one over there on the side of

1118
01:05:08,440 --> 01:05:11,160
Speaker 1: the road. It was like, you know, good, just get

1119
01:05:11,240 --> 01:05:13,040
Speaker 1: out and we'll get it, and we'll drive the truck

1120
01:05:13,120 --> 01:05:14,760
Speaker 1: up there and go get it and then I'll be it.

1121
01:05:14,920 --> 01:05:17,200
Speaker 1: It wasn't that, you know, and I would never have

1122
01:05:17,320 --> 01:05:19,960
Speaker 1: wanted it to be that. So going down and hiking

1123
01:05:20,040 --> 01:05:23,680
Speaker 1: down this huge you know mountain for lack of a

1124
01:05:23,760 --> 01:05:26,120
Speaker 1: better term. I mean it's not you know, Mount St.

1125
01:05:26,160 --> 01:05:28,959
Speaker 1: Helens or something, but it's definitely not a hill either,

1126
01:05:29,400 --> 01:05:31,200
Speaker 1: you know what I mean. And so going down that

1127
01:05:31,360 --> 01:05:34,160
Speaker 1: and going back up and you know, getting spotted and

1128
01:05:34,240 --> 01:05:35,880
Speaker 1: then you're like, well that's not gonna work, and just

1129
01:05:36,360 --> 01:05:40,200
Speaker 1: trying things and then finally when you get there and

1130
01:05:40,400 --> 01:05:42,320
Speaker 1: and it all works out, like being a part of that,

1131
01:05:42,440 --> 01:05:45,320
Speaker 1: like that doesn't happen in Tennessee except for when you're

1132
01:05:45,320 --> 01:05:48,240
Speaker 1: turkey hunting. Which is why I love turkey hunting and

1133
01:05:48,280 --> 01:05:51,640
Speaker 1: Tennessee so much. Is it is Casey kept telling the

1134
01:05:51,760 --> 01:05:56,400
Speaker 1: Casey's the landowner, I believe, But he kept saying, all

1135
01:05:56,480 --> 01:06:00,840
Speaker 1: my buddies called turkey hunting poor man's elk hunting, still

1136
01:06:00,880 --> 01:06:04,560
Speaker 1: calling back to you, you're trying to find you know

1137
01:06:04,600 --> 01:06:06,040
Speaker 1: what I mean? Like so, and I think that's a

1138
01:06:06,080 --> 01:06:08,960
Speaker 1: really solid analogy, but I think it was a little bit.

1139
01:06:10,480 --> 01:06:12,880
Speaker 1: It was everything I loved about turkey hunting on a

1140
01:06:13,320 --> 01:06:17,520
Speaker 1: way more grandiose scale, minus the you know, the calling

1141
01:06:17,600 --> 01:06:20,960
Speaker 1: response element of it. You know, you're trying to stay hidden,

1142
01:06:21,160 --> 01:06:23,560
Speaker 1: You're trying to figure out how you're gonna get there.

1143
01:06:23,560 --> 01:06:25,040
Speaker 1: Where do we need to set up, how do we

1144
01:06:25,120 --> 01:06:27,680
Speaker 1: approach it? I don't know, it's just there. There's something

1145
01:06:28,680 --> 01:06:31,160
Speaker 1: you can really get lost in that moment, you know.

1146
01:06:31,320 --> 01:06:34,800
Speaker 1: And my job can be so insanely chaotic and like

1147
01:06:36,280 --> 01:06:40,880
Speaker 1: over over sensory, you know, deprivation is like doesn't even

1148
01:06:40,960 --> 01:06:44,040
Speaker 1: begin to describe, you know, being in like a television

1149
01:06:44,080 --> 01:06:46,600
Speaker 1: studio and it's like, all right, three minutes, we're doing this.

1150
01:06:46,760 --> 01:06:49,800
Speaker 1: In two minutes, We're like down to the minute of

1151
01:06:49,920 --> 01:06:52,640
Speaker 1: what we're gonna do, and just sitting there for an

1152
01:06:52,680 --> 01:06:55,760
Speaker 1: hour waiting for somebody to waiting for something to walk

1153
01:06:55,800 --> 01:06:59,360
Speaker 1: out on top of a mountain with people that you

1154
01:06:59,440 --> 01:07:03,200
Speaker 1: like hanging out with. It's just I mean, it's pretty refreshing.

1155
01:07:03,320 --> 01:07:05,640
Speaker 1: You can't even put a price on it in mind.

1156
01:07:05,720 --> 01:07:07,320
Speaker 1: But you know what I mean, you know the thing

1157
01:07:07,400 --> 01:07:11,320
Speaker 1: I was explaining to it's a loop. Now they need

1158
01:07:11,360 --> 01:07:13,080
Speaker 1: to explain this to him. But we're just I guess

1159
01:07:13,160 --> 01:07:16,880
Speaker 1: it's more we're discussing this is and the there are

1160
01:07:16,960 --> 01:07:19,880
Speaker 1: very few trees here. I mean usually you can't see

1161
01:07:19,880 --> 01:07:22,280
Speaker 1: a tree. Usually they're like most places you go and

1162
01:07:22,360 --> 01:07:26,320
Speaker 1: this area in Wyoming, there's you can't see any vegetation

1163
01:07:26,440 --> 01:07:30,200
Speaker 1: that would be higher than your calf. Like most of

1164
01:07:30,280 --> 01:07:31,680
Speaker 1: the time that's the case. It might be like a

1165
01:07:31,720 --> 01:07:34,840
Speaker 1: scattered bit of junipers or something, but like typically within

1166
01:07:34,960 --> 01:07:37,720
Speaker 1: a thousand yards of either be like no thing higher

1167
01:07:37,720 --> 01:07:40,200
Speaker 1: a new calf. And I was saying that it creates

1168
01:07:40,280 --> 01:07:42,720
Speaker 1: the illusion because you can see so damn far. You

1169
01:07:42,880 --> 01:07:45,560
Speaker 1: always see something out there in antelope or whatever. It

1170
01:07:45,720 --> 01:07:47,400
Speaker 1: creates the illusion of there being a whole bunch of

1171
01:07:47,440 --> 01:07:51,320
Speaker 1: stuff like man, because we're like being like, oh my god,

1172
01:07:51,320 --> 01:07:53,120
Speaker 1: there's some over there, and so they're all these animals.

1173
01:07:53,320 --> 01:07:56,680
Speaker 1: By saying if you took every square mile section and

1174
01:07:56,760 --> 01:08:00,480
Speaker 1: took all the things that lived there and put them

1175
01:08:00,480 --> 01:08:02,480
Speaker 1: in a pile right in the middle of that section.

1176
01:08:03,920 --> 01:08:06,680
Speaker 1: It would be small little piles, and there would be

1177
01:08:06,680 --> 01:08:08,720
Speaker 1: a lot of sections that the pile. There was nothing

1178
01:08:08,760 --> 01:08:11,560
Speaker 1: to put in the pile. And if you went down

1179
01:08:11,600 --> 01:08:16,000
Speaker 1: to Tennessee and farmland in Tennessee and took all that

1180
01:08:16,120 --> 01:08:17,840
Speaker 1: square mile and put it in the pilot, you'd have

1181
01:08:17,920 --> 01:08:22,479
Speaker 1: a heaping pile. The pile of like a pile of

1182
01:08:22,560 --> 01:08:26,679
Speaker 1: all like a tour bus. Yeah, like a crew bus.

1183
01:08:27,240 --> 01:08:30,400
Speaker 1: Crew bus. Second to like a jungle even I feel

1184
01:08:30,439 --> 01:08:33,640
Speaker 1: like only second to like a true john you know,

1185
01:08:34,200 --> 01:08:38,920
Speaker 1: like actually don't have that much life. We've come from

1186
01:08:40,720 --> 01:08:44,360
Speaker 1: and you've heard a lot of vegetation, never two of

1187
01:08:44,400 --> 01:08:49,040
Speaker 1: the congo. So we have the early explorers that went

1188
01:08:49,120 --> 01:08:51,559
Speaker 1: and dit trips had that same thought and went down

1189
01:08:51,600 --> 01:08:53,720
Speaker 1: there and got their butts in big trouble because they

1190
01:08:53,800 --> 01:08:56,120
Speaker 1: just thought it was gonna be fish and just game everywhere.

1191
01:08:56,920 --> 01:09:05,000
Speaker 1: I think moment just until are really interesting Southerners here

1192
01:09:05,040 --> 01:09:13,120
Speaker 1: we are um I Tennessee. You can just support a

1193
01:09:13,240 --> 01:09:16,479
Speaker 1: lot more that, you know, the habitat can just support

1194
01:09:16,520 --> 01:09:22,000
Speaker 1: a lot more animals. We're talking about cows per acre

1195
01:09:22,520 --> 01:09:26,759
Speaker 1: and uh Casey's father here said that it takes roughly

1196
01:09:27,080 --> 01:09:30,920
Speaker 1: was it acres to support a counter calf for a year?

1197
01:09:31,439 --> 01:09:33,879
Speaker 1: And then uh Dan was saying that back in Tennessee,

1198
01:09:34,040 --> 01:09:40,679
Speaker 1: you can do that on one water. Yeah, makes them difference.

1199
01:09:41,240 --> 01:09:43,439
Speaker 1: And they were saying that, oh he said, well we

1200
01:09:43,520 --> 01:09:46,800
Speaker 1: consider that irrigated. And I was like, there ain't no

1201
01:09:46,920 --> 01:09:49,360
Speaker 1: piping water coming to my stuff. He was like, no, no,

1202
01:09:49,479 --> 01:09:55,519
Speaker 1: it's like rain. That was like irrigated by the rain. Good.

1203
01:09:55,680 --> 01:09:58,640
Speaker 1: I think A good A good uh you know, A

1204
01:09:58,680 --> 01:10:00,960
Speaker 1: good thing to get into to describe what we're talking

1205
01:10:01,000 --> 01:10:04,760
Speaker 1: about too, is off the camera on this time that

1206
01:10:04,840 --> 01:10:07,000
Speaker 1: we've been here. I shot got to shoot a turkey

1207
01:10:08,160 --> 01:10:11,840
Speaker 1: and we opened up that pouch. You know, dude, how

1208
01:10:12,040 --> 01:10:15,560
Speaker 1: vibrant was that? Open that thing? And you were like,

1209
01:10:15,680 --> 01:10:17,840
Speaker 1: so keen on, like what's in there? Didn't one of

1210
01:10:17,880 --> 01:10:19,760
Speaker 1: the camera guys just throw that on his plate? Left?

1211
01:10:23,960 --> 01:10:28,320
Speaker 1: But it was just grass pretty much? What was that

1212
01:10:29,320 --> 01:10:33,639
Speaker 1: of the Russia non native plant? Again, a non native plant.

1213
01:10:33,760 --> 01:10:39,640
Speaker 1: Sure that is spreading like Russian Russian. But when you

1214
01:10:39,720 --> 01:10:41,639
Speaker 1: go to Tennessee, man that you cut that thing open

1215
01:10:41,720 --> 01:10:44,040
Speaker 1: and it's got everything under the sun in there. Man,

1216
01:10:44,160 --> 01:10:46,920
Speaker 1: I mean there's corn in there, say corns in there's

1217
01:10:47,000 --> 01:10:49,120
Speaker 1: grass in there, and there's you know, I mean the

1218
01:10:49,640 --> 01:10:55,680
Speaker 1: bird seeds remnants in one of my turkey's crawls. I

1219
01:10:55,800 --> 01:10:58,240
Speaker 1: like that word craw I don't know what you'll call it.

1220
01:10:58,360 --> 01:11:04,280
Speaker 1: Not a crop, crop crop, it's one of them them

1221
01:11:04,400 --> 01:11:08,160
Speaker 1: Yankee Yeah things man the border, Mason Dixon, you know,

1222
01:11:08,720 --> 01:11:14,560
Speaker 1: crop did us? We can communicate, Uh what's your you

1223
01:11:14,600 --> 01:11:16,559
Speaker 1: guys could explain what you guys cooked to us there

1224
01:11:16,560 --> 01:11:19,200
Speaker 1: at night cooked for us. Last night we did a

1225
01:11:20,680 --> 01:11:25,880
Speaker 1: we had antalope backstraps called country fried an country Yeah. Yeah.

1226
01:11:26,040 --> 01:11:29,479
Speaker 1: We we do a dredge of of milk and ah

1227
01:11:29,760 --> 01:11:32,960
Speaker 1: buttermelon buttermel I'm sorry, don't give me no egg wash

1228
01:11:33,800 --> 01:11:36,880
Speaker 1: and and just cut cut and a little backstrap to

1229
01:11:37,360 --> 01:11:40,400
Speaker 1: to to finger with and and we scored it last

1230
01:11:40,479 --> 01:11:43,160
Speaker 1: night because the antelope hadn't had a ton of time

1231
01:11:43,240 --> 01:11:46,559
Speaker 1: to to break down those muscles and be super tender.

1232
01:11:46,640 --> 01:11:48,560
Speaker 1: So we scored all the pieces and went into a

1233
01:11:48,600 --> 01:11:51,320
Speaker 1: buttermilk dredge, and then we went into self rising flour

1234
01:11:51,360 --> 01:11:54,439
Speaker 1: with a little tony saturies mixed in with it. Little kick, yeah,

1235
01:11:54,439 --> 01:11:57,080
Speaker 1: a little kids, and you throw that into a pot

1236
01:11:57,200 --> 01:12:00,280
Speaker 1: of uh of canol ol. That's that you've got heat

1237
01:12:00,320 --> 01:12:03,240
Speaker 1: it up or vegetable or whatever. If you're a fan,

1238
01:12:07,280 --> 01:12:11,040
Speaker 1: you not, you better not use that without us. By

1239
01:12:11,080 --> 01:12:14,160
Speaker 1: the way, I'm be super pists artists. I'm going full artists.

1240
01:12:14,439 --> 01:12:19,080
Speaker 1: Dang artist night. Um and then uh yeah we we

1241
01:12:19,240 --> 01:12:22,479
Speaker 1: but shallow fry. You don't. You don't not like yeah,

1242
01:12:22,520 --> 01:12:24,639
Speaker 1: you don't always submerge, you don't dunk them in there.

1243
01:12:24,640 --> 01:12:26,760
Speaker 1: It's a flip fry. You know you're you're you're gonna

1244
01:12:26,760 --> 01:12:30,040
Speaker 1: flip halfway through it. Um, we had that. And then

1245
01:12:30,360 --> 01:12:33,160
Speaker 1: to top it off, we've made a little sawmill gravy

1246
01:12:33,320 --> 01:12:35,800
Speaker 1: that uh that was passed down from Mimmy Mall to

1247
01:12:35,920 --> 01:12:39,200
Speaker 1: my dad and down to me and right p man

1248
01:12:39,240 --> 01:12:41,360
Speaker 1: and I told the camera last night, like every time,

1249
01:12:41,720 --> 01:12:43,479
Speaker 1: you know, we would show up at my grandmother's house,

1250
01:12:43,560 --> 01:12:46,240
Speaker 1: my Mimy mass house, you would either smell one of

1251
01:12:46,320 --> 01:12:49,880
Speaker 1: two things. You either smell um chicken and dumplings that

1252
01:12:50,040 --> 01:12:54,200
Speaker 1: she that she made, or Pall Malls that all you're

1253
01:12:54,240 --> 01:12:58,639
Speaker 1: always smelling that. You're always smelling that um chicken and dumplings,

1254
01:12:58,920 --> 01:13:02,600
Speaker 1: or a big thing of gravy and biscuits and and

1255
01:13:02,800 --> 01:13:05,400
Speaker 1: sausage and bacon and uh that's what we had last night.

1256
01:13:05,439 --> 01:13:07,680
Speaker 1: We just had a little Southern fried antelo with a

1257
01:13:07,720 --> 01:13:13,560
Speaker 1: little saw mill gravy and and biscuits. Gray, do you

1258
01:13:13,600 --> 01:13:18,920
Speaker 1: guys feel that you um like day in day out?

1259
01:13:18,960 --> 01:13:21,240
Speaker 1: Do you guys feel like you're like, uh that you

1260
01:13:21,439 --> 01:13:28,759
Speaker 1: eat southern pretty much? I don't know, Man's taco bell southern?

1261
01:13:31,560 --> 01:13:38,360
Speaker 1: Consider that southern Southwest. We definitely grew up everything was fried. Man,

1262
01:13:38,479 --> 01:13:41,639
Speaker 1: we're growing up. I mean we dude, we've fried our chicken,

1263
01:13:41,840 --> 01:13:45,800
Speaker 1: our fish, you know. But but now, man, I think

1264
01:13:45,880 --> 01:13:48,320
Speaker 1: we've we've branched out a little bit and they're trying

1265
01:13:48,439 --> 01:13:52,360
Speaker 1: to calm the old cholesterol there a little bit. I

1266
01:13:52,360 --> 01:13:55,080
Speaker 1: don't do you, I mean, do you consider that the

1267
01:13:55,160 --> 01:13:58,360
Speaker 1: only way for a country meal to be made is fried? Like?

1268
01:13:58,520 --> 01:14:03,200
Speaker 1: I mean, I would say, just like even eating country

1269
01:14:03,360 --> 01:14:06,160
Speaker 1: is is a lot of chocolate pie round. I'll admit that. Yeah, Man,

1270
01:14:06,200 --> 01:14:09,439
Speaker 1: there's I mean, there's there's some Southern things. Yeah there's Yeah,

1271
01:14:09,520 --> 01:14:12,599
Speaker 1: there's a buch southern thing. Chocolate pieus southern. I mean

1272
01:14:12,600 --> 01:14:23,000
Speaker 1: I would consider that pretty pretty Southern pumpkin pie for sure. Yes. Correct,

1273
01:14:23,520 --> 01:14:25,880
Speaker 1: let's say correctly, how do you say it will be?

1274
01:14:26,200 --> 01:14:28,479
Speaker 1: Or Ellie, that's how we said it, I thought down

1275
01:14:28,560 --> 01:14:32,920
Speaker 1: South to ye, I'd say both. Sometimes it's kind of

1276
01:14:32,960 --> 01:14:45,200
Speaker 1: back and forth for me. This gets me into a

1277
01:14:45,240 --> 01:14:47,720
Speaker 1: whole another segue that's very important. Oh please, man, I

1278
01:14:47,800 --> 01:14:49,840
Speaker 1: was gonna ask you more about southern food from all

1279
01:14:49,960 --> 01:14:53,640
Speaker 1: of our friendships, but we were talking about how we

1280
01:14:53,720 --> 01:14:56,439
Speaker 1: all didn't ask each other different things. But this is

1281
01:14:56,479 --> 01:14:59,200
Speaker 1: one thing I will be judging all of you upon.

1282
01:15:00,320 --> 01:15:02,360
Speaker 1: I'm just gonna go. So let me let me paint

1283
01:15:02,800 --> 01:15:05,519
Speaker 1: the room for you. Here, we're in my bus, I'm

1284
01:15:05,560 --> 01:15:09,240
Speaker 1: sitting on a nice love seat and Mr Patellis is

1285
01:15:09,320 --> 01:15:13,880
Speaker 1: to my left, Reid is to his left, Dan Steve

1286
01:15:14,280 --> 01:15:18,759
Speaker 1: torque clockwise, circle clockwise. So I'm gonna start with Johnnie

1287
01:15:18,920 --> 01:15:28,879
Speaker 1: and go crappy or croppy, crappy, cross crappy, crappy, crappy, crappy. Brutally,

1288
01:15:29,439 --> 01:15:35,240
Speaker 1: we can't just like that, do you, Okay? If you

1289
01:15:35,320 --> 01:15:37,680
Speaker 1: go to the room, you take a crap or a

1290
01:15:37,760 --> 01:15:43,000
Speaker 1: crop crap? Right? It was, I mean there's two there's

1291
01:15:43,040 --> 01:15:49,240
Speaker 1: not two peas and crap, and heard is not a fish? Sure? Also,

1292
01:15:49,479 --> 01:15:53,040
Speaker 1: so how does the Steve's an English guy? How does

1293
01:15:53,120 --> 01:15:55,760
Speaker 1: the second pee change the vowel sound of an of

1294
01:15:56,000 --> 01:16:02,479
Speaker 1: the a to an awe. Okay, Yeah, you put an

1295
01:16:02,560 --> 01:16:05,280
Speaker 1: E on the end of the word, it would be creepe. Mhm.

1296
01:16:06,560 --> 01:16:11,880
Speaker 1: If you put a P, it's crop two crop, two

1297
01:16:11,960 --> 01:16:13,760
Speaker 1: pieces crop. That's not know, that's not true because c

1298
01:16:14,000 --> 01:16:16,439
Speaker 1: r O P doesn't have two piece. I don't really,

1299
01:16:16,560 --> 01:16:20,479
Speaker 1: I don't know. I would like to know, sap jokes.

1300
01:16:22,000 --> 01:16:23,920
Speaker 1: I don't know that. I don't know that there's it's

1301
01:16:24,200 --> 01:16:28,200
Speaker 1: I don't know that this question is I don't think

1302
01:16:28,240 --> 01:16:33,400
Speaker 1: it's rule. I don't know that this is like rule dictated. Man.

1303
01:16:33,520 --> 01:16:34,920
Speaker 1: I don't know if it's a rule for it. Yeah,

1304
01:16:34,920 --> 01:16:38,559
Speaker 1: I don't know if there is either. You guys called crappie.

1305
01:16:39,000 --> 01:16:41,439
Speaker 1: That's what we would joke about. You guys call them.

1306
01:16:44,120 --> 01:16:47,879
Speaker 1: So this is a separation and even the Southern situation

1307
01:16:47,960 --> 01:16:52,400
Speaker 1: because this is like this is like this is like

1308
01:16:53,000 --> 01:16:57,519
Speaker 1: like oh miss Mississippi State. Yeah, yeah, this is like

1309
01:16:58,040 --> 01:17:01,280
Speaker 1: like Florida Georgia game. Wait, where did your record come out?

1310
01:17:02,080 --> 01:17:06,559
Speaker 1: Which one crappy? I'll go with crappy. I'll swamp right there, right, yeah,

1311
01:17:06,640 --> 01:17:08,479
Speaker 1: you know better together, it's not really no, I think

1312
01:17:08,520 --> 01:17:10,080
Speaker 1: it's crappy. I think it's I think we'll just pull

1313
01:17:12,920 --> 01:17:14,479
Speaker 1: and if you're listening to just cut and pull that

1314
01:17:14,560 --> 01:17:22,479
Speaker 1: one crappy it is. Uh, tell people about this, Tell

1315
01:17:22,560 --> 01:17:27,200
Speaker 1: people about the process of like how you guys, you

1316
01:17:27,240 --> 01:17:28,800
Speaker 1: guys hang out, You guys are like really good friends,

1317
01:17:28,880 --> 01:17:32,280
Speaker 1: right who us? Yeah, it's it's just your it's just

1318
01:17:32,360 --> 01:17:36,120
Speaker 1: your first Um, this is the first single, is that right?

1319
01:17:37,040 --> 01:17:41,519
Speaker 1: Our first single together? Yeah? Um? Where? Who? Who? Where? Where?

1320
01:17:41,560 --> 01:17:43,240
Speaker 1: Did what was this? Tell the song and then tell

1321
01:17:43,280 --> 01:17:45,000
Speaker 1: what the seed of the idea was, and so the

1322
01:17:45,080 --> 01:17:48,680
Speaker 1: song is called better Together. Um. It was written in

1323
01:17:49,320 --> 01:17:53,439
Speaker 1: the summer of two thousand eighteen. I believe in in Boone,

1324
01:17:53,560 --> 01:17:57,680
Speaker 1: North Carolina, on a writing retreat, so I specifically going

1325
01:17:57,720 --> 01:18:00,760
Speaker 1: to write, specifically going to right. That's usually how operated.

1326
01:18:00,840 --> 01:18:03,679
Speaker 1: I'd take two weeks at a time, probably four weeks

1327
01:18:03,720 --> 01:18:06,840
Speaker 1: a year and go and write the majority of my stuff.

1328
01:18:06,920 --> 01:18:09,040
Speaker 1: So I'm not quote unquote a lunch pale rider like

1329
01:18:09,120 --> 01:18:11,080
Speaker 1: these guys. And where do you go to do it? Uh?

1330
01:18:11,240 --> 01:18:13,759
Speaker 1: Sometimes I go to Boon, sometimes I going to Florida,

1331
01:18:14,520 --> 01:18:20,000
Speaker 1: sometimes at my house sometimes. But you clear the deck

1332
01:18:20,040 --> 01:18:22,360
Speaker 1: and that's what's going on. That's it. There's no other

1333
01:18:22,640 --> 01:18:27,320
Speaker 1: there's no press, there's no interviews. It's different guys. So

1334
01:18:27,920 --> 01:18:29,479
Speaker 1: when I first started doing it, I would kind of

1335
01:18:29,560 --> 01:18:34,799
Speaker 1: do so like, let's say I bring Stephen Torkin. That'd

1336
01:18:34,840 --> 01:18:39,880
Speaker 1: be a good move, man, because I got some I

1337
01:18:41,800 --> 01:18:51,760
Speaker 1: got a couple of you. Okay, but give us a

1338
01:18:51,880 --> 01:18:58,519
Speaker 1: little bit of uh, you can't work with. Oh it's

1339
01:18:58,520 --> 01:19:00,679
Speaker 1: a little it's a little hook I came up with yesterday.

1340
01:19:01,360 --> 01:19:02,880
Speaker 1: I had nothing to do with that. Thanks man. I

1341
01:19:02,920 --> 01:19:04,800
Speaker 1: thought I didn't know what a hook was, and then

1342
01:19:04,840 --> 01:19:08,880
Speaker 1: you explained it. So and I was, I said, I was.

1343
01:19:09,720 --> 01:19:11,840
Speaker 1: I was yelling at the flip pop flash or about something.

1344
01:19:11,920 --> 01:19:15,360
Speaker 1: I feel like, Yeah, I think the flip Flop Flash

1345
01:19:15,520 --> 01:19:19,840
Speaker 1: was lamenting that seth. Yeah, that's awesome. It was lamenting.

1346
01:19:20,040 --> 01:19:22,439
Speaker 1: We're skinning an antelope, and I feel like he was

1347
01:19:23,640 --> 01:19:28,960
Speaker 1: lamenting not having something close right. No, he had gloves.

1348
01:19:29,760 --> 01:19:31,640
Speaker 1: I thought the back half he did a tool of

1349
01:19:31,800 --> 01:19:34,760
Speaker 1: some sort. Oh, no, you know what it was. He

1350
01:19:34,880 --> 01:19:38,400
Speaker 1: was lamenting halving to do with me. That's what it was.

1351
01:19:39,600 --> 01:19:42,320
Speaker 1: I wasn't holding up that. I wasn't doing enough. You

1352
01:19:42,400 --> 01:19:45,160
Speaker 1: weren't holding the was I wasn't doing it right because

1353
01:19:45,160 --> 01:19:50,120
Speaker 1: I was talking with you, and I uh said to him,

1354
01:19:50,960 --> 01:19:52,400
Speaker 1: I want to get this right because it's like a

1355
01:19:52,439 --> 01:19:54,680
Speaker 1: pretty good hook. Think about it. I said to him,

1356
01:19:54,760 --> 01:19:57,559
Speaker 1: you gotta worry. You gotta work with what you got,

1357
01:19:57,960 --> 01:20:00,400
Speaker 1: not with what you wish you had, out with what

1358
01:20:00,520 --> 01:20:05,000
Speaker 1: you wish you had. You So I'm developing this into

1359
01:20:05,080 --> 01:20:08,360
Speaker 1: a hit. Well, it's not that I was hoping it

1360
01:20:08,360 --> 01:20:11,680
Speaker 1: would be more of a country hip snap track. You

1361
01:20:12,320 --> 01:20:14,560
Speaker 1: guys are kind of taking in a wild direction. You

1362
01:20:14,800 --> 01:20:18,160
Speaker 1: gotta work with what So that's a hook? So who

1363
01:20:18,360 --> 01:20:21,519
Speaker 1: um oh? Anyway, so yeah, so so you said, I

1364
01:20:21,560 --> 01:20:22,840
Speaker 1: want to get to the hook. I want to going

1365
01:20:22,880 --> 01:20:25,320
Speaker 1: through the whole damn deal fishing. There's a hunting and

1366
01:20:25,360 --> 01:20:27,680
Speaker 1: fishing reference and there is there is the first thing

1367
01:20:27,760 --> 01:20:30,640
Speaker 1: in it, the first thing in it. This is an

1368
01:20:30,640 --> 01:20:32,840
Speaker 1: everything I want to get into. How did you guys

1369
01:20:33,000 --> 01:20:39,200
Speaker 1: know that the engine should be a Johnson because we know, dude,

1370
01:20:39,560 --> 01:20:42,160
Speaker 1: come on, because it wouldn't have it can't be. It's

1371
01:20:42,160 --> 01:20:45,479
Speaker 1: a hot sue. We don't have. We don't really have.

1372
01:20:45,640 --> 01:20:53,320
Speaker 1: I mean, nobody really uses tots. I was pleasantly surprised.

1373
01:20:53,479 --> 01:20:56,439
Speaker 1: It's like when you're watching, um, this guy's selling a

1374
01:20:56,560 --> 01:20:59,960
Speaker 1: short man, I'm I'm coming for D H. P. Johnson.

1375
01:21:00,000 --> 01:21:01,479
Speaker 1: If you've got a flat bottle boat to the South.

1376
01:21:01,720 --> 01:21:05,160
Speaker 1: You gotta evanud Johnson on that bitch used to well

1377
01:21:06,000 --> 01:21:09,680
Speaker 1: if you're if you're making you still got one on there.

1378
01:21:11,840 --> 01:21:16,240
Speaker 1: You got about That's what I'm trying to applaud, meaning

1379
01:21:16,920 --> 01:21:22,120
Speaker 1: um uh now and then I do want to get

1380
01:21:22,160 --> 01:21:23,479
Speaker 1: back to the song, but I want to like applaud

1381
01:21:23,520 --> 01:21:26,800
Speaker 1: the choice because uh lyrically, I thought it was a

1382
01:21:26,880 --> 01:21:30,599
Speaker 1: stute because and I'm just curious, like where this stuff

1383
01:21:30,640 --> 01:21:34,040
Speaker 1: comes from because now and then, like I might tell

1384
01:21:34,080 --> 01:21:37,519
Speaker 1: me how much like carm McCarthy, the writer karmacarthy, because

1385
01:21:38,240 --> 01:21:42,280
Speaker 1: he does his homework right when someone has like when

1386
01:21:42,360 --> 01:21:45,680
Speaker 1: when someone like has a firearm or something, it's like

1387
01:21:45,880 --> 01:21:52,439
Speaker 1: it's the firearm that they would have, and like it

1388
01:21:52,600 --> 01:21:57,840
Speaker 1: makes sense. So every time he references something, um whatever,

1389
01:21:57,920 --> 01:22:00,680
Speaker 1: like something about someone's footwear, something about whatever, like some

1390
01:22:00,840 --> 01:22:07,280
Speaker 1: detail like God, that's exactly like that's exactly right, um

1391
01:22:08,400 --> 01:22:11,760
Speaker 1: and having a Yeah, I thought that the inclusion of

1392
01:22:11,960 --> 01:22:16,439
Speaker 1: that it was a Johnson outboard. It was like listening

1393
01:22:16,720 --> 01:22:20,880
Speaker 1: the Johnson I like, but I wasn't even there, but

1394
01:22:21,000 --> 01:22:25,200
Speaker 1: it hasn't been all these Southerners run them damn Johnson.

1395
01:22:26,040 --> 01:22:27,840
Speaker 1: But it's like it's sort of you hear like if

1396
01:22:27,880 --> 01:22:30,920
Speaker 1: someone having a Johnson gone and it's like, right away,

1397
01:22:31,160 --> 01:22:34,680
Speaker 1: it's an old ass engine that someone has putting a

1398
01:22:34,920 --> 01:22:38,320
Speaker 1: lot of effort rebuilt the carbs at least eight times.

1399
01:22:38,640 --> 01:22:42,719
Speaker 1: It's like it's not running by accident anymore. It's running

1400
01:22:42,760 --> 01:22:45,720
Speaker 1: because someone had to keep it running. So the inclusion

1401
01:22:45,800 --> 01:22:53,320
Speaker 1: of having to be that, um I thought, I was like, IOK, IOK.

1402
01:22:53,600 --> 01:22:55,840
Speaker 1: It helps sell the authenticity. It set me in the

1403
01:22:55,960 --> 01:22:58,680
Speaker 1: right place. It's set me where I felt as though

1404
01:22:58,720 --> 01:23:01,000
Speaker 1: I was in good hands there. You that what you

1405
01:23:01,160 --> 01:23:07,920
Speaker 1: just described is what we as songwriters works so hard

1406
01:23:08,040 --> 01:23:15,560
Speaker 1: to craft, is something undeniably honest, but pictures that not

1407
01:23:15,760 --> 01:23:18,639
Speaker 1: only you can visualize, but tap into a little bit

1408
01:23:18,760 --> 01:23:21,240
Speaker 1: of of life. You can go back to it. If

1409
01:23:21,320 --> 01:23:25,120
Speaker 1: we can accomplish that and we can convey that. I

1410
01:23:25,200 --> 01:23:27,920
Speaker 1: mean that to me, that's that's the bones of a

1411
01:23:28,000 --> 01:23:30,519
Speaker 1: successful Would you have been less there? If it was

1412
01:23:30,520 --> 01:23:36,840
Speaker 1: an evan rude good question, it would have been nothing

1413
01:23:36,880 --> 01:23:40,200
Speaker 1: would have occurred. I wouldn't have Uh, I wouldn't have

1414
01:23:40,240 --> 01:23:42,960
Speaker 1: took note because it's more prevalent. No, I just would

1415
01:23:43,000 --> 01:23:46,160
Speaker 1: have been like, uh, it feels more buzzworthy. It was

1416
01:23:46,240 --> 01:23:48,080
Speaker 1: just like I wouldn't have, it wouldn't have brought me like,

1417
01:23:48,200 --> 01:23:50,759
Speaker 1: you know, there's that little bit the delight that occurs

1418
01:23:51,000 --> 01:23:56,000
Speaker 1: when something's perfect. Last talk about the book, Um, I'll

1419
01:23:56,080 --> 01:23:58,760
Speaker 1: take that I was telling you about. There's a great

1420
01:23:58,800 --> 01:24:02,200
Speaker 1: book about the great planes called Planes in the Great Plains.

1421
01:24:02,960 --> 01:24:06,000
Speaker 1: The writer Ian Fraser describes a redtail hawk sitting on

1422
01:24:06,040 --> 01:24:08,920
Speaker 1: a power line and he talks about that it would

1423
01:24:09,000 --> 01:24:13,920
Speaker 1: fan its tail and he mentions that, uh, somehow he

1424
01:24:14,000 --> 01:24:20,160
Speaker 1: draws as similar between someone working a deck of cards. Right,

1425
01:24:20,320 --> 01:24:24,240
Speaker 1: that's so beautiful. It brings like it's like there's like

1426
01:24:24,320 --> 01:24:27,840
Speaker 1: a delight that occurs. It's a split scream and you

1427
01:24:27,920 --> 01:24:33,600
Speaker 1: got to see him easily. So you know, had he

1428
01:24:33,720 --> 01:24:37,000
Speaker 1: said some other anally or some other metaphor or some

1429
01:24:37,120 --> 01:24:40,000
Speaker 1: other simile, it just wouldn't have clicked. So if you

1430
01:24:40,040 --> 01:24:42,040
Speaker 1: had said, Evan Rude, I don't know, I've just been

1431
01:24:42,120 --> 01:24:46,479
Speaker 1: like I would have been like, I wouldn't have thought.

1432
01:24:47,760 --> 01:24:50,360
Speaker 1: Honest is a bit of a songwriter. He critic to

1433
01:24:51,040 --> 01:24:57,880
Speaker 1: tell me about it days. He did dance me around

1434
01:24:57,920 --> 01:25:05,640
Speaker 1: the flow Latvian dance to me last night. That's one

1435
01:25:05,680 --> 01:25:09,880
Speaker 1: of the songs I wrote. Numbers number um back to

1436
01:25:10,000 --> 01:25:13,920
Speaker 1: back to the song so that I digress, but saying like,

1437
01:25:14,040 --> 01:25:15,800
Speaker 1: I took note of the Johnson mentioned, and I was

1438
01:25:15,840 --> 01:25:18,160
Speaker 1: just pointing out that there are some like there are

1439
01:25:18,320 --> 01:25:21,200
Speaker 1: some outdoors references in the song. And so you go

1440
01:25:21,280 --> 01:25:24,280
Speaker 1: to the writing retreat. Yeah, go to writing retreat. We're

1441
01:25:24,320 --> 01:25:27,639
Speaker 1: in Boone and Dan was there on that particular day,

1442
01:25:27,840 --> 01:25:31,000
Speaker 1: and our buddy Randy Montana was there as well. That

1443
01:25:31,120 --> 01:25:34,479
Speaker 1: his birth name, no it's not his birth name, um,

1444
01:25:35,160 --> 01:25:38,040
Speaker 1: but that's the moniker that his dad is a Hall

1445
01:25:38,040 --> 01:25:41,560
Speaker 1: of Fame songwriter who went by Billy Montana, and so he,

1446
01:25:42,479 --> 01:25:45,519
Speaker 1: you know, assumed that pseudonym once he went into songwriting.

1447
01:25:45,520 --> 01:25:47,080
Speaker 1: What do you guys think about went with Steve Fever?

1448
01:25:47,840 --> 01:25:51,920
Speaker 1: Steve what Steve Fever? Fever? Steve Fever. It would feel

1449
01:25:51,920 --> 01:25:55,559
Speaker 1: a little mushy stever. You know, like it would tell

1450
01:25:55,640 --> 01:25:58,920
Speaker 1: like you were staying Steve Ever. Leave it to Stever

1451
01:26:00,439 --> 01:26:04,120
Speaker 1: like that fever. Yeah, leave it to Stever. Um. But

1452
01:26:04,880 --> 01:26:07,160
Speaker 1: now anyways, we're up there and and I think we

1453
01:26:07,320 --> 01:26:11,600
Speaker 1: wrote the chorus that day and the first verse, so

1454
01:26:11,760 --> 01:26:14,040
Speaker 1: that's what you start with. Of course we wrote course

1455
01:26:14,200 --> 01:26:18,880
Speaker 1: first and no, it's just it depends on the day.

1456
01:26:20,000 --> 01:26:21,720
Speaker 1: Can you tell me the course of course can Yeah,

1457
01:26:22,720 --> 01:26:26,240
Speaker 1: you know, some things just go better together. If we're

1458
01:26:26,240 --> 01:26:28,599
Speaker 1: gonna see it, we're gonna see it seeing it, man.

1459
01:26:29,360 --> 01:26:31,080
Speaker 1: But it's like we can listen to the song on

1460
01:26:31,200 --> 01:26:35,439
Speaker 1: your local streaming service. Dan with like a d. H. P.

1461
01:26:35,600 --> 01:26:41,519
Speaker 1: Johnson on his but but it's but that's the the

1462
01:26:41,680 --> 01:26:46,519
Speaker 1: idea was like it was about things working in in

1463
01:26:46,920 --> 01:26:51,400
Speaker 1: correlate and kep talking about that? Who was that? Where

1464
01:26:51,439 --> 01:26:53,559
Speaker 1: was the beginning of that idea? Yeah? Who said? How

1465
01:26:53,600 --> 01:26:57,120
Speaker 1: about it be about this? I do know this? So

1466
01:26:57,360 --> 01:27:01,320
Speaker 1: Randy Montana said, man, I got his hook and that's

1467
01:27:01,600 --> 01:27:04,519
Speaker 1: we said, okay, what is it? He said, I got

1468
01:27:04,600 --> 01:27:07,479
Speaker 1: this hook. It's just like we go together like good

1469
01:27:07,520 --> 01:27:11,800
Speaker 1: old boys and beer. That's a bit much. What what

1470
01:27:12,040 --> 01:27:16,320
Speaker 1: is what is that? As the chorus? Correct, that's the

1471
01:27:16,400 --> 01:27:19,519
Speaker 1: hook of the song. Oh, to find a hook for me?

1472
01:27:19,560 --> 01:27:23,720
Speaker 1: I think I misunderstood, man. So there's a conceit upon

1473
01:27:23,800 --> 01:27:27,839
Speaker 1: which it's built. Not necessarily, there are many. It's consider

1474
01:27:27,960 --> 01:27:30,640
Speaker 1: a country song a bit of a trot line. So

1475
01:27:30,760 --> 01:27:35,640
Speaker 1: you have multiple hooks. The hook that got you forty h. P. Johnson. Oh,

1476
01:27:36,040 --> 01:27:38,400
Speaker 1: so you try to sprinkle those in now the main

1477
01:27:38,520 --> 01:27:41,040
Speaker 1: hook of the song. If you're talking about that. That

1478
01:27:41,360 --> 01:27:45,200
Speaker 1: is the ending Essentially, the ending line of the chorus

1479
01:27:45,720 --> 01:27:49,240
Speaker 1: good old but like good old boys and beer and

1480
01:27:49,640 --> 01:27:53,920
Speaker 1: me is long as you. Right. So the thing that

1481
01:27:54,080 --> 01:27:56,400
Speaker 1: hooks in the chorus, and this thing that hooks you

1482
01:27:56,600 --> 01:27:59,439
Speaker 1: is that up to the entire song, you have no

1483
01:27:59,680 --> 01:28:03,120
Speaker 1: clue what we're talking about until the last line. That's

1484
01:28:03,120 --> 01:28:10,000
Speaker 1: the first. That's another thing. That's another thing that I

1485
01:28:10,200 --> 01:28:15,479
Speaker 1: found pleasure in you some chill. We're talking about the

1486
01:28:15,520 --> 01:28:19,960
Speaker 1: song I thought was very flawed. No, who's that talking

1487
01:28:19,960 --> 01:28:21,960
Speaker 1: about the flawed song with I didn't want to have

1488
01:28:22,040 --> 01:28:23,400
Speaker 1: to be a friend you guys and then make it

1489
01:28:23,560 --> 01:28:26,800
Speaker 1: it really doesn't matter. Oh you're talking about that is uh?

1490
01:28:27,479 --> 01:28:32,400
Speaker 1: I think that's my boy? Okay Campbell, No, no, no,

1491
01:28:32,760 --> 01:28:36,760
Speaker 1: you're talking about Elvi Shane. That's my boy. Where is

1492
01:28:36,840 --> 01:28:41,519
Speaker 1: it the one where he's a step father? Now? No, nope, no,

1493
01:28:42,160 --> 01:28:46,000
Speaker 1: I'm not exactly that's boy, And that's not the same

1494
01:28:46,120 --> 01:28:49,639
Speaker 1: thing in the first verse. In the first verse, that's

1495
01:28:49,760 --> 01:28:52,280
Speaker 1: that's it's like the high school football game and his

1496
01:28:52,439 --> 01:28:55,000
Speaker 1: kid kicks the ship out of some other kid and

1497
01:28:55,080 --> 01:28:57,200
Speaker 1: he stands up in the bleachers like, that's my boy

1498
01:29:00,120 --> 01:29:02,120
Speaker 1: that I described. How do you guys that know what

1499
01:29:02,240 --> 01:29:07,640
Speaker 1: I'm talking about. I thought you'd pay attention to everything. Man, No,

1500
01:29:08,040 --> 01:29:10,320
Speaker 1: I mean that, I mean all country songs. I mean

1501
01:29:11,160 --> 01:29:15,840
Speaker 1: we only like, yeah, I probably just dissed. It was

1502
01:29:15,880 --> 01:29:20,080
Speaker 1: the only thing being there's a there's a There's no

1503
01:29:20,200 --> 01:29:22,200
Speaker 1: redemption in the reason I bring it up because I

1504
01:29:22,360 --> 01:29:26,599
Speaker 1: never to the whole song. I'm waiting for the hook

1505
01:29:27,040 --> 01:29:29,280
Speaker 1: to the whole song. I'm waiting for the payoff, right,

1506
01:29:29,360 --> 01:29:31,280
Speaker 1: and there isn't. And I feel that the payoff is

1507
01:29:31,280 --> 01:29:33,320
Speaker 1: gonna be that he's painting the picture of this kid.

1508
01:29:33,360 --> 01:29:36,240
Speaker 1: There's his dad, and his dad is like absolutely loyal

1509
01:29:36,320 --> 01:29:39,400
Speaker 1: to his son. He want his son, his son's wrong,

1510
01:29:39,720 --> 01:29:42,000
Speaker 1: he's loyal to him. I'm expecting at the end of

1511
01:29:42,040 --> 01:29:44,920
Speaker 1: the song that it's gonna be something like he the

1512
01:29:45,040 --> 01:29:49,160
Speaker 1: boy throws himself on a grenade in Iraq to save

1513
01:29:49,200 --> 01:29:53,040
Speaker 1: his buddy or whatever which is or does like, and

1514
01:29:53,120 --> 01:29:56,720
Speaker 1: he'd be like, oh, yeah, man, this dude like he's like,

1515
01:29:56,840 --> 01:30:00,120
Speaker 1: that's my boy, right or wrong, that's my boy. To

1516
01:30:00,160 --> 01:30:04,400
Speaker 1: the verses is his kid goes down and and takes

1517
01:30:04,439 --> 01:30:06,400
Speaker 1: a twenty two and whatnot, and goes down and shoots

1518
01:30:06,479 --> 01:30:09,720
Speaker 1: up this other guy's property and all the kids come

1519
01:30:09,800 --> 01:30:12,240
Speaker 1: home and the old man comes over. You know what

1520
01:30:12,280 --> 01:30:17,280
Speaker 1: I'm talking about. The old man comes over and he says,

1521
01:30:17,520 --> 01:30:22,680
Speaker 1: one of these kids shot up my property. And he's like, yeah,

1522
01:30:22,760 --> 01:30:25,160
Speaker 1: that's my boy. So I'm thinking in the end, the

1523
01:30:25,200 --> 01:30:30,120
Speaker 1: kid's gonna do something like the heroic and payoff. That's

1524
01:30:30,200 --> 01:30:33,479
Speaker 1: my boy. That's what I'm saying, man, that's my boy.

1525
01:30:33,880 --> 01:30:36,880
Speaker 1: But in the end it never had. The kids just

1526
01:30:37,040 --> 01:30:39,760
Speaker 1: kind of steal an asshole and the song it's like

1527
01:30:40,479 --> 01:30:44,120
Speaker 1: so when I'm it leaves as a listener. It led

1528
01:30:44,200 --> 01:30:46,400
Speaker 1: to so much disappointment that me and mo families topic

1529
01:30:46,400 --> 01:30:48,720
Speaker 1: all the time. Every time that song came on, we'd

1530
01:30:48,760 --> 01:30:51,600
Speaker 1: be like, it just leaves me being like, but like

1531
01:30:51,800 --> 01:30:53,800
Speaker 1: we thought that someone screwed up and they and they

1532
01:30:53,920 --> 01:30:56,320
Speaker 1: left the verse off the track. Can we get back

1533
01:30:56,360 --> 01:31:00,080
Speaker 1: to talking about Mars? Because here's the thing. I I

1534
01:31:00,200 --> 01:31:04,920
Speaker 1: got the pleasure, the pleasure that was denied me. You

1535
01:31:05,000 --> 01:31:08,040
Speaker 1: got a bow. And that was when you're doing all

1536
01:31:08,120 --> 01:31:11,080
Speaker 1: these like, uh, you're like all these things that are

1537
01:31:11,120 --> 01:31:13,840
Speaker 1: like the match up, Okay, all these things in life

1538
01:31:13,920 --> 01:31:15,960
Speaker 1: that match up makes sense. I'm like, okay, whatever things

1539
01:31:16,000 --> 01:31:18,000
Speaker 1: in match up makes sense. And then also I'm like,

1540
01:31:18,200 --> 01:31:21,960
Speaker 1: oh ship man, like a like this dude and this

1541
01:31:22,200 --> 01:31:25,560
Speaker 1: woman the country love so yeah. And so when you

1542
01:31:25,640 --> 01:31:27,600
Speaker 1: finally go like, why is he telling me all this?

1543
01:31:28,439 --> 01:31:30,160
Speaker 1: Why is he telling me all this stuff? That goes together?

1544
01:31:31,320 --> 01:31:34,759
Speaker 1: And then I register again that delight. If Stephen Ronnetto

1545
01:31:34,840 --> 01:31:38,400
Speaker 1: was a trout and I was, and we were fly

1546
01:31:38,560 --> 01:31:44,160
Speaker 1: fish and we're just back four, back four, we just

1547
01:31:44,400 --> 01:31:48,040
Speaker 1: lofted that little fly out there strimping in a little

1548
01:31:48,080 --> 01:31:53,000
Speaker 1: bit and I sipped it, You sipped it. I just

1549
01:31:53,560 --> 01:31:55,839
Speaker 1: got you. We got you with forty H. P. Johnson.

1550
01:31:56,080 --> 01:31:58,840
Speaker 1: So I liked it. Thank you? No, I like like

1551
01:31:59,080 --> 01:32:02,519
Speaker 1: lyrically like it's I like that it delivered me a product.

1552
01:32:03,320 --> 01:32:05,760
Speaker 1: And as a songwriter, you want that hook to be

1553
01:32:06,000 --> 01:32:09,960
Speaker 1: that aha moment. You know, that's where this is all going. Yeah,

1554
01:32:09,960 --> 01:32:12,439
Speaker 1: And and that's even in the room. You know, if

1555
01:32:12,479 --> 01:32:16,599
Speaker 1: somebody throws out a hook and and you want to say, well,

1556
01:32:16,640 --> 01:32:18,840
Speaker 1: what's that, what's the twist on it? Like, what's the

1557
01:32:18,880 --> 01:32:20,840
Speaker 1: spin on it? What's it? What's gonna grab them? How

1558
01:32:20,880 --> 01:32:23,320
Speaker 1: do we make that that aha moment? And there are

1559
01:32:23,640 --> 01:32:26,160
Speaker 1: many different ways to get to that, sure, there are

1560
01:32:26,200 --> 01:32:29,320
Speaker 1: many different approaches to get into that aha moment, and

1561
01:32:29,439 --> 01:32:32,160
Speaker 1: it doesn't always have to be this whoa. If everything

1562
01:32:32,520 --> 01:32:36,760
Speaker 1: was you know, it was the Butler moment, then you

1563
01:32:38,680 --> 01:32:43,280
Speaker 1: it was Colonel Mustard in the study it man would

1564
01:32:43,280 --> 01:32:47,920
Speaker 1: get pretty annoying, right, So I mean it's okay. Just

1565
01:32:48,040 --> 01:32:51,800
Speaker 1: don't be afraid of songs that don't have the it

1566
01:32:51,960 --> 01:32:53,880
Speaker 1: was the guy behind the curtain all time. I'm not.

1567
01:32:54,040 --> 01:32:57,519
Speaker 1: I'm not afraid of it. In fact, um, I want

1568
01:32:57,560 --> 01:32:59,840
Speaker 1: to get back to you all this process. But uh,

1569
01:33:00,520 --> 01:33:03,920
Speaker 1: I like the films of David Lynch and what David

1570
01:33:04,000 --> 01:33:06,640
Speaker 1: Lynch toys with you. It'd be good to listen to.

1571
01:33:06,680 --> 01:33:08,360
Speaker 1: It would be good to watch as a songwriter. Might

1572
01:33:08,400 --> 01:33:10,200
Speaker 1: be good to watch David Lynch movies because what David

1573
01:33:10,280 --> 01:33:13,000
Speaker 1: Lynch messes with you often is your The whole time,

1574
01:33:13,120 --> 01:33:14,880
Speaker 1: you're like, okay, where is it all leading? Like what's

1575
01:33:14,880 --> 01:33:16,800
Speaker 1: the point? Whereas all leading? What's the point? And the

1576
01:33:16,880 --> 01:33:22,280
Speaker 1: movie ends and you're like, damn me for thinking. They're like, yeah,

1577
01:33:26,320 --> 01:33:28,640
Speaker 1: oh yeah, but I think that's what he's showing you.

1578
01:33:28,920 --> 01:33:33,040
Speaker 1: He's like showing you and does the same thing to

1579
01:33:33,160 --> 01:33:34,840
Speaker 1: the whole book. You're like, I can't wait till this

1580
01:33:34,960 --> 01:33:39,280
Speaker 1: super evil guy gets his never happens. The book just

1581
01:33:39,439 --> 01:33:42,840
Speaker 1: ends like the evil guys fine, like all the good

1582
01:33:42,880 --> 01:33:45,720
Speaker 1: people are dead. Evil guy drives off into the sunset.

1583
01:33:45,920 --> 01:33:47,560
Speaker 1: Do you think he's Do you think he's doing that

1584
01:33:47,800 --> 01:33:51,200
Speaker 1: for your own imagination to continue the that process of

1585
01:33:51,360 --> 01:33:53,120
Speaker 1: se I don't want that. I think he's doing it

1586
01:33:53,200 --> 01:33:55,400
Speaker 1: to mess with you. He's doing it to show you

1587
01:33:55,520 --> 01:33:58,800
Speaker 1: that you're a sucker. I want to bow on my

1588
01:33:58,960 --> 01:34:02,599
Speaker 1: books or bow or my movies. Man, Yeah, and wrap

1589
01:34:02,640 --> 01:34:06,040
Speaker 1: it up, you know what I'm saying. I will be

1590
01:34:06,240 --> 01:34:09,200
Speaker 1: left hanging out like loose Malone. Remember the Remember at

1591
01:34:09,200 --> 01:34:11,080
Speaker 1: the end of No Country for Old Man? I do

1592
01:34:11,240 --> 01:34:14,080
Speaker 1: remember that. Yeah, he goes, there's like the one person left,

1593
01:34:14,120 --> 01:34:18,320
Speaker 1: the beautiful sweet girlfriend, but there's a bit of a house,

1594
01:34:18,400 --> 01:34:20,680
Speaker 1: and like hes out and checks the bottom of his

1595
01:34:20,800 --> 01:34:22,720
Speaker 1: boots for surely to see if her bloods all over

1596
01:34:22,840 --> 01:34:26,519
Speaker 1: his boots though he promised her he was gonna do it.

1597
01:34:26,760 --> 01:34:29,240
Speaker 1: Wasn't the end of the Sopranos like that, Like people

1598
01:34:29,280 --> 01:34:31,800
Speaker 1: were all up in arms, like it was like this

1599
01:34:31,960 --> 01:34:34,479
Speaker 1: guy comes into that. They're all sitting around the table

1600
01:34:34,520 --> 01:34:37,760
Speaker 1: at the restaurant and this dude comes in and it

1601
01:34:37,920 --> 01:34:41,080
Speaker 1: was just like you're like, oh, man, something's gonna happen.

1602
01:34:41,160 --> 01:34:43,519
Speaker 1: And then it was just like and that was just

1603
01:34:43,640 --> 01:34:45,320
Speaker 1: the end of the whole series. I don't like that.

1604
01:34:45,720 --> 01:34:49,760
Speaker 1: I don't like that. I don't like to completely that

1605
01:34:49,920 --> 01:34:53,479
Speaker 1: feels lazy to me. There's gotta be a certain enjoyment

1606
01:34:53,560 --> 01:34:57,719
Speaker 1: for the creator of that, though, would be like, yeah,

1607
01:34:57,920 --> 01:35:01,320
Speaker 1: that's why kind of the slot to the fence there,

1608
01:35:01,360 --> 01:35:05,080
Speaker 1: because like I like to I like when that sale Sopranos,

1609
01:35:05,120 --> 01:35:07,799
Speaker 1: that thing goes down. I like to imagine what happens,

1610
01:35:07,920 --> 01:35:10,880
Speaker 1: you know what, But isn't it your job to tell

1611
01:35:10,960 --> 01:35:15,559
Speaker 1: me what happens. I'm not watching your movie to imagine something.

1612
01:35:16,320 --> 01:35:19,720
Speaker 1: I'm watching it to see what YE like. If I

1613
01:35:19,760 --> 01:35:21,200
Speaker 1: wanted to do that, I would have just done it

1614
01:35:21,280 --> 01:35:27,160
Speaker 1: from the start. There's a cool story. I just thought of, Man,

1615
01:35:27,320 --> 01:35:30,680
Speaker 1: what a great ending story. When Dan told me the

1616
01:35:30,720 --> 01:35:32,439
Speaker 1: story earlier that I can't I don't want to tell

1617
01:35:32,479 --> 01:35:34,320
Speaker 1: the details about. But he told me the story that

1618
01:35:34,439 --> 01:35:39,000
Speaker 1: included that happened to include his his night at the

1619
01:35:39,120 --> 01:35:42,920
Speaker 1: camp fire with his wife, my joy in that story,

1620
01:35:42,960 --> 01:35:45,960
Speaker 1: it was primarily how excited I am to tell his story.

1621
01:35:47,360 --> 01:35:49,400
Speaker 1: I'm like, I'm gonna tell the ship out of this story.

1622
01:35:50,640 --> 01:35:54,360
Speaker 1: Every time the subject comes up from this guy, I

1623
01:35:54,439 --> 01:36:05,080
Speaker 1: got a right j I've got a Randy Montana into

1624
01:36:05,360 --> 01:36:08,679
Speaker 1: North Carolina at the right trip. Yeah, he says that thing,

1625
01:36:09,200 --> 01:36:13,519
Speaker 1: and then that eventually works too. We're discussing I remember this,

1626
01:36:14,000 --> 01:36:15,960
Speaker 1: and you're in the room or not. Yeah, we're actually

1627
01:36:16,000 --> 01:36:18,599
Speaker 1: sitting on a deck of a house in the mountains

1628
01:36:18,640 --> 01:36:23,560
Speaker 1: looking over Grandfathers seven seventy degrees every day in the

1629
01:36:23,680 --> 01:36:27,600
Speaker 1: middle of the summer. There rainstorms three every day, but

1630
01:36:27,760 --> 01:36:30,280
Speaker 1: it's it's awesome. So we're out there. Everyone's holy guitar,

1631
01:36:30,360 --> 01:36:33,640
Speaker 1: presumably just one guitar, probably just one. Honestly, you know,

1632
01:36:33,680 --> 01:36:34,720
Speaker 1: it kind of gets to be a bit of a

1633
01:36:34,800 --> 01:36:36,760
Speaker 1: town hall meeting if there's more than If there's more

1634
01:36:36,800 --> 01:36:41,200
Speaker 1: than one, everyone people you know what I mean, And

1635
01:36:41,280 --> 01:36:43,960
Speaker 1: you're like, okay, can we get some focus here? But anyways,

1636
01:36:44,000 --> 01:36:46,760
Speaker 1: I remember and I still have this. We sat down

1637
01:36:47,560 --> 01:36:50,800
Speaker 1: ut a real crop. Sorry, who's holding the guitar? So

1638
01:36:50,920 --> 01:36:53,599
Speaker 1: you don't get the hold it loop Sometimes it's ever

1639
01:36:53,800 --> 01:37:04,320
Speaker 1: changing mmineering over. It's not no, it's more like I'll

1640
01:37:04,360 --> 01:37:06,439
Speaker 1: be like and a lot of the times there's nothing

1641
01:37:06,520 --> 01:37:08,599
Speaker 1: happening on the guitar. It's not like Dan's just sitting

1642
01:37:08,600 --> 01:37:12,800
Speaker 1: there playing for three hours, four hours. It's like it's

1643
01:37:12,840 --> 01:37:14,280
Speaker 1: like I'll sit there and I'm like, hold on, let

1644
01:37:14,320 --> 01:37:15,439
Speaker 1: me get that real quickly, you know what I mean,

1645
01:37:15,479 --> 01:37:17,800
Speaker 1: Like he'll pass it over to me. I'm sussing out

1646
01:37:17,840 --> 01:37:22,840
Speaker 1: something in my own head. But I explicitly remember Randy

1647
01:37:22,880 --> 01:37:26,559
Speaker 1: had that idea. We were discussing it and had landed

1648
01:37:26,640 --> 01:37:30,320
Speaker 1: on the better together thing, and we were like, what's

1649
01:37:30,400 --> 01:37:33,640
Speaker 1: the best avenue to approach this thing? And so I

1650
01:37:33,800 --> 01:37:36,000
Speaker 1: sat down, I had my pen and paper and I

1651
01:37:36,120 --> 01:37:39,599
Speaker 1: just wrote out a bunch of stuff that I felt

1652
01:37:40,080 --> 01:37:43,640
Speaker 1: like I went together really well Johnson for in the

1653
01:37:43,680 --> 01:37:46,720
Speaker 1: Flat Bottom exactly. It was all these different things and

1654
01:37:46,800 --> 01:37:48,400
Speaker 1: it was a list, you know, it was ten or

1655
01:37:48,439 --> 01:37:50,880
Speaker 1: twelve lines long of just different things that I felt

1656
01:37:50,920 --> 01:37:53,960
Speaker 1: like work together really well. And it was like, how

1657
01:37:54,080 --> 01:37:57,880
Speaker 1: do we, you know, in a in a in a

1658
01:37:58,040 --> 01:38:02,080
Speaker 1: clever way make all these things? Not maybe these explicitly,

1659
01:38:02,360 --> 01:38:04,679
Speaker 1: but this is I was writing with a guy named

1660
01:38:04,720 --> 01:38:06,559
Speaker 1: Charlie Worsham this past week and he had a great

1661
01:38:06,600 --> 01:38:09,160
Speaker 1: analogy for it, as he says, I have to just

1662
01:38:09,280 --> 01:38:11,800
Speaker 1: say these things and for everyone to hear him, because

1663
01:38:11,960 --> 01:38:14,760
Speaker 1: he refers to in his fertilizer. It might be ship,

1664
01:38:15,800 --> 01:38:19,800
Speaker 1: but sometimes the ship is the fertilizer leads to the

1665
01:38:20,040 --> 01:38:24,560
Speaker 1: growing of the common goal. And it was awesome, and

1666
01:38:24,680 --> 01:38:27,640
Speaker 1: so he throws it. I'm so I'm throwing out this fertilizer,

1667
01:38:28,000 --> 01:38:30,400
Speaker 1: you know, of these different things, and then we're all

1668
01:38:30,439 --> 01:38:33,560
Speaker 1: going and then it was almost like an explosion of like,

1669
01:38:33,680 --> 01:38:36,000
Speaker 1: oh well this and not and and this this and

1670
01:38:36,479 --> 01:38:38,640
Speaker 1: and you know we how much times of laps at

1671
01:38:38,680 --> 01:38:41,080
Speaker 1: this point a couple of hours, probably two hours maybe,

1672
01:38:41,560 --> 01:38:44,519
Speaker 1: you know, there's a lot of coffee drinking, and you know,

1673
01:38:44,760 --> 01:38:47,400
Speaker 1: just kind of shooting the ship. And I do remember

1674
01:38:47,439 --> 01:38:50,400
Speaker 1: specifically in the second verse, if I could take this part.

1675
01:38:50,960 --> 01:38:54,720
Speaker 1: I remember looking at Luke and being like, man, I

1676
01:38:54,800 --> 01:38:57,679
Speaker 1: feel like this is the point where we start, because

1677
01:38:57,720 --> 01:38:59,360
Speaker 1: we've cats out of the bag at this point where

1678
01:38:59,560 --> 01:39:02,880
Speaker 1: on the girl being I said, well, why don't we

1679
01:39:03,000 --> 01:39:07,680
Speaker 1: give the second half to them? And I said, is

1680
01:39:07,720 --> 01:39:11,400
Speaker 1: there anything specific, like do you feel like you and

1681
01:39:11,640 --> 01:39:14,800
Speaker 1: the cold dude that's kind of just very specific to

1682
01:39:14,880 --> 01:39:19,040
Speaker 1: your relationship and he was like, no, ship, he goes, man,

1683
01:39:19,120 --> 01:39:22,720
Speaker 1: you know, whenever we go to town, she put your

1684
01:39:22,760 --> 01:39:26,920
Speaker 1: license into my wallet. That was a great detail. And

1685
01:39:28,240 --> 01:39:31,680
Speaker 1: whoa whoa. We were writting that down. I don't know

1686
01:39:31,760 --> 01:39:34,120
Speaker 1: how we're making that fit, but we're making that fit.

1687
01:39:34,200 --> 01:39:37,400
Speaker 1: And immediately was like, your a license in my wallet

1688
01:39:37,560 --> 01:39:39,760
Speaker 1: when we go out downtown. I said, anything else, He

1689
01:39:39,800 --> 01:39:42,679
Speaker 1: goes or lipsticks all over my coffee cups. Next line

1690
01:39:42,720 --> 01:39:46,320
Speaker 1: goes your lipsticks thing. Every coffee cup that I got

1691
01:39:46,400 --> 01:39:49,439
Speaker 1: in this house I ought to put in. You always

1692
01:39:49,520 --> 01:39:55,439
Speaker 1: move in my ship, in one cabinet to another, So

1693
01:39:55,600 --> 01:39:59,599
Speaker 1: please stop. Your mother, for some reason, takes my really

1694
01:39:59,640 --> 01:40:04,439
Speaker 1: good night. It cuts my kids grill cheese sandwiches in

1695
01:40:04,640 --> 01:40:08,439
Speaker 1: a pan in a pan in the pan for some reason,

1696
01:40:10,960 --> 01:40:14,719
Speaker 1: for some unknown reason. But I think my favorite spot

1697
01:40:15,040 --> 01:40:18,240
Speaker 1: of any song and I think, uh. And I don't

1698
01:40:18,280 --> 01:40:20,160
Speaker 1: want to sound like I'm too my own horn here,

1699
01:40:20,200 --> 01:40:23,280
Speaker 1: but I I feel like my strongest points in my

1700
01:40:23,360 --> 01:40:26,680
Speaker 1: songs are the bridges. The bridge of the song is

1701
01:40:26,840 --> 01:40:30,000
Speaker 1: that's it's it's different from the verse in the course.

1702
01:40:30,080 --> 01:40:31,960
Speaker 1: You have your verses in your course, and you have

1703
01:40:32,080 --> 01:40:37,439
Speaker 1: the spot that sits on its own melodically, structurally and

1704
01:40:37,560 --> 01:40:40,280
Speaker 1: lyrically from the rest of the fort. You wrote this

1705
01:40:40,360 --> 01:40:42,240
Speaker 1: by yourself, did you? But no, we wrote it in

1706
01:40:42,640 --> 01:40:46,519
Speaker 1: in uh in the fire just educate people on this

1707
01:40:46,600 --> 01:40:48,800
Speaker 1: because this is something that this is a concept I get,

1708
01:40:48,880 --> 01:40:53,760
Speaker 1: but I don't get. Can you take a well known tune? Okay? Sure,

1709
01:40:54,160 --> 01:40:57,080
Speaker 1: take take whatever song you think most clearly exemplifies, and

1710
01:40:57,240 --> 01:40:59,040
Speaker 1: do you want your own or whatever the hell I

1711
01:40:59,080 --> 01:41:02,760
Speaker 1: mean where you're like, you're like like layout the like

1712
01:41:02,880 --> 01:41:06,240
Speaker 1: how like how how a song could be structured? And

1713
01:41:06,439 --> 01:41:09,040
Speaker 1: what function the bridge has? So I don't get that, Okay,

1714
01:41:09,120 --> 01:41:12,559
Speaker 1: So typically, for example, and better together the song we're

1715
01:41:12,560 --> 01:41:15,719
Speaker 1: talking about, just for clarity, great, we'll do the first

1716
01:41:15,920 --> 01:41:19,920
Speaker 1: verse is the forty h P. Johnson on a flat

1717
01:41:20,000 --> 01:41:23,080
Speaker 1: bond a mental boat. And then that's the length that

1718
01:41:23,200 --> 01:41:26,760
Speaker 1: it is. It's four lines or something. That's verse one.

1719
01:41:26,880 --> 01:41:32,320
Speaker 1: Normal structure is that's first one. Then you're usually right

1720
01:41:32,400 --> 01:41:35,600
Speaker 1: into a chorus. Of course, don't bore us, get to

1721
01:41:35,680 --> 01:41:38,759
Speaker 1: the chorus, as we always say. Then you write your chorus,

1722
01:41:39,240 --> 01:41:43,840
Speaker 1: which usually stays the same throughout the entire song, so

1723
01:41:44,000 --> 01:41:47,680
Speaker 1: each time you're referencing back to that chorus, it correlates

1724
01:41:47,800 --> 01:41:52,920
Speaker 1: with a verse, universal course, universal chorus. Then you're going

1725
01:41:52,960 --> 01:41:56,280
Speaker 1: into verse two, which will be the same length and

1726
01:41:56,479 --> 01:41:59,679
Speaker 1: melody as the first verse. They're identical in that sense.

1727
01:42:00,120 --> 01:42:03,680
Speaker 1: Just the words are interchangeable, right, And so then you

1728
01:42:03,840 --> 01:42:07,840
Speaker 1: hit your second universal course. You know, so you've got

1729
01:42:08,040 --> 01:42:10,639
Speaker 1: you've got two minutes or two and a half minutes

1730
01:42:10,680 --> 01:42:14,040
Speaker 1: of your song about at this point, and so then

1731
01:42:14,439 --> 01:42:17,320
Speaker 1: you're probably going to go into there's there's one or

1732
01:42:17,320 --> 01:42:19,880
Speaker 1: two options here. You're gonna go if you feel like

1733
01:42:20,080 --> 01:42:22,600
Speaker 1: you've said everything that you need to say and in

1734
01:42:22,760 --> 01:42:26,280
Speaker 1: that amount of time, you're gonna go with a straight

1735
01:42:26,360 --> 01:42:32,720
Speaker 1: up solo. Tors on the strat, you know what I mean,

1736
01:42:33,280 --> 01:42:36,439
Speaker 1: working the fingers on that thing, dude, get in there,

1737
01:42:36,520 --> 01:42:39,400
Speaker 1: and then you're back to universal chorus. His weather, g

1738
01:42:40,840 --> 01:42:43,840
Speaker 1: his weather, the guitar, stranded, fluted neck on that thing,

1739
01:42:44,400 --> 01:42:54,040
Speaker 1: you know. And and so if you feel like you've

1740
01:42:54,040 --> 01:42:56,040
Speaker 1: said everything you need to say in that amount of time,

1741
01:42:56,080 --> 01:42:59,080
Speaker 1: you're going back into a chorus after that solo, and

1742
01:42:59,160 --> 01:43:01,599
Speaker 1: then you're out. So the chorus sits in for the verse.

1743
01:43:02,680 --> 01:43:05,920
Speaker 1: What No, Well, there's not another verse because the verses

1744
01:43:06,000 --> 01:43:11,840
Speaker 1: is where you're saying lengthier, wordier things describing what you're

1745
01:43:11,880 --> 01:43:16,040
Speaker 1: talking about in the chorus generally speaking. And so if

1746
01:43:16,240 --> 01:43:17,960
Speaker 1: you feel like you've said everything you need to say,

1747
01:43:18,000 --> 01:43:21,000
Speaker 1: you do another chorus and the song ends. Because there's

1748
01:43:21,080 --> 01:43:24,840
Speaker 1: nothing sure, usually because you're trying to stay, you're trying

1749
01:43:24,840 --> 01:43:28,640
Speaker 1: to stay usually in this three minutes, certain three to

1750
01:43:28,920 --> 01:43:32,240
Speaker 1: four minutes, like three even getting smaller. Now yeah, now

1751
01:43:32,280 --> 01:43:36,920
Speaker 1: it's getting That's that's what their mark is right now.

1752
01:43:37,120 --> 01:43:39,280
Speaker 1: When I first came to down, it was three forty,

1753
01:43:39,760 --> 01:43:42,560
Speaker 1: and then it went three thirty, with three fifty, it

1754
01:43:42,600 --> 01:43:44,799
Speaker 1: with three minutes, and now we're sitting about to who

1755
01:43:44,880 --> 01:43:52,240
Speaker 1: decides this number listener radio radio, just because fous Yeah absolutely,

1756
01:43:52,479 --> 01:43:56,799
Speaker 1: but so anyways, but if you haven't I said everything

1757
01:43:56,880 --> 01:44:00,280
Speaker 1: that you want to say this after that second or us,

1758
01:44:00,720 --> 01:44:03,920
Speaker 1: you usually go into a short solo section, like a

1759
01:44:04,040 --> 01:44:07,360
Speaker 1: half linked solo section, and then you'll go right into

1760
01:44:07,720 --> 01:44:10,040
Speaker 1: what is we refer to as the bridge of the song,

1761
01:44:10,680 --> 01:44:13,559
Speaker 1: which is I'm not sure why it's called that different.

1762
01:44:13,600 --> 01:44:15,840
Speaker 1: The bridge is the gaps from it's supposed to be

1763
01:44:15,920 --> 01:44:18,680
Speaker 1: a bit of a departure from a departure of what

1764
01:44:18,800 --> 01:44:25,800
Speaker 1: you've listened to. Exactly, that's the bridge, right, nobody knew

1765
01:44:25,840 --> 01:44:29,640
Speaker 1: what you were talking the bridge. But so essentially you

1766
01:44:29,680 --> 01:44:35,640
Speaker 1: want a completely different melody, completely different lyric structure in

1767
01:44:35,800 --> 01:44:38,240
Speaker 1: that small section of the song. It could be two lines,

1768
01:44:38,280 --> 01:44:39,920
Speaker 1: it could be four lines, it could be one line,

1769
01:44:40,000 --> 01:44:45,640
Speaker 1: but you wanted to contribute to the story. Absolutely, they

1770
01:44:45,640 --> 01:44:48,320
Speaker 1: would not have any bridges in his songs. Yeah, because

1771
01:44:48,320 --> 01:44:50,439
Speaker 1: he leaves your hanging after the second chorse. He just

1772
01:44:50,560 --> 01:44:52,280
Speaker 1: rolled it around and be out of there, and you'd

1773
01:44:52,280 --> 01:44:53,840
Speaker 1: be like, oh man, I feel like he was gonna say,

1774
01:44:55,640 --> 01:44:59,639
Speaker 1: did you say carmack er Paul Carmack? I said, Paul

1775
01:44:59,720 --> 01:45:05,120
Speaker 1: mccar that's Paul McCartney's that's it. Yeah. But anyway, so

1776
01:45:05,240 --> 01:45:08,759
Speaker 1: the bridge in Better Together. It's a normal structured tune

1777
01:45:09,200 --> 01:45:13,719
Speaker 1: verse one chorus, verse two chorus, short piano solo section

1778
01:45:13,760 --> 01:45:16,240
Speaker 1: because the song is just me and piano, and then

1779
01:45:16,280 --> 01:45:20,439
Speaker 1: it goes into the bridge, which is so sometimes we

1780
01:45:20,840 --> 01:45:24,439
Speaker 1: roll in water, but I wouldn't have in any other way.

1781
01:45:24,960 --> 01:45:28,240
Speaker 1: And if I'm being on this your first in my

1782
01:45:28,520 --> 01:45:34,720
Speaker 1: last night, would you sound better together? The course? You

1783
01:45:34,760 --> 01:45:37,400
Speaker 1: know what I mean, it's like a different thing. And

1784
01:45:37,439 --> 01:45:39,719
Speaker 1: then it takes the song just from like, oh they're

1785
01:45:39,920 --> 01:45:48,400
Speaker 1: a cute couple to like, hey trying that was I

1786
01:45:48,439 --> 01:45:51,200
Speaker 1: gotta admit to you, I didn't get that until right now.

1787
01:45:51,880 --> 01:45:57,680
Speaker 1: I thought he was saying like that he felt at

1788
01:45:57,720 --> 01:46:00,439
Speaker 1: a time, Yeah, I didn't know of it was that

1789
01:46:00,560 --> 01:46:03,120
Speaker 1: he had he was advancing and like now he's like

1790
01:46:03,200 --> 01:46:06,240
Speaker 1: one like seal the deal. Yeah, absolutely, I thought you said, like,

1791
01:46:06,439 --> 01:46:08,280
Speaker 1: you know, I've always liked it and that's the way

1792
01:46:08,320 --> 01:46:10,000
Speaker 1: it is. I didn't know he meant like I sure

1793
01:46:10,040 --> 01:46:11,880
Speaker 1: would like this to happen. Yeah, And my thing, I

1794
01:46:11,960 --> 01:46:14,800
Speaker 1: think delivers. I think that, and I think that maybe

1795
01:46:14,840 --> 01:46:18,880
Speaker 1: triple deliver is like the juxtaposition of all the things

1796
01:46:18,960 --> 01:46:21,080
Speaker 1: that go together. And then when you say sometimes we're

1797
01:46:21,080 --> 01:46:24,640
Speaker 1: oil and water, like we sometimes we don't always get

1798
01:46:24,680 --> 01:46:27,840
Speaker 1: along like we're not. Sometimes we have those moments where

1799
01:46:27,840 --> 01:46:31,320
Speaker 1: we're very contentious, and but we wouldn't have it any

1800
01:46:31,360 --> 01:46:33,360
Speaker 1: other way. Like you have to have that in a

1801
01:46:33,400 --> 01:46:35,800
Speaker 1: good relationship. In my opinion, you have to tune starts

1802
01:46:35,840 --> 01:46:39,799
Speaker 1: to make its own grave. Here's the thing. I pride

1803
01:46:39,840 --> 01:46:42,679
Speaker 1: myself on sniffing the gravy out and I was missing

1804
01:46:42,760 --> 01:46:49,400
Speaker 1: some of the grave. Only heard it one time and

1805
01:46:49,520 --> 01:46:51,720
Speaker 1: the full version, you know, and like outside, you're not

1806
01:46:51,800 --> 01:46:55,120
Speaker 1: getting the voice projection in the in the I didn't

1807
01:46:55,120 --> 01:46:56,800
Speaker 1: catch the oil. I didn't catch the oil and water.

1808
01:46:57,280 --> 01:47:00,360
Speaker 1: I thought you were a bridge guy. I'm Richard. I

1809
01:47:00,439 --> 01:47:06,080
Speaker 1: was getting hit. I was getting inundated stuff some roll song. No,

1810
01:47:07,080 --> 01:47:09,120
Speaker 1: I didn't catch that that lyric. I feel like there's

1811
01:47:09,160 --> 01:47:11,080
Speaker 1: some famous rock and roll song where they actually call

1812
01:47:11,160 --> 01:47:14,879
Speaker 1: out bridge and then it goes into that's like tenacious.

1813
01:47:15,160 --> 01:47:18,160
Speaker 1: I think that they do that. Yeah, I'll say this,

1814
01:47:18,520 --> 01:47:23,400
Speaker 1: that song it seems to connect so well with and

1815
01:47:24,160 --> 01:47:25,680
Speaker 1: I kind of guts some kind of tip my own

1816
01:47:25,720 --> 01:47:28,400
Speaker 1: forward here. But uh, a lot of it has to

1817
01:47:28,479 --> 01:47:31,080
Speaker 1: do with the delivery, right, It's kind of a heartfelt delivery,

1818
01:47:31,160 --> 01:47:33,280
Speaker 1: especially on the album I played it for You Yarnest.

1819
01:47:33,320 --> 01:47:36,680
Speaker 1: Me and Yarnest were riding around listening to Spot Mantelope

1820
01:47:36,920 --> 01:47:38,479
Speaker 1: and I actually played it for him. But it was

1821
01:47:38,520 --> 01:47:43,160
Speaker 1: a piano ballad, right. And uh. The last show I

1822
01:47:43,280 --> 01:47:47,000
Speaker 1: saw Luke play before Pandemic was rupp Arena in Kentucky.

1823
01:47:47,439 --> 01:47:49,519
Speaker 1: Biggest show ever done there by the way, broke Paul

1824
01:47:49,600 --> 01:47:59,040
Speaker 1: McCartney's record A very good. It was good guessing. It

1825
01:47:59,160 --> 01:48:06,560
Speaker 1: was guessing to the level of hosting. So in the

1826
01:48:06,680 --> 01:48:09,760
Speaker 1: midst of him playing that song, which he anchored with

1827
01:48:11,240 --> 01:48:13,840
Speaker 1: when it got to the bridge, sometimes we're alling water.

1828
01:48:13,920 --> 01:48:17,120
Speaker 1: But I wouldn't have it any other way. I look

1829
01:48:17,160 --> 01:48:25,640
Speaker 1: around me and I see multiple dudes dropping and I

1830
01:48:25,720 --> 01:48:29,240
Speaker 1: saw six couples get engaged. From where I was standing,

1831
01:48:29,439 --> 01:48:34,719
Speaker 1: there ain't no telling. I mean he saw no picture.

1832
01:48:36,520 --> 01:48:38,960
Speaker 1: I took pictures with them. So they're like, they've come

1833
01:48:39,160 --> 01:48:41,559
Speaker 1: in preparation, but you haven't had the song hadn't released,

1834
01:48:45,640 --> 01:48:47,519
Speaker 1: so the problem was out and that song was out

1835
01:48:47,560 --> 01:48:49,479
Speaker 1: into the world. And he's like, in case he does

1836
01:48:49,560 --> 01:48:52,120
Speaker 1: this song, and I have no reason to believe he will. True,

1837
01:48:53,160 --> 01:48:56,840
Speaker 1: that's very true. That's very true. My buddy leaned up.

1838
01:48:56,840 --> 01:49:00,800
Speaker 1: He goes this guy wrote that. They're like, can we

1839
01:49:00,920 --> 01:49:03,559
Speaker 1: get a picture? And I was like, I guess all right,

1840
01:49:03,560 --> 01:49:05,040
Speaker 1: So let's get back to the creation of the tune,

1841
01:49:05,080 --> 01:49:09,400
Speaker 1: because how how did is Randy on it? Yeah? Yeah,

1842
01:49:09,479 --> 01:49:11,040
Speaker 1: so he's one of the co he's one of the writers.

1843
01:49:11,040 --> 01:49:17,080
Speaker 1: He's one big family by the way. Yeah, so he's

1844
01:49:17,120 --> 01:49:20,080
Speaker 1: in on it. Luke, you're in on it, Dan, you're

1845
01:49:20,080 --> 01:49:23,519
Speaker 1: in on it. Anybody else get in there on it. Unfortunately, No,

1846
01:49:27,080 --> 01:49:30,320
Speaker 1: he's not. Even if he was more if he was

1847
01:49:30,400 --> 01:49:34,200
Speaker 1: more like Machiavellian, he'd be uh, he'd be like taking

1848
01:49:34,240 --> 01:49:38,680
Speaker 1: little swipes. He'd be like, yeah, really the song, I mean,

1849
01:49:38,720 --> 01:49:43,080
Speaker 1: you could have improved greatly with you know, it should

1850
01:49:43,080 --> 01:49:48,080
Speaker 1: have been It's a hot super in that moment when

1851
01:49:48,080 --> 01:49:51,080
Speaker 1: you guys are like, well, onto this idea and the

1852
01:49:51,200 --> 01:49:53,439
Speaker 1: lyrics are coming and you've written down all the things

1853
01:49:53,520 --> 01:49:58,400
Speaker 1: that go better together. Has music been introduced yet? Yeah? Yeah,

1854
01:49:59,320 --> 01:50:02,479
Speaker 1: cost core us was done already at that time, I

1855
01:50:02,560 --> 01:50:06,439
Speaker 1: would say, and you can absolutely smash this. I'm not trying.

1856
01:50:06,439 --> 01:50:09,800
Speaker 1: I'm not trying to give myself credit in any form

1857
01:50:09,840 --> 01:50:17,200
Speaker 1: of fashion, but I think my natural progression towards songwriting

1858
01:50:17,560 --> 01:50:23,160
Speaker 1: comes from like a bit of a storytelling basic chord structure,

1859
01:50:23,600 --> 01:50:28,120
Speaker 1: which is extremely simple because I'm not a great guitar player, right,

1860
01:50:28,520 --> 01:50:32,519
Speaker 1: So literally we were just going one for one four

1861
01:50:32,640 --> 01:50:35,880
Speaker 1: and that's and if if, if I'm gonna be a

1862
01:50:35,960 --> 01:50:39,200
Speaker 1: part of a ballad, I'm gonna try to push that

1863
01:50:40,360 --> 01:50:44,400
Speaker 1: simpleness onto the tune and onto the code writers. Does

1864
01:50:44,439 --> 01:50:47,120
Speaker 1: that make sense? So the course was already done, and

1865
01:50:47,360 --> 01:50:49,240
Speaker 1: I think I think I was just kind of like,

1866
01:50:49,439 --> 01:50:53,360
Speaker 1: what if we kept it extremely basic and let the

1867
01:50:53,520 --> 01:50:59,479
Speaker 1: Grizzly Bear vocalist smash it? Yeah? The Grizzly Bear vocalists.

1868
01:50:59,479 --> 01:51:01,280
Speaker 1: I mean, in my opinion, he sounds like a damn

1869
01:51:01,920 --> 01:51:06,760
Speaker 1: giant line on stage, not a Grizzly Bear or grizzy bear,

1870
01:51:08,160 --> 01:51:10,640
Speaker 1: depending on what continent you're in, you know, to me

1871
01:51:10,680 --> 01:51:13,759
Speaker 1: it would be a grizzly bear, leslie Bear, Apex, apex

1872
01:51:13,840 --> 01:51:16,320
Speaker 1: predator for sure. Man, you mean you can't listen to

1873
01:51:16,400 --> 01:51:19,400
Speaker 1: what you listened to last night and go that's probably

1874
01:51:19,439 --> 01:51:24,520
Speaker 1: the best vocalist I've said ever. Set in front of CHESTERRK,

1875
01:51:27,640 --> 01:51:33,920
Speaker 1: I thought Chester did surprisingly well. Yeah, you know what,

1876
01:51:34,040 --> 01:51:35,920
Speaker 1: here's he hasn't even know the best part of it.

1877
01:51:36,560 --> 01:51:38,960
Speaker 1: I gotta tell listen real quick. So the Chester, the lester,

1878
01:51:39,439 --> 01:51:44,280
Speaker 1: he cut that out? What's his name? Phil Chester? Whoever?

1879
01:51:45,760 --> 01:51:48,080
Speaker 1: Chester just got married? And Chester sang a song at

1880
01:51:48,120 --> 01:51:49,800
Speaker 1: his wedding, and he just sang a love song and

1881
01:51:49,880 --> 01:51:53,920
Speaker 1: didn't didn't properly intro it. So they generated some confusion

1882
01:51:54,000 --> 01:51:57,000
Speaker 1: on part of the attendees who then a rumor spread

1883
01:51:57,040 --> 01:51:59,519
Speaker 1: how Chester wrote that song and I would write the

1884
01:51:59,560 --> 01:52:01,920
Speaker 1: song he role was and they made everybody cry, And

1885
01:52:01,960 --> 01:52:03,600
Speaker 1: I can't believe Chester knew how to write such a

1886
01:52:03,600 --> 01:52:06,400
Speaker 1: beautiful song. And Chess just got up and failed to say,

1887
01:52:06,439 --> 01:52:08,200
Speaker 1: like going by the way, this is a little number

1888
01:52:08,240 --> 01:52:10,560
Speaker 1: written by so and so. So then he had to

1889
01:52:10,640 --> 01:52:14,120
Speaker 1: go around, He had to go around like clarifying to people. Yeah,

1890
01:52:15,360 --> 01:52:19,160
Speaker 1: so in all honesty, you know, and last night Seth said,

1891
01:52:19,800 --> 01:52:23,599
Speaker 1: Seth told me or no Jester told me that. Seth

1892
01:52:23,680 --> 01:52:27,479
Speaker 1: said to him, six months ago, would you have believed

1893
01:52:27,920 --> 01:52:31,519
Speaker 1: that you'd be singing a song next to lout or

1894
01:52:31,560 --> 01:52:33,920
Speaker 1: playing your guitar and singing next to Luke Holmes? And

1895
01:52:34,080 --> 01:52:37,040
Speaker 1: Chester said six months ago, I wouldn't have been able

1896
01:52:37,040 --> 01:52:39,120
Speaker 1: to told you that I knew how to play a guitar.

1897
01:52:41,640 --> 01:52:47,280
Speaker 1: It's pretty cool because he learned just too, like he

1898
01:52:47,360 --> 01:52:50,880
Speaker 1: had to learn just to like at his wedding, which

1899
01:52:50,880 --> 01:52:53,160
Speaker 1: I think it's like the cutest, sweetest thing in the world.

1900
01:52:54,000 --> 01:52:56,679
Speaker 1: Literally said that. I want to go on record here

1901
01:52:57,120 --> 01:53:00,400
Speaker 1: and say, if that guy has been playing guitar for

1902
01:53:00,520 --> 01:53:07,120
Speaker 1: six months, how incredibly impressive that that was? Daggeringly impressive.

1903
01:53:07,200 --> 01:53:10,680
Speaker 1: It was. I'll say this, It was as impressive and

1904
01:53:10,800 --> 01:53:14,599
Speaker 1: as as pressurized as me and you and Red cooking

1905
01:53:14,640 --> 01:53:18,040
Speaker 1: dinner in front of these jokers. Man. I felt that

1906
01:53:18,160 --> 01:53:22,479
Speaker 1: the night before, like why they were standing there whipping

1907
01:53:22,560 --> 01:53:27,759
Speaker 1: up gravy biscuits and antelope and Steve's got his hands

1908
01:53:27,800 --> 01:53:30,600
Speaker 1: in his pockets looking over the thing. I speaking a

1909
01:53:30,600 --> 01:53:35,120
Speaker 1: little dust and then he goes too early, not ready

1910
01:53:35,439 --> 01:53:37,679
Speaker 1: and I mean it's the same kind of pressure. Chester

1911
01:53:37,800 --> 01:53:39,439
Speaker 1: gets up there in front of a guy that's got

1912
01:53:39,600 --> 01:53:42,680
Speaker 1: nine number ones in a row, the biggest, hardest and

1913
01:53:42,760 --> 01:53:45,760
Speaker 1: coaching music. Give me that guitar. He's like, I'll take

1914
01:53:45,800 --> 01:53:48,679
Speaker 1: a swing at her and knocked it out of the park.

1915
01:53:50,600 --> 01:53:52,719
Speaker 1: That was great too, It was it was so cute

1916
01:53:53,360 --> 01:53:57,200
Speaker 1: cut and again the reason I was celebrate like celebrating

1917
01:53:57,240 --> 01:54:01,200
Speaker 1: him and is like instead of trying to be mr

1918
01:54:01,560 --> 01:54:07,240
Speaker 1: like detached and can't be bothered the old lady right, yeah,

1919
01:54:09,160 --> 01:54:13,320
Speaker 1: just to hang it all out there serenader at a

1920
01:54:13,360 --> 01:54:16,639
Speaker 1: wedding be like, oh, I don't know the old lady

1921
01:54:16,680 --> 01:54:18,519
Speaker 1: one to have a wedding. So I guess I showed up.

1922
01:54:20,680 --> 01:54:23,120
Speaker 1: But we had a bit of a plan working all

1923
01:54:23,200 --> 01:54:27,280
Speaker 1: day long to try to convince Chester to sing that song. Right,

1924
01:54:28,200 --> 01:54:30,080
Speaker 1: did you hear? You probably heard. We were in the

1925
01:54:30,120 --> 01:54:33,640
Speaker 1: truck together with Chester. I was laying the groundwork to

1926
01:54:34,000 --> 01:54:36,880
Speaker 1: ask him to play. But it was it was really easy.

1927
01:54:37,360 --> 01:54:38,680
Speaker 1: I mean it was kind of like a circle hook

1928
01:54:38,760 --> 01:54:41,360
Speaker 1: like the kids looked himself. All I had to do

1929
01:54:41,520 --> 01:54:44,640
Speaker 1: was really man and He's like, yeah, I'll play one

1930
01:54:44,680 --> 01:54:47,160
Speaker 1: if you guys all that. I'm sorry I'll play one

1931
01:54:47,240 --> 01:54:51,920
Speaker 1: if you guys will let me. I was absolutely chester

1932
01:54:52,000 --> 01:54:54,040
Speaker 1: we would love to hear and heard you play Lady Maid.

1933
01:54:54,040 --> 01:54:59,520
Speaker 1: And he was like, well, I know what couple it

1934
01:54:59,720 --> 01:55:03,480
Speaker 1: wasn't It didn't take much convincing that he was in.

1935
01:55:03,760 --> 01:55:06,160
Speaker 1: He was ready. That was really cool to see. I'd

1936
01:55:06,200 --> 01:55:09,600
Speaker 1: like to formally extend to thank you to you guys

1937
01:55:09,720 --> 01:55:13,600
Speaker 1: for having us. Uh, next time, maybe pair we with

1938
01:55:13,720 --> 01:55:20,440
Speaker 1: somebody a little slower, um, less athletic, a little less honest. Uh,

1939
01:55:21,360 --> 01:55:23,840
Speaker 1: I'll take you honest every time. He's a classic guy

1940
01:55:24,880 --> 01:55:27,120
Speaker 1: and uh man, I'll miss it down and look with

1941
01:55:27,160 --> 01:55:29,880
Speaker 1: that guy all day long. Appreciate you having us. Great,

1942
01:55:31,480 --> 01:55:35,280
Speaker 1: you got Dandalope someone calling uh the nor need to

1943
01:55:35,360 --> 01:55:37,480
Speaker 1: We don't need to tell people how to find Luke holmbs. No,

1944
01:55:37,840 --> 01:55:44,240
Speaker 1: just papagoo on it. Just hit scan and wait five minutes.

1945
01:55:44,800 --> 01:55:47,440
Speaker 1: There is you'll find it somewhere in the in the

1946
01:55:47,600 --> 01:55:52,200
Speaker 1: amidst the air waves. But uh, brothers hunt Isabel Brothers,

1947
01:55:52,360 --> 01:55:54,680
Speaker 1: laid out, laid off people to locate you. Yeah, we

1948
01:55:54,800 --> 01:55:57,760
Speaker 1: got a We're mainly probably based out of our instagram

1949
01:55:57,920 --> 01:56:00,400
Speaker 1: right now on Facebook and you can go check us

1950
01:56:00,440 --> 01:56:03,200
Speaker 1: out just Instagram. The Brothers Hunt, or Facebook the Brothers

1951
01:56:03,320 --> 01:56:05,280
Speaker 1: Hunt and tell people of the Brothers Hunt. We've been

1952
01:56:05,320 --> 01:56:08,920
Speaker 1: talking about the songwriting. Yeah, The Brothers Hunt started actually

1953
01:56:09,000 --> 01:56:11,560
Speaker 1: on a porch at our deer camp in West Tennessee,

1954
01:56:11,880 --> 01:56:15,120
Speaker 1: and and we were sitting there just kind of talking, um,

1955
01:56:15,560 --> 01:56:18,760
Speaker 1: kind of going over the scenarios of of what we

1956
01:56:18,920 --> 01:56:22,800
Speaker 1: do and and and how we're This affinity for hunting

1957
01:56:22,800 --> 01:56:25,200
Speaker 1: out west is becoming a thing for us and and

1958
01:56:25,240 --> 01:56:28,120
Speaker 1: our our dad. You know, he's such a fan of

1959
01:56:28,240 --> 01:56:30,080
Speaker 1: staying home and hunting the white tailed deer. It's his

1960
01:56:30,120 --> 01:56:33,400
Speaker 1: favorite thing. He has no passion about coming out here.

1961
01:56:33,480 --> 01:56:37,320
Speaker 1: No no, uh, um, what am I trying to say?

1962
01:56:38,080 --> 01:56:39,800
Speaker 1: No want to come out here to the West and hunt.

1963
01:56:40,240 --> 01:56:42,600
Speaker 1: And so we were we were sitting on uh, sitting

1964
01:56:42,600 --> 01:56:44,280
Speaker 1: on the porch just kind of talking about it, and

1965
01:56:44,600 --> 01:56:47,320
Speaker 1: decided that, you know, if we were gonna go for

1966
01:56:47,600 --> 01:56:49,080
Speaker 1: for this thing, that we were gonna go all in.

1967
01:56:49,480 --> 01:56:53,200
Speaker 1: And uh that was probably what five years ago, four

1968
01:56:53,280 --> 01:56:55,800
Speaker 1: or five years ago, and since then the Brothers Hunt.

1969
01:56:55,840 --> 01:56:58,280
Speaker 1: Brand Is is kind of always thought I was gonna

1970
01:56:58,280 --> 01:57:01,280
Speaker 1: have to choose between songwriting and maybe the Brothers Hunt

1971
01:57:01,320 --> 01:57:03,680
Speaker 1: one day. But tell Steve how many girlfriends you've lost

1972
01:57:04,000 --> 01:57:07,760
Speaker 1: over hunt. Yeah, every one of them except this one hopefully. Yeah.

1973
01:57:07,840 --> 01:57:10,800
Speaker 1: I mean literally two seasons gets them. Yeah, they can

1974
01:57:10,880 --> 01:57:13,040
Speaker 1: make it through like a turkey season because you're kind

1975
01:57:13,040 --> 01:57:14,720
Speaker 1: of in and out during the day. But then when

1976
01:57:14,800 --> 01:57:17,040
Speaker 1: a fall comes, they would always they would always break

1977
01:57:17,120 --> 01:57:20,560
Speaker 1: up with raid. Yeah for sure. Um. And so we

1978
01:57:20,720 --> 01:57:22,880
Speaker 1: we started talking about the idea of of this thing,

1979
01:57:23,000 --> 01:57:25,000
Speaker 1: and it got to the point where we wanted to,

1980
01:57:25,760 --> 01:57:28,920
Speaker 1: you know, showcase hunting in in an ethical way, in

1981
01:57:28,960 --> 01:57:30,960
Speaker 1: an ethical light, because we thought we were seeing a

1982
01:57:31,000 --> 01:57:34,480
Speaker 1: lot of hunting portrayed in Ah, the gripping grand we

1983
01:57:34,600 --> 01:57:36,960
Speaker 1: conquered this animal man and and and you know, we

1984
01:57:37,240 --> 01:57:40,400
Speaker 1: we we deserve to do this, and and we feel

1985
01:57:40,520 --> 01:57:43,640
Speaker 1: a different way and and the way we hunt more

1986
01:57:43,720 --> 01:57:48,440
Speaker 1: privileged rather than deserve it. And uh, honestly a lot

1987
01:57:48,520 --> 01:57:51,000
Speaker 1: of that was birth from being in the riding rooms.

1988
01:57:51,160 --> 01:57:53,520
Speaker 1: I'll never forget the prime example I have in this.

1989
01:57:53,680 --> 01:57:55,600
Speaker 1: We wrote with a guy from Australia. He's a good

1990
01:57:55,640 --> 01:57:57,200
Speaker 1: friend of mine, wouldn't mind me saying this. His name

1991
01:57:57,240 --> 01:58:01,400
Speaker 1: is Lindsay rhymes and uh, we're riding with an artist

1992
01:58:01,480 --> 01:58:04,040
Speaker 1: and the artist was just tripping over what he wanted

1993
01:58:04,080 --> 01:58:07,320
Speaker 1: to do. And I just could not get out of

1994
01:58:07,360 --> 01:58:09,520
Speaker 1: his own way right, And so finally I was like,

1995
01:58:09,640 --> 01:58:11,640
Speaker 1: all right, man, I'm gonna grab some lunch out of

1996
01:58:11,720 --> 01:58:15,240
Speaker 1: the out of the refrigerator in the in the break room.

1997
01:58:15,280 --> 01:58:17,880
Speaker 1: I'll be right back. And when I walked in, Lindsay

1998
01:58:18,000 --> 01:58:21,760
Speaker 1: was in there, and I broke out a little baggy

1999
01:58:22,000 --> 01:58:25,640
Speaker 1: that had I dice to tender loin and grilled it

2000
01:58:25,720 --> 01:58:27,960
Speaker 1: and so it was a little nice, neat little circles

2001
01:58:27,960 --> 01:58:30,200
Speaker 1: of dear tuner loin. Then when I broke it out,

2002
01:58:30,240 --> 01:58:32,800
Speaker 1: he went, oh, cookies and I was like, no, man, no,

2003
01:58:32,960 --> 01:58:35,960
Speaker 1: he's he's British. Well he's Australian. Was that no? No? No,

2004
01:58:36,040 --> 01:58:39,400
Speaker 1: that was good all right? So he goes, uh cookies

2005
01:58:39,520 --> 01:58:42,840
Speaker 1: and I said no man, I said, dude, this is

2006
01:58:43,120 --> 01:58:47,560
Speaker 1: dear tunlin. He was like, hey, go cookies. A yeah.

2007
01:58:48,200 --> 01:58:50,680
Speaker 1: He goes oh. I said, would you like one? He

2008
01:58:50,800 --> 01:58:52,760
Speaker 1: was like, no, no, mate, I buy my meat from

2009
01:58:52,800 --> 01:58:57,160
Speaker 1: the store. And so he didn't understand the concept of

2010
01:58:57,320 --> 01:59:01,440
Speaker 1: how you could take your own me eat and with

2011
01:59:02,000 --> 01:59:06,240
Speaker 1: a rifle or a bow and convert that into a

2012
01:59:06,360 --> 01:59:08,080
Speaker 1: meal that you might eat the next day at work.

2013
01:59:08,160 --> 01:59:10,720
Speaker 1: It didn't even compute. He said, I like my meat

2014
01:59:10,800 --> 01:59:13,520
Speaker 1: from the store, you know, and and reading I, we're

2015
01:59:13,560 --> 01:59:17,400
Speaker 1: talking about that you know it's safe, yeah exactly, And

2016
01:59:17,480 --> 01:59:19,240
Speaker 1: so reading I, we're talking about what we were like. Man,

2017
01:59:20,200 --> 01:59:22,480
Speaker 1: there are many people that we come into contact with

2018
01:59:23,000 --> 01:59:26,720
Speaker 1: that uh that don't understand, even even in the country

2019
01:59:26,800 --> 01:59:32,560
Speaker 1: music industry, that don't understand how how hunting translated lates

2020
01:59:32,600 --> 01:59:35,640
Speaker 1: into food. And once we said well maybe we can

2021
01:59:35,720 --> 01:59:39,160
Speaker 1: have we can use that platform, whether it be through

2022
01:59:39,200 --> 01:59:41,640
Speaker 1: our artist friends or just the success that we have

2023
01:59:42,160 --> 01:59:46,160
Speaker 1: and kind of helped turn people towards a more ethical

2024
01:59:46,240 --> 01:59:49,080
Speaker 1: and responsible way to enjoy the outdoors and to enjoy

2025
01:59:49,600 --> 01:59:54,040
Speaker 1: hunting specifically, UM and and and try to paint a

2026
01:59:54,160 --> 01:59:58,840
Speaker 1: little more accessible light on uh being able to to

2027
01:59:59,040 --> 02:00:02,880
Speaker 1: turn your fashions and you're and you're hunting into some

2028
02:00:03,200 --> 02:00:05,920
Speaker 1: some pretty damn nice table fair and and through that

2029
02:00:06,080 --> 02:00:08,960
Speaker 1: and through that filming that we were doing, and we

2030
02:00:09,040 --> 02:00:11,480
Speaker 1: started filming all our hunts and out west and putting them,

2031
02:00:11,560 --> 02:00:14,080
Speaker 1: you know, into thirty minute YouTube videos. We were doing

2032
02:00:14,160 --> 02:00:17,160
Speaker 1: that to to you know, what Dan's speaking to, but

2033
02:00:17,280 --> 02:00:21,600
Speaker 1: it turned into us getting comments on YouTube and messages

2034
02:00:21,640 --> 02:00:26,080
Speaker 1: on Facebook or Instagram about guys who who have lost

2035
02:00:26,120 --> 02:00:28,440
Speaker 1: touch with her brother or or or hunting buddy or

2036
02:00:28,480 --> 02:00:31,280
Speaker 1: a dad and and they loved watching me and Dan,

2037
02:00:31,960 --> 02:00:34,960
Speaker 1: you know, communicating the way we you know, we hunted together,

2038
02:00:35,080 --> 02:00:38,360
Speaker 1: and that the camaraderie that we had in camp, and

2039
02:00:38,560 --> 02:00:41,800
Speaker 1: we we just started getting tons of messages of guys going. Man,

2040
02:00:41,920 --> 02:00:44,840
Speaker 1: just from watching you guys, it's gonna make me reach

2041
02:00:44,920 --> 02:00:47,000
Speaker 1: out to my brother and and I'm gonna I'm gonna

2042
02:00:47,040 --> 02:00:48,360
Speaker 1: reach back out to him and I'm gonna try to

2043
02:00:48,360 --> 02:00:51,240
Speaker 1: get a trip because his balls and two years. Yeah,

2044
02:00:51,360 --> 02:00:53,960
Speaker 1: probably that's a lot of it. You have seen it. Man.

2045
02:00:54,000 --> 02:00:55,720
Speaker 1: We're pretty rough on each other, but I mean it's

2046
02:00:55,800 --> 02:00:58,800
Speaker 1: it's all I love and yeah, yeah, And that's that's

2047
02:00:58,840 --> 02:01:00,880
Speaker 1: become the coolest part of the us for for me

2048
02:01:01,360 --> 02:01:03,600
Speaker 1: is is being able just to do what we do,

2049
02:01:03,960 --> 02:01:06,360
Speaker 1: but but being able, just like a song man, to

2050
02:01:07,000 --> 02:01:09,400
Speaker 1: to speak to somebody you know, and and and try

2051
02:01:09,480 --> 02:01:12,760
Speaker 1: to try to maybe inspire someone to to get out

2052
02:01:12,800 --> 02:01:14,720
Speaker 1: there and do it a little more often, maybe do

2053
02:01:14,800 --> 02:01:18,360
Speaker 1: it with some some people you love. Uh. And then

2054
02:01:18,880 --> 02:01:21,120
Speaker 1: if they want to hear this is the hard part.

2055
02:01:21,240 --> 02:01:23,520
Speaker 1: That's the hard because you're a songwright and know people

2056
02:01:23,560 --> 02:01:25,200
Speaker 1: do you guys stuff, How do they hear? What if

2057
02:01:25,240 --> 02:01:28,040
Speaker 1: they want to go hear you do something. I mean

2058
02:01:28,080 --> 02:01:30,760
Speaker 1: they catch a show. Otherwise we kindly keep it locked up.

2059
02:01:31,360 --> 02:01:38,400
Speaker 1: Lunch pail man, lunch pill, lunch pilch Papa. Al Right, guys,

2060
02:01:38,440 --> 02:01:42,640
Speaker 1: it's fun man, than I've had such a good time

2061
02:01:44,480 --> 02:01:47,120
Speaker 1: for sure. We haven't laughed as much on a shoot

2062
02:01:47,240 --> 02:01:50,400
Speaker 1: and uh quite some time, long time. Yeah, we were

2063
02:01:50,400 --> 02:01:52,600
Speaker 1: talking about last night and you always coming into these

2064
02:01:52,720 --> 02:01:55,360
Speaker 1: camps or hunts, you don't know what to expect because

2065
02:01:55,360 --> 02:01:57,440
Speaker 1: you've never met these people and who you're hanging out with.

2066
02:01:57,600 --> 02:01:59,840
Speaker 1: And me and Toork talked about it, but there's not

2067
02:02:00,040 --> 02:02:02,680
Speaker 1: been best friends. But what's pulled apple? That's how five

2068
02:02:02,760 --> 02:02:05,080
Speaker 1: right now? They've been high five in a week because

2069
02:02:05,080 --> 02:02:07,200
Speaker 1: we'ven killing ghats with each other all week. I was

2070
02:02:07,240 --> 02:02:08,920
Speaker 1: tell him, I don't know, this is my this is

2071
02:02:08,960 --> 02:02:12,800
Speaker 1: my final concluder. Uh, I was tell him. I think

2072
02:02:12,840 --> 02:02:14,440
Speaker 1: I was sharing this with Luke the other day. I

2073
02:02:14,560 --> 02:02:18,520
Speaker 1: was saying, like, if Americans like one story, if they

2074
02:02:18,600 --> 02:02:22,400
Speaker 1: like to know what an asshole of celebrity is, the

2075
02:02:22,520 --> 02:02:26,200
Speaker 1: second favorite stories when they learned like how great celebrity

2076
02:02:26,280 --> 02:02:32,560
Speaker 1: really is that order. My wife's like, what are those

2077
02:02:32,560 --> 02:02:35,160
Speaker 1: guys are? Like? I said, man, these guys are great. Yeah,

2078
02:02:35,800 --> 02:02:39,360
Speaker 1: said She's like really like she was glad to hear it.

2079
02:02:42,240 --> 02:02:44,960
Speaker 1: She she wasn't like, oh, dude, I have to say,

2080
02:02:45,000 --> 02:02:46,400
Speaker 1: I have to say. I want you to tell me

2081
02:02:46,480 --> 02:02:51,560
Speaker 1: a story about the horrible Luke homes. She was really

2082
02:02:53,280 --> 02:02:55,960
Speaker 1: loves you, dude. Oh good, she loves the show. Shoot

2083
02:02:55,960 --> 02:03:08,600
Speaker 1: me your number. Man, She's gonna finch big fans. Man.

2084
02:03:08,760 --> 02:03:11,440
Speaker 1: I mean this is so cool for us, Dude, we're

2085
02:03:12,480 --> 02:03:17,000
Speaker 1: it's kind of kind of out of I can't. We

2086
02:03:17,160 --> 02:03:20,000
Speaker 1: kept saying that the whole way over. We were like, yeah, man,

2087
02:03:20,040 --> 02:03:23,560
Speaker 1: it it's almost been like a little shell shock because yeah,

2088
02:03:23,920 --> 02:03:28,480
Speaker 1: about Steve being a hardass when he came Dan Steve, Steve,

2089
02:03:30,640 --> 02:03:36,880
Speaker 1: they were like ghosted us us, he artists us for

2090
02:03:37,000 --> 02:03:45,800
Speaker 1: sure to work on manform. Listen, man, I I view

2091
02:03:45,880 --> 02:03:49,920
Speaker 1: it that you were guests, that we're trying to lay

2092
02:03:50,000 --> 02:03:53,400
Speaker 1: something out, and I was immediately very interested in just

2093
02:03:53,680 --> 02:03:57,600
Speaker 1: making getting the land land and everything's everything's good and

2094
02:03:57,720 --> 02:04:01,080
Speaker 1: lined up. It was so I got that, Okay, this

2095
02:04:01,200 --> 02:04:04,240
Speaker 1: is cool, everything's cool. Then I was I was ready

2096
02:04:04,280 --> 02:04:08,000
Speaker 1: to tell you about the southan what's really going on

2097
02:04:08,120 --> 02:04:10,160
Speaker 1: in the South. Great, I've had a great time on

2098
02:04:10,200 --> 02:04:12,120
Speaker 1: this trip. Last time, I was on the what was

2099
02:04:12,200 --> 02:04:15,000
Speaker 1: it the expensive podcast? The name of it when we

2100
02:04:15,120 --> 02:04:19,280
Speaker 1: announced the weather Be Media exactly, Yeah, and it was

2101
02:04:19,440 --> 02:04:23,280
Speaker 1: awesome to very expensive podcast, very expensive podcast episode. Yeah.

2102
02:04:23,320 --> 02:04:28,160
Speaker 1: So hell of a rock which and now a couple

2103
02:04:28,160 --> 02:04:31,080
Speaker 1: of months later, you guys all using that rifle down

2104
02:04:31,520 --> 02:04:35,640
Speaker 1: some great animal phenomenal ride for fun weeks. Dude, I'll

2105
02:04:35,680 --> 02:04:40,400
Speaker 1: hunt with that rifle for thanks for sending them to us.

2106
02:04:40,480 --> 02:04:44,400
Speaker 1: Appreciate you, Thanks for everything. Weather Be six five Media Edition.

2107
02:04:46,720 --> 02:04:52,720
Speaker 1: Drop a goat. That's tracks the third time? Read did it?

2108
02:04:53,120 --> 02:04:56,680
Speaker 1: That's right? Airball challenge dude? Read one, Dude, I shot

2109
02:04:56,800 --> 02:04:59,280
Speaker 1: dance gun. I was shooting high. It was shooting huh

2110
02:04:59,440 --> 02:05:03,720
Speaker 1: but my alright, let's go eat some Mandlodle's man. Thank you, hey,

2111
02:05:03,800 --> 02:05:05,520
Speaker 1: thank you guys for guys head blast