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Speaker 1: And then I got one email from a sixteen year

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Speaker 1: old girl after the song became really big, and she said,

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Speaker 1: I have a theory about your song closing Time, and

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Speaker 1: I know it's pretty crazy and if I'm wrong, just

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Speaker 1: forgive me.

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Speaker 2: But no way.

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Speaker 3: Yeah, welcome to episode five oh nine. Dan Wilson of Semisonic.

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Speaker 2: Closing Time, time to close the tours, and time to

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Speaker 2: close the stores. It's kind of it, huh almost.

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Speaker 3: Yeah, we've tried to get Dan. I've tried to get

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Speaker 3: Dan for a long time. The problem is Dan doesn't

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Speaker 3: live in Nashville, and I kind of didn't want to

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Speaker 3: do it over zoom because Dan is not only closing Time,

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Speaker 3: he's also a massive songwriter and has written so many songs.

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Speaker 3: And I guess I'll set it up with that. First

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Speaker 3: Semisonic has a tour, it's towed the Wet Sprocket Semisonic

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Speaker 3: sick pensing on the Richer. That's pretty legit though, because

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Speaker 3: sixpence on the richer.

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Speaker 2: Has closing time.

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Speaker 3: No, they have there she goes, you know what to

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Speaker 3: cover by the way. There she goes again, it's about

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Speaker 3: the laws. Yeah, La s Yeah, they'll let the accent

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Speaker 3: confuse you. Not the laws, like the but the Las.

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Speaker 3: But their biggest song is the one where kiss me

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Speaker 3: yeah walks she walks down there?

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Speaker 1: Right?

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Speaker 2: Is that that one that?

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Speaker 4: Yeah?

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Speaker 3: Yeah, underneaths Bob Beautiful Barley. Yeah, you know the words

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Speaker 3: better than I do. Uh yeah, that'd be a really

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Speaker 3: fun show to go. I would go to that show.

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Speaker 3: It sounds like you, yeah, the whole that whole show

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Speaker 3: sounds like me, Like that's like right in my wheelhouse.

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Speaker 1: Uh.

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Speaker 3: Dan also has a new instrumental album called good Night

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Speaker 3: Los Angeles, comes out May ninth. But again Semisonic for sure,

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Speaker 3: but he's a seven time Grammy nominee, a four time

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Speaker 3: Grammy winner, and then it's like a second life. It's

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Speaker 3: like he was reincarnated into something else amazing, except it

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Speaker 3: was the same person. And I didn't know why Semisonic stopped.

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Speaker 3: I knew they were what some people would consider a

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Speaker 3: one hit wonder because one song was massive. They'd other

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Speaker 3: songs did pretty well.

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Speaker 2: But because if.

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Speaker 3: One song's massive and you really don't meet that with

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Speaker 3: other massive song, you get labeled that even if you

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Speaker 3: had other hits that did pretty well. But SIMMISONI does

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Speaker 3: their thing and they quit, not because they weren't having

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Speaker 3: hits anymore. But he'll tell that story. I did not

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Speaker 3: know that, and it kind of sucks. It really sucked then,

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Speaker 3: but it kind of sucks. But then it put him

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Speaker 3: on this whole music thing where he's just writing songs.

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Speaker 3: He wrote for The Chicks, Not Ready to Make Nice

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Speaker 3: was that Song of the Year Grammys.

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Speaker 2: It was at least nominated.

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Speaker 3: Yeah, Album of the Year as a producer on Adele

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Speaker 3: or twenty one. Do you know why all Adell's records

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Speaker 3: are numbered her age?

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Speaker 1: Yep?

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Speaker 2: So you did know that? Or do you guess no?

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Speaker 4: I knew that?

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Speaker 3: Yeah, that's kind of cool. He won for Writing Best

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Speaker 3: Country Song for Chris Stapleton's White Horse, Best Song Written

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Speaker 3: for Visual Media for It Never Went Away. For Jon Batiste,

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Speaker 3: I could keep going and I'll go quickly. He James Bay.

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Speaker 3: These people he wrote with or wrote for, Celine Dion,

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Speaker 3: Meghan Trainer, Noah Syris, Christina Perry, vance Joy, tan Neil Towns,

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Speaker 3: Leon Bridges, Teddy Geiger, Jojo, the Chicks. Then it goes

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Speaker 3: back to Lion Bridges slain Down. It's just it's two pages.

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Speaker 3: It's of not Noah, Noah con James Bay Mike Posner,

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Speaker 3: John Legend, Josh grob and Steve Perry, Jason Moraz, Lean

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Speaker 3: Rhymes and Stevie Nicks, Nile Horn, Derk S Bentley, Weezer,

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Speaker 3: the Dude rights like, oh, there's a third page and

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Speaker 3: even that is like half of his Panic Panic at

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Speaker 3: the Disco, Harry Connick Jr. Chris Stapleton again, Taylor Swift,

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Speaker 3: pink Adele, I mean Adele, he wrote never mind that.

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Speaker 2: Is someone like you. You can't closing time every song

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Speaker 2: turds into that. Yeah.

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Speaker 3: Anyway, He's awesome and I was super pumped to be

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Speaker 3: able to sit down with them.

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Speaker 2: This is what we waited for. We were super happy.

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Speaker 3: Came to the studio and you can follow him at

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Speaker 3: Dan Wilson Music and now Here. He is Dan Wilson

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Speaker 3: of Semisonic Slash, one of the great writers of our day. Dan. First,

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Speaker 3: you have been a bit of a white will for

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Speaker 3: me as I've been trying to track you down for

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Speaker 3: a long time because I your story to me is

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Speaker 3: two different versions of what we do here is we

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Speaker 3: talked to a lot of songwriters and producers and creators

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Speaker 3: at times that people don't know unless somebody highlights them.

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Speaker 1: Yep.

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Speaker 3: And then also, you're the guy from Semisonic, which is

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Speaker 3: a whole different a whole different story. Does it feel

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Speaker 3: like two musical lives, like separated.

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Speaker 1: In time? Really, most of Semisonic happened before I started

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Speaker 1: earnestly writing songs for other people with other people. Even

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Speaker 1: though the band is still together and we do things

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Speaker 1: as much as we can, most of that happened before

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Speaker 1: two thousand and two, and then the co writing and

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Speaker 1: producing phase began around then and until now. So yes,

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Speaker 1: it does feel like two different lives.

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Speaker 3: I have a significant amount of friends, and I'm not

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Speaker 3: sure who you write with when you're in town, because

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Speaker 3: you're here, you're writing in town, right, Yeah. Yeah, that

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Speaker 3: their careers had a similar art they didn't have the

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Speaker 3: success that you had and the artist side, but they

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Speaker 3: came to be an artist, a frontman, and in one

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Speaker 3: way or another that IID realized they don't want to travel, right,

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Speaker 3: that the touring part is such a grind, or they

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Speaker 3: got dropped and they were like, you know what, I

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Speaker 3: don't have the tenacity to do what some of the

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Speaker 3: artists do and go get a third and fourth record deal,

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Speaker 3: or they're just like, you know, I don't think I'm

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Speaker 3: going to cut it as an artist. So I'm now

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Speaker 3: going to focus on what I started doing first, which

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Speaker 3: was songwriting. What version of that did your life play?

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Speaker 1: Well, it's sort of an almost like backwards or upside

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Speaker 1: down way. When I first came up, I played bass

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Speaker 1: in jazz bands, and I played a classical piano, and

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Speaker 1: I played guitar and thought about Carol King, but I

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Speaker 1: really just wanted to be in bands. And once I

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Speaker 1: had a band that was really good, I realized that

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Speaker 1: it needed songs, and so I would need to really

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Speaker 1: learn how to be a good songwriter. And that took

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Speaker 1: a long time for me to do. But it was

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Speaker 1: almost like got a band love to perform, I'm gonna

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Speaker 1: need to learn how to write. It just seemed It's

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Speaker 1: just seemed like the only way to go.

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Speaker 3: And where did you live because a lot of people

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Speaker 3: come here and there go oh, I'm not co written

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Speaker 3: before because they're in Nashville. You're in a room with

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Speaker 3: another person, sometimes two other people. Where did you learn

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Speaker 3: to write or did you just start writing by yourself?

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Speaker 3: And does it got better or worse?

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Speaker 2: Well?

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Speaker 1: I had I was really lucky because my brother Matt

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Speaker 1: was super into music, and we're only two years apart,

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Speaker 1: and he and I my parents gave us an acoustic

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Speaker 1: guitar as a joint present, so we shared this guitar

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Speaker 1: and we both learned all the chords together slowly, and

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Speaker 1: we both started writing songs together when I was like

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Speaker 1: fourteen and he was twelve or something, so we were

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Speaker 1: co writing from the beginning.

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Speaker 2: Was that in Minnesota?

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Speaker 1: In Minnesota? Yeah, I grew up in Minnesota.

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Speaker 3: And if your parents gave you a guitar, so music

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Speaker 3: in the house, because if you're classically trying, did they

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Speaker 3: have an influence on you learning to the next Because

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Speaker 3: I can play guitar, but I'm not that.

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Speaker 1: You know. My parents were loved music, but were not musicians.

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Speaker 1: My dad had been in like a duop quartet in

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Speaker 1: high school, so and they sounded okay. There was a

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Speaker 1: record that they made, but it wasn't an aspiration and

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Speaker 1: I don't think they thought we would become professional musicians

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Speaker 1: or anything like that.

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Speaker 2: At what stage of your life was it your thing

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Speaker 2: and you knew it was going to be your thing forever?

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Speaker 3: Like when I was like twelve, were you that kid?

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Speaker 3: And I guess that would be junior high. Were you

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Speaker 3: the music kid?

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Speaker 1: Yeah? Probably, Although I always made a lot of I

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Speaker 1: drew a lot of pictures. I got in a bunch

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Speaker 1: of trouble for the picture is a never for the music,

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Speaker 1: because I could make a really killer satirical cartoon of

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Speaker 1: a teacher of your teacher teachers. Yeah. So I would

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Speaker 1: sit in the back and draw pictures, and they eventually

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Speaker 1: got wise to me, and they would like stroll back

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Speaker 1: and see what I was drawing and pick it up

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Speaker 1: and take it away. Then I found out later they

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Speaker 1: kept them.

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Speaker 2: Am I crazy?

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Speaker 3: I think I've seen some of your lyrics sketches where

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Speaker 3: you do lyrics and drawings in the lyrics.

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Speaker 1: Yeah. Yeah, so that was I was either going to be.

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Speaker 1: Somebody asked me once at a party, if this music

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Speaker 1: thing doesn't work, what are you going to do with

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Speaker 1: your life? And I said, well, you know, I'll probably

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Speaker 1: be a painter and they said, you mean like paint houses?

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Speaker 1: What do you mean? I said, no, like a fine

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Speaker 1: art painter, And they laughed because that as a fallback career,

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Speaker 1: that was a pretty dumb idea too.

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Speaker 3: Yeah, the fallback is almost like as outrageous as the

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Speaker 3: first career. You know, So when you are finished in

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Speaker 3: high school? Did you again? If you're that trained, I'm

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Speaker 3: assuming you went to college to do music.

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Speaker 1: Yeah, well, no, not to do music. My parents got

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Speaker 1: me into the piano lessons because they thought. My dad said,

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Speaker 1: and this is kind of funny, my dad said to me,

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Speaker 1: you know, if you take piano lessons, then you get good.

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Speaker 1: You'll be at a party in high school and you'll

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Speaker 1: be able to play songs on the piano and everyone

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Speaker 1: will sing along. That was my dad's era. That was

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Speaker 1: nobody did that when I was growing up.

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Speaker 3: It still does feel like that though, Like I took

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Speaker 3: piano lessons as an adult, and that was much harder. Yeah,

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Speaker 3: And I was like, man, I'm going to just be somewhere,

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Speaker 3: be piano. I had the same thought that your dad

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Speaker 3: told you, and everybody's going to be so impressed. And

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Speaker 3: I never got to that stage. But I don't think

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Speaker 3: that theory actually has died yet. Does it happen? Almost never,

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Speaker 3: unless it's like Paul McCartney was playing at a party

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Speaker 3: when we hear how Paul and Taylor.

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Speaker 2: Are singing Charlie along.

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Speaker 3: I've actually never seen it now that I think about it,

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Speaker 3: where just someone dominates a party by getting on the

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Speaker 3: piano and surprising everyone.

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Speaker 1: I know. I think there's a scene in Rear Window

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Speaker 1: where one of the neighbors is a is a Broadway

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Speaker 1: songwriter and he always has parties where he's playing the

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Speaker 1: piano and everyone in the party is singing along. But

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Speaker 1: that's a movie obviously.

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Speaker 3: Yeah, that's much more of an even two and a

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Speaker 3: half Men thing where Charlie Sheen's playing the piano.

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Speaker 2: Yeah, and you're like, wow, look at that. Yeah. So

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Speaker 2: you go to Harvard, Yeah that's pretty cool.

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Speaker 1: Yeah.

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Speaker 3: Well yeah, because I'm assuming you were just extremely studious.

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Speaker 3: By even your actions the drawing and the music, I

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Speaker 3: assume that effort went into learning as well.

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Speaker 1: Yeah, I just you know, it was It was a

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Speaker 1: dutiful first son. But also I was super enthused about things.

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Speaker 1: So I had a job or kind of a freelance

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Speaker 1: life in high school making cartoons for magazines around Minneapolis

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Speaker 1: and Saint Paul's. That's pretty crazy, and some of them

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Speaker 1: are pretty good, the illustrations. And my parents when I

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Speaker 1: applied to colleges, they advised me to make a portfolio

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Speaker 1: of the cartoons that I made, send it along with

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Speaker 1: the applications, and so I think that's probably why I

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Speaker 1: got into Harvard, because I had straight a's and high

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Speaker 1: test scores and also was a crazy cartoonist.

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Speaker 3: And like found a way to stick out as Yeah,

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Speaker 3: it sounds like they're going to see ten thousand versions

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Speaker 3: of The Perfect Student. Yeah whatever, those finger quotes are right,

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Speaker 3: But it was a way to stand out. So you

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Speaker 3: drew this stuff in the packet or on the application?

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Speaker 3: What did you do the drawings.

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Speaker 1: Made of sent a little Manila envelope full of xerox

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Speaker 1: copies of the pictures that I'd published, you know, like

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Speaker 1: twenty of them or something like that.

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Speaker 3: Yeah, how to let you in even with mid grades

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Speaker 3: if they were to come up. And dag good, that's

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Speaker 3: super cool. Had anyone in your family been to Harvard.

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Speaker 1: My dad had had gone to Dartmouth and he went

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Speaker 1: to Harvard Medical School, So I guess I was a

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Speaker 1: legacy to some degree.

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Speaker 3: So to you, your dad showed you it could be done. Yeah,

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Speaker 3: of course, yes, yes, that's cool.

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Speaker 1: Yeah it was. It was It was a possibility that

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Speaker 1: was real.

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Speaker 3: And you get to Harvard and are you when you're

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Speaker 3: I've spent a lot of time not actually at Harvard,

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Speaker 3: but in that area of the country and you're up

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Speaker 3: in your boss Are you playing? Are you learning to

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Speaker 3: play up there? Are you playing shows? When do you

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Speaker 3: start actually playing? When do you decide you're going to

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Speaker 3: go out and do clubs and stuff.

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Speaker 1: Well, when I was a freshman in college, I I

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Speaker 1: met some guys and not from not from Harvard, who

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Speaker 1: had a band that I thought was really cool, and

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Speaker 1: they asked me to play bass. So I was doing

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Speaker 1: gigs already, one or two weekend nights if we could

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Speaker 1: do it in Boston.

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Speaker 3: Were you like a kid looking to play bass somewhere?

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Speaker 3: Did you have like a post like pill off?

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Speaker 1: And I would have If I hadn't met those guys,

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Speaker 1: I would have. I would have.

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Speaker 3: How did you even get in the same situation as

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Speaker 3: these other musicians you weren't school with.

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Speaker 1: Well, I saw an ad that they put up. It

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Speaker 1: was two guys who went to Berkeley and two other

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Speaker 1: guys who were just musicians. I can't remember what they

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Speaker 1: were set up.

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Speaker 3: Was my assumption is if they went to Berkeley, they

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Speaker 3: were high level musicians.

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Speaker 1: Yeah, these guys were really good.

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Speaker 2: And so for you to jump into that you had

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Speaker 2: to also be pretty good.

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Speaker 1: I was pretty good on the base, and I showed

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Speaker 1: up rehearsal on time, and you know the basics. But

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Speaker 1: we were gigging right away freshman year, and then I

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Speaker 1: just really never stopped. And I remember, it's funny. I

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Speaker 1: went to a ten year college reunion and maybe this point, yeah,

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Speaker 1: maybe a fifteen year I can't remember what it was,

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Speaker 1: but I already had a couple of medium hits with

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Speaker 1: Semisnic and and all these people at my reunion said, so,

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Speaker 1: how come we never saw you? Like, why did we

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Speaker 1: never meet? Like this happened over and over and over again,

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Speaker 1: and I realized that I was just never on the

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Speaker 1: scene socially. I didn't go to any parties. I was

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Speaker 1: always out doing gigs.

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Speaker 2: Were you gigging you have to drive a few hours gigging?

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Speaker 3: Or was it all since there were so many places

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Speaker 3: in near Boston, Like, were you actually traveling a bit?

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Speaker 1: We would we would get in a van and you know,

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Speaker 1: a cargo van, and six of us drive up to

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Speaker 1: you know, the on the coast. It was usually on

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Speaker 1: the coast of Massachusetts. But we'd go, you know, an

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Speaker 1: hour or two hours away.

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Speaker 2: And what was this band?

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Speaker 1: This this band was called Animal Dance.

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Speaker 3: Did any of those folks and animal dance turn into

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Speaker 3: any of the people in Semisonic.

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Speaker 1: My brother Matt was in that band, and Matt and

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Speaker 1: I started a band after that called Trip Shakespeare, and

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Speaker 1: then I started Semi Sonic with the bassist of Trip

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Speaker 1: Shakespeare and me and a drummer friend.

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Speaker 3: What about Semisonic was different than Trip Shakespeare or the

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Speaker 3: band before that, or was it people just attritionan like life,

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Speaker 3: attrition of life and people were changing?

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Speaker 1: Not really, Well, my brother was Matt was the leader

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Speaker 1: of Trip Shakespeare, and we had traveled. We had toured

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Speaker 1: for eight years or something like that, and everybody was

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Speaker 1: medium burned out on it, I think, and he wanted

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Speaker 1: to take a break from the band, so we just

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Speaker 1: stopped playing. And we had been extremely like I don't know,

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Speaker 1: we were like essentially a jazz a jam band, not

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Speaker 1: a jazz band, a jam band, and we would practice

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Speaker 1: every day, but you'd think it was aimless because we

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Speaker 1: would just jam all day long, like five days a week,

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Speaker 1: and so then at our shows we'd learn our songs

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Speaker 1: and then we had just turned them into crazy, lengthy,

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Speaker 1: druggy freak outs.

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Speaker 3: Would some of those songs be writing sessions though? Like

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Speaker 3: some of the jamming, would that be writing sessions?

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Speaker 1: Then they would lead to songs. Yeah. Yeah, especially if

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Speaker 1: something really really special happened and it felt like we

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Speaker 1: all could remember it, then that would turn into a song,

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Speaker 1: you know.

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Speaker 3: And with Semisonic and you're the singer, it was just

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Speaker 3: the first time that you said, Hey, I'm gonna be

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Speaker 3: the guy. Was that a desire of yours to now

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Speaker 3: move up front? I? I, yeah, I it was never

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Speaker 3: my dream to be a celebrity or anything like that,

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Speaker 3: but I did want to sing for people, and I.

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Speaker 1: Trip Shakespeare was like one way, Like we were extremely

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Speaker 1: dedicated and we worked really really hard. And also the

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Speaker 1: music we made was kind of wild and especially live,

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Speaker 1: and I had always wanted to do things that were

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Speaker 1: more like aligned with the charts that were because that's

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Speaker 1: what I always listened to, was like pop music. So

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Speaker 1: when we started Semi Sonic, I told the guys John

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Speaker 1: and Jacob that I had some principles I'd like to

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Speaker 1: to use. And you know what, do you guys think?

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Speaker 1: The principles were? Life is more important than music. You know,

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Speaker 1: if we're having like a quarrel, or if we're if

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Speaker 1: we're if someone's just really bummed out and can't play

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Speaker 1: their instrument and wants to go to the bar. We're

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Speaker 1: not going to rehearse. We're not going to apply ourselves.

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Speaker 1: We're just going to go hang out. That was one thing.

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Speaker 1: Second thing was if it's not good within an hour

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Speaker 1: or so a song, if it doesn't sound great within

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Speaker 1: an hour or some of us trying it, I'll go

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Speaker 1: back and write another song. We're not going to torture

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Speaker 1: ourselves to get something to sound good, because usually it's

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Speaker 1: a song's fault. That's my opinion. And then the third

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Speaker 1: thing was if I can be the last word on

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Speaker 1: all things, I'll be collaborative, but we'll have a guiding

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Speaker 1: principle and I'll and I'll be a decided the deciding vote,

359
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Speaker 1: and we're gonna split everything we earn from the band

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Speaker 1: equally three ways.

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Speaker 3: Was that even the publishing the writing part, could you

362
00:17:39,200 --> 00:17:41,480
Speaker 3: guys wrote everything together or even if you didn't. Even

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Speaker 3: if you didn't, it was still gonna be split. Yep,

364
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Speaker 3: their names were on it. Nope, so I would just

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Speaker 3: pay I'll honor code big time.

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Speaker 1: It wasn't. Yeah, we didn't really write it down, but

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Speaker 1: I mean it did seem like I had agreed to it,

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Speaker 1: and it's you know, it's when then. And also, I

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Speaker 1: don't know, once once you start earning good money for music,

370
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Speaker 1: you can say, yeah, I'm going to need three times

371
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Speaker 1: as much as this, But I don't know, do you

372
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Speaker 1: really like it? Doesn't it? I'd rather not burn two

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Speaker 1: of the most important friendships in my life to have

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Speaker 1: a little more money.

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Speaker 2: And also a trio probably makes it a bit easier too.

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Speaker 3: Yeah, well, if it was seventy five or six people

377
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Speaker 3: person band, and if you're.

378
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Speaker 2: Doing all the work, oh, I won't imagine that.

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Speaker 1: Oh you're revealing me to have it. That's a line

380
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Speaker 1: I would draw a lineup. Yeah.

381
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Speaker 3: I was watching a story on something corporate at the

382
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Speaker 3: band and they're touring now, and they were talking about

383
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Speaker 3: ticket prices and the guy had he'd blocked out the show.

384
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Speaker 3: But the lead singers on the corporate was like, look

385
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Speaker 3: at this, this is where all the money goes. And

386
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Speaker 3: he's like, okay, so our guarantee is this, And when

387
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Speaker 3: it was all boiled down with all the added fees

388
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Speaker 3: and venue and traveling, he's like, we're each making about

389
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Speaker 3: seven thousand dollars a night on a one hundred thousand

390
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Speaker 3: dollars guarantee fully sold out show because and they still

391
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Speaker 3: they split the money least still, which that just reminded

392
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Speaker 3: me of that because I still I liked that that

393
00:19:06,520 --> 00:19:09,560
Speaker 3: the band still after their success and they're still touring

394
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Speaker 3: really well. The bass player and the singer are making

395
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Speaker 3: the same amount of money, and I think that's probably

396
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Speaker 3: an agreement the head way early that they're still holding

397
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Speaker 3: on to today, which I think makes the band fundamentally

398
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Speaker 3: better too, right, I think everything is based so they

399
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Speaker 3: agreed fundamentally that you are the guy and that's the

400
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Speaker 3: reason that you guys are doing. So how was the

401
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Speaker 3: band different than musically?

402
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Speaker 1: Like then what happens, Well, it's a trio and it's

403
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Speaker 1: me playing guitar, and it's and the things I liked

404
00:19:40,960 --> 00:19:45,440
Speaker 1: at the time were kind of loud riff rock, and

405
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Speaker 1: so we were much more focused on just sort of

406
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Speaker 1: powerful loud rock all the time.

407
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Speaker 2: Were you focused on like bigger hooks, like hookier songs.

408
00:20:00,040 --> 00:20:02,560
Speaker 1: Well, I naturally would gravitate towards that anyway, But yeah,

409
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Speaker 1: we definitely. I mean every band has a sort of

410
00:20:07,720 --> 00:20:11,760
Speaker 1: range of you know, positions that people take, Like like

411
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Speaker 1: I was always willing to do the hookiest, kind of

412
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Speaker 1: possibly corniest thing you know musically and try it out.

413
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Speaker 1: And then Jacob the drummer had usually was a pretty

414
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Speaker 1: good barometer of taste. And then John, our bass player,

415
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Speaker 1: has always been like the coolest guy in the room,

416
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Speaker 1: and it is very as a real His cheese meter

417
00:20:38,160 --> 00:20:41,120
Speaker 1: is very sensitive, so if it's cheesy, he's like, no,

418
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Speaker 1: I refuse, we can't do that, or I hate this

419
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Speaker 1: or whatever. So between us, I would probably be the

420
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Speaker 1: one trying to write something that everybody can sing along to.

421
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Speaker 1: And sometimes when you swing like that, you end up

422
00:20:54,320 --> 00:20:57,520
Speaker 1: with something pretty hokey, you know, So I they would

423
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Speaker 1: be there to kind of say, not not cool.

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Speaker 3: Did you guys move to Los Angeles or like form

425
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Speaker 3: ish in Los Angeles?

426
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Speaker 1: No? We we. John grew up in Saint Paul. I

427
00:21:11,680 --> 00:21:16,200
Speaker 1: grew up in Minneapolis. Jacob moved to Minneapolis several years

428
00:21:16,200 --> 00:21:19,600
Speaker 1: before we started the band, and we stayed in Minneapolis.

429
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Speaker 1: And the reason we stayed in Minneapolis, I'm pretty sure

430
00:21:22,320 --> 00:21:24,879
Speaker 1: is because Prince was there at the same time and

431
00:21:25,000 --> 00:21:27,680
Speaker 1: his whole empire was out in the suburbs in Minnetonka.

432
00:21:29,240 --> 00:21:32,359
Speaker 1: He didn't move to La until I don't know it

433
00:21:32,400 --> 00:21:36,680
Speaker 1: was the two thousands. Maybe you know he was in Minneapolis,

434
00:21:36,880 --> 00:21:39,680
Speaker 1: bringing all the business to him, bringing the producers to him,

435
00:21:39,960 --> 00:21:43,160
Speaker 1: bringing all the talent to him, and sending music out

436
00:21:43,240 --> 00:21:46,240
Speaker 1: to LA from Minneapolis. And we just like you said

437
00:21:46,240 --> 00:21:50,080
Speaker 1: about my dad at Harvard, Prince made it seem possible

438
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Speaker 1: for us to stay at home and be part of

439
00:21:52,640 --> 00:21:54,320
Speaker 1: a scene there and be with the people we loved

440
00:21:54,359 --> 00:21:56,760
Speaker 1: and also have a chance at reaching a broad audience.

441
00:21:56,960 --> 00:21:58,600
Speaker 2: When did you guys decide you wanted to pursue a

442
00:21:58,640 --> 00:22:01,119
Speaker 2: record deal or did they come after you because you

443
00:22:01,119 --> 00:22:01,920
Speaker 2: were againness in traction?

444
00:22:02,920 --> 00:22:05,960
Speaker 1: Uh? Trip Shakespeare, the band before Semi Sonic, had been

445
00:22:06,000 --> 00:22:09,720
Speaker 1: on A and M records, so we were a known

446
00:22:10,560 --> 00:22:13,120
Speaker 1: and we probably that that Trip Shakespeare was a band.

447
00:22:13,119 --> 00:22:16,080
Speaker 1: Where like if I even now, I run into musicians

448
00:22:16,080 --> 00:22:19,080
Speaker 1: in LA who were at our shows at the time,

449
00:22:19,240 --> 00:22:22,080
Speaker 1: even now, which is crazy to me, but I never

450
00:22:22,600 --> 00:22:24,520
Speaker 1: run into a member of the general public who was

451
00:22:24,520 --> 00:22:27,199
Speaker 1: at a Trip Shakespeare show. You know, it was all musicians.

452
00:22:27,560 --> 00:22:32,320
Speaker 1: But that so the the industry is the same way,

453
00:22:32,440 --> 00:22:34,679
Speaker 1: like they go to the people in the music industry

454
00:22:34,720 --> 00:22:36,280
Speaker 1: go to shows they like, they love the stuff. So

455
00:22:36,840 --> 00:22:38,680
Speaker 1: they had a lot of them had seen Trip Shakespeare

456
00:22:38,720 --> 00:22:40,919
Speaker 1: and oh Dan Wilson studying a new band, you know,

457
00:22:41,760 --> 00:22:44,800
Speaker 1: we're curious. So there was already there was. There was

458
00:22:44,880 --> 00:22:50,240
Speaker 1: interest really early and us getting a record deal, and

459
00:22:50,280 --> 00:22:53,199
Speaker 1: it was kind of a you could really be a

460
00:22:53,240 --> 00:22:57,119
Speaker 1: band it only rehearsed in your garage and toured, you know,

461
00:22:57,200 --> 00:22:59,640
Speaker 1: for four years or whatever, and get a big record deal.

462
00:22:59,640 --> 00:23:02,000
Speaker 2: At that time time it was if the right person

463
00:23:02,040 --> 00:23:02,960
Speaker 2: saw you, if the right.

464
00:23:02,840 --> 00:23:04,880
Speaker 1: Person saw you, or if you just got some sort

465
00:23:04,880 --> 00:23:09,920
Speaker 1: of regional radio. It's different now. What was like the

466
00:23:09,960 --> 00:23:11,960
Speaker 1: way TikTok is now?

467
00:23:12,000 --> 00:23:14,840
Speaker 3: So what was the first single that you guys? Did

468
00:23:14,840 --> 00:23:16,200
Speaker 3: you cut a single or did you cut a bunch

469
00:23:16,200 --> 00:23:16,679
Speaker 3: of songs?

470
00:23:16,680 --> 00:23:17,000
Speaker 2: First?

471
00:23:17,440 --> 00:23:23,560
Speaker 1: We did a tape of four songs and we sent it.

472
00:23:23,640 --> 00:23:29,840
Speaker 1: We sold it to fans, and we sent it to

473
00:23:30,119 --> 00:23:32,520
Speaker 1: radio stations, and a couple of radio stations played the

474
00:23:32,800 --> 00:23:34,119
Speaker 1: I said tape on the radio.

475
00:23:34,800 --> 00:23:36,720
Speaker 2: Any of the songs that ended up being big for

476
00:23:36,800 --> 00:23:37,400
Speaker 2: you guys.

477
00:23:37,880 --> 00:23:39,800
Speaker 1: Uh, yeah, one of them. There was a song called

478
00:23:39,920 --> 00:23:45,879
Speaker 1: FNT Fascinating New Thing, and that ended up getting played

479
00:23:45,920 --> 00:23:51,119
Speaker 1: by in its early demo form in Minneapolis and in

480
00:23:51,160 --> 00:23:55,520
Speaker 1: the Midwest, you know, in different different stations and then

481
00:23:55,600 --> 00:24:00,680
Speaker 1: that was Yeah, that song came out on our first

482
00:24:00,720 --> 00:24:08,400
Speaker 1: album and ended up in a movie and it did

483
00:24:08,400 --> 00:24:09,600
Speaker 1: a lot. It had a long life.

484
00:24:09,600 --> 00:24:12,560
Speaker 5: Actually, let's take a quick pause for a message from

485
00:24:12,560 --> 00:24:24,280
Speaker 5: our sponsor, and we're back on the Bobby Cast.

486
00:24:24,840 --> 00:24:28,639
Speaker 3: So what's the story, because everybody there's always not always

487
00:24:28,640 --> 00:24:29,840
Speaker 3: most of the times it's like, oh, it was a

488
00:24:29,920 --> 00:24:31,760
Speaker 3: last song added, or we never thought it was gonna

489
00:24:31,800 --> 00:24:35,359
Speaker 3: be good, or it wasn't. It was misinterpret what's the

490
00:24:35,400 --> 00:24:38,879
Speaker 3: story on Closing Time? Like was it the last song?

491
00:24:39,160 --> 00:24:40,240
Speaker 3: Was it the first song?

492
00:24:41,600 --> 00:24:49,040
Speaker 1: Closing Time? So send me Sonic. We make our first album.

493
00:24:49,640 --> 00:24:53,639
Speaker 1: It gets a lot of critical praise, major label, was

494
00:24:53,640 --> 00:24:56,639
Speaker 1: the first major label. It gets a lot of critical praise.

495
00:24:57,560 --> 00:24:59,760
Speaker 1: It's called Great Divide because we we did half of

496
00:24:59,760 --> 00:25:02,320
Speaker 1: it in Minneapolis and half of it in Los Angeles,

497
00:25:02,680 --> 00:25:05,560
Speaker 1: so we would always go over the Continental Divide to

498
00:25:06,000 --> 00:25:08,440
Speaker 1: work on the record, back and forth. So we did

499
00:25:08,680 --> 00:25:10,800
Speaker 1: Great Divide. It got a lot of great press that

500
00:25:10,840 --> 00:25:12,640
Speaker 1: we got a lot of great reviews. All the museohs

501
00:25:12,720 --> 00:25:15,439
Speaker 1: liked it once again. But I had thought it had

502
00:25:15,520 --> 00:25:21,160
Speaker 1: hits on it and it didn't. It had some sort

503
00:25:21,160 --> 00:25:23,359
Speaker 1: of songs that got on the radio, but the people,

504
00:25:24,880 --> 00:25:27,399
Speaker 1: the general public didn't respond to it. Really.

505
00:25:27,520 --> 00:25:29,840
Speaker 3: Do you think, though, not to interrupt you, but before

506
00:25:29,840 --> 00:25:31,400
Speaker 3: you move on, do you think, listening back to that now,

507
00:25:31,440 --> 00:25:32,720
Speaker 3: you still think it has hits on it? Or do

508
00:25:32,720 --> 00:25:35,120
Speaker 3: you think the version of you then thought it because

509
00:25:35,160 --> 00:25:35,960
Speaker 3: you had just done it.

510
00:25:36,080 --> 00:25:39,280
Speaker 1: I think it was pretty wiggly. I think it had

511
00:25:41,480 --> 00:25:45,200
Speaker 1: it had too much going on much of the time.

512
00:25:46,040 --> 00:25:48,280
Speaker 1: So it was like because we had come out of

513
00:25:48,359 --> 00:25:50,840
Speaker 1: Trip Shakespeare, which was like the ultimate band of too

514
00:25:50,880 --> 00:25:55,119
Speaker 1: much going on all the time, So it was we

515
00:25:55,119 --> 00:25:58,200
Speaker 1: were still kind of settling down into a kind of

516
00:25:58,240 --> 00:26:01,639
Speaker 1: simplicity that I was seeking. So yeah, in retrospect, that

517
00:26:01,720 --> 00:26:08,800
Speaker 1: first Semisonic album was not simple enough in the right way.

518
00:26:09,320 --> 00:26:11,280
Speaker 2: And when you took that, what was that feed was

519
00:26:11,320 --> 00:26:13,560
Speaker 2: that feedback to you that was no?

520
00:26:13,560 --> 00:26:14,320
Speaker 1: Nobody told me that?

521
00:26:14,680 --> 00:26:17,359
Speaker 2: Okay, then why this next record was different?

522
00:26:17,400 --> 00:26:17,600
Speaker 3: Though?

523
00:26:18,119 --> 00:26:21,280
Speaker 1: The strange part was that I had thought that Great

524
00:26:21,320 --> 00:26:23,840
Speaker 1: Divide was full of hits, and then it was like

525
00:26:23,880 --> 00:26:30,080
Speaker 1: a critical smash, but not a hit, and so I

526
00:26:30,200 --> 00:26:32,919
Speaker 1: was kind of taken aback by that, and I decided

527
00:26:32,960 --> 00:26:34,520
Speaker 1: that our next album was just going to be an

528
00:26:34,640 --> 00:26:37,240
Speaker 1: art project and I wasn't going to think about hits.

529
00:26:38,480 --> 00:26:42,320
Speaker 1: But at that at that point, I was like I

530
00:26:42,359 --> 00:26:44,919
Speaker 1: was on fire as a writer. I was, so I

531
00:26:44,920 --> 00:26:49,800
Speaker 1: wrote sixty songs for Feeling Strangely Fine the next album,

532
00:26:50,320 --> 00:26:53,280
Speaker 1: and a lot of them were good, and there were

533
00:26:53,320 --> 00:26:55,920
Speaker 1: a couple that everybody in the in the band just oh, yeah,

534
00:26:55,920 --> 00:26:58,440
Speaker 1: we gotta do this, we gotta do this. We gravitated

535
00:26:58,480 --> 00:27:02,679
Speaker 1: to our favorites pretty quickly, and Closing Time was kind

536
00:27:02,720 --> 00:27:04,119
Speaker 1: of in the middle of the batch, when I had

537
00:27:04,119 --> 00:27:06,159
Speaker 1: probably written thirty of the songs. I was doing a

538
00:27:06,200 --> 00:27:10,080
Speaker 1: song every day, and I would once or twice a week,

539
00:27:10,119 --> 00:27:12,000
Speaker 1: I'd go over to John's house, and John and Jake

540
00:27:12,000 --> 00:27:14,480
Speaker 1: and I would make a really simple demo like what

541
00:27:14,600 --> 00:27:18,080
Speaker 1: in Nashville you'd call it work tape, just acoustic guitar

542
00:27:18,160 --> 00:27:27,320
Speaker 1: and singing. And in the batch of songs that we

543
00:27:27,400 --> 00:27:30,000
Speaker 1: kind of weeded it down to like fifteen songs that

544
00:27:30,119 --> 00:27:32,399
Speaker 1: just sounded like work tapes. So we didn't do demos really,

545
00:27:35,240 --> 00:27:39,080
Speaker 1: and Closing Time was one song that people when they

546
00:27:39,119 --> 00:27:42,280
Speaker 1: heard that demo, people would say, whoa whatever are you're

547
00:27:42,320 --> 00:27:44,640
Speaker 1: doing there? You need to make more songs like that.

548
00:27:45,000 --> 00:27:48,359
Speaker 2: Did you feel like that was a simple song, like

549
00:27:48,400 --> 00:27:50,200
Speaker 2: what was your feeling about the song in comparison to

550
00:27:50,200 --> 00:27:51,879
Speaker 2: the other stuff you were writing and the last record

551
00:27:51,920 --> 00:27:52,200
Speaker 2: you did.

552
00:27:53,080 --> 00:27:58,679
Speaker 1: I I wasn't really com I wasn't comparing, and I

553
00:27:58,840 --> 00:28:04,520
Speaker 1: definitely didn't think that Closing Time was going to be

554
00:28:04,600 --> 00:28:10,440
Speaker 1: an international smash that still is played twenty five years later. No,

555
00:28:11,400 --> 00:28:12,879
Speaker 1: but I knew it was good and I thought it

556
00:28:12,920 --> 00:28:16,960
Speaker 1: was going to be. And it's sort of it was

557
00:28:17,000 --> 00:28:18,960
Speaker 1: about our lives, you know. It was about bar time.

558
00:28:19,040 --> 00:28:22,359
Speaker 1: We had been I had been on tour at this

559
00:28:22,440 --> 00:28:27,040
Speaker 1: point for nine years or ten years in the nightclubs

560
00:28:27,080 --> 00:28:30,800
Speaker 1: of the Midwest and hopefully the coasts, you know, So

561
00:28:31,560 --> 00:28:36,000
Speaker 1: it was it was just about our lives. So I

562
00:28:36,000 --> 00:28:38,080
Speaker 1: didn't really have an objectivity about it. But I knew

563
00:28:38,120 --> 00:28:40,320
Speaker 1: it was really really good, and I knew that it fit.

564
00:28:40,400 --> 00:28:44,040
Speaker 1: I had this scheme. I told Jacob our drummer that

565
00:28:45,600 --> 00:28:49,640
Speaker 1: what I really love is like Carol King, Paul Simon,

566
00:28:51,800 --> 00:28:54,760
Speaker 1: James Taylor, like all the music that I heard when

567
00:28:54,760 --> 00:28:57,960
Speaker 1: I was nine. I really still loved it, and I

568
00:28:58,040 --> 00:28:59,720
Speaker 1: just wanted to write songs that could live up to

569
00:28:59,800 --> 00:29:03,120
Speaker 1: that standard and then we would play them really loud,

570
00:29:03,800 --> 00:29:05,680
Speaker 1: whatever they were. So I would try my best to

571
00:29:05,720 --> 00:29:08,480
Speaker 1: write a Carol King song, and then in rehearsal we

572
00:29:08,600 --> 00:29:11,440
Speaker 1: just play it as loud as we could, and some

573
00:29:11,520 --> 00:29:14,760
Speaker 1: of them, you know, sucked in that form, and we

574
00:29:14,800 --> 00:29:16,640
Speaker 1: just would drop those songs. But some of them sounded

575
00:29:16,680 --> 00:29:19,040
Speaker 1: great in that form. And Closing Time is a really

576
00:29:19,080 --> 00:29:21,400
Speaker 1: good busker song. You can play it on a street corner.

577
00:29:21,880 --> 00:29:24,320
Speaker 3: Was it, you said, Barr? Because I've heard nine different

578
00:29:24,360 --> 00:29:26,440
Speaker 3: theories of what the song's actually about. I feel like

579
00:29:26,480 --> 00:29:28,240
Speaker 3: the two songs that have the most theories are ben Falls,

580
00:29:28,320 --> 00:29:30,360
Speaker 3: Vive Brick and Closing Time, because if you just go

581
00:29:30,400 --> 00:29:33,480
Speaker 3: in enough places, there are enough theories about the song, right,

582
00:29:33,520 --> 00:29:34,520
Speaker 3: So what is it about?

583
00:29:35,320 --> 00:29:39,680
Speaker 1: Another of my little I get on these kicks where

584
00:29:39,720 --> 00:29:44,440
Speaker 1: I have something that I think is the guiding principle

585
00:29:44,440 --> 00:29:46,920
Speaker 1: of everything. So, at the time I was writing for

586
00:29:47,000 --> 00:29:49,440
Speaker 1: Feeling Strange to Find, I had this guiding principle that

587
00:29:49,480 --> 00:29:52,600
Speaker 1: all the lyrics, every line of lyrics should have two

588
00:29:52,800 --> 00:29:57,560
Speaker 1: kind of plausible meanings. I didn't want any lines of

589
00:29:57,600 --> 00:30:03,840
Speaker 1: the lyrics to be just one simple, straightforward meaning. So

590
00:30:04,160 --> 00:30:06,640
Speaker 1: when I was writing Closing Time, I actually thought I

591
00:30:06,680 --> 00:30:09,800
Speaker 1: was writing a straightforward song. About halfway through, I thought, well,

592
00:30:09,840 --> 00:30:13,280
Speaker 1: this is literally it's just about who were going to

593
00:30:13,320 --> 00:30:15,120
Speaker 1: hook up with at the end of the night when

594
00:30:15,160 --> 00:30:19,120
Speaker 1: they turn on the lights. And then I At the

595
00:30:19,120 --> 00:30:23,320
Speaker 1: same time, my wife and I were expecting our first child,

596
00:30:23,480 --> 00:30:27,160
Speaker 1: and so I was thinking about fatherhood, I was thinking

597
00:30:27,160 --> 00:30:29,520
Speaker 1: about birth. I was thinking about that a lot. And

598
00:30:29,600 --> 00:30:32,240
Speaker 1: halfway through the song, I was just like, oh my gosh,

599
00:30:32,240 --> 00:30:35,120
Speaker 1: this could totally be about being born. This could totally

600
00:30:35,120 --> 00:30:39,520
Speaker 1: be about getting bounced from the womb, you know. And

601
00:30:40,760 --> 00:30:43,960
Speaker 1: at that point I didn't change any of the words,

602
00:30:44,000 --> 00:30:46,640
Speaker 1: just all the words open all the doors and let

603
00:30:46,680 --> 00:30:49,480
Speaker 1: you out into the world, turn all the lights on

604
00:30:49,560 --> 00:30:51,760
Speaker 1: over every boy and every girl. Like there's certain things

605
00:30:51,760 --> 00:30:53,800
Speaker 1: about it, boy and girl like these this is about

606
00:30:53,800 --> 00:30:55,760
Speaker 1: a bar. Why are these boys and girls? You know?

607
00:30:56,160 --> 00:30:59,280
Speaker 1: But it's because it's about little baby boys and baby girls. Also,

608
00:31:02,200 --> 00:31:04,960
Speaker 1: I one last call for alcohol, finish your whiskey of beer.

609
00:31:05,080 --> 00:31:10,160
Speaker 1: That seems like straightforwardly bar time related, but it's also

610
00:31:10,160 --> 00:31:12,960
Speaker 1: about being cut off from the umbilical chord. You know,

611
00:31:13,440 --> 00:31:15,200
Speaker 1: you got to you can't have this anymore, you know,

612
00:31:15,240 --> 00:31:18,880
Speaker 1: you and you don't don't have to go home, but

613
00:31:18,960 --> 00:31:21,160
Speaker 1: you can't stay here. It's like it's all about like

614
00:31:21,520 --> 00:31:24,680
Speaker 1: emerging into the world. And once I realized that I

615
00:31:24,720 --> 00:31:26,520
Speaker 1: was laughing and laughing, and I was like, everyone's gonna

616
00:31:26,560 --> 00:31:28,400
Speaker 1: laugh so hard. This is this is gonna be really funny.

617
00:31:28,480 --> 00:31:31,120
Speaker 1: So I finished a song I did throw one line

618
00:31:31,120 --> 00:31:37,400
Speaker 1: into to just be straightforward, gather up your jackets, move

619
00:31:37,400 --> 00:31:39,680
Speaker 1: it to the exits. That was just that was a

620
00:31:39,680 --> 00:31:42,560
Speaker 1: straightforward bar time song. But I think every other line

621
00:31:43,200 --> 00:31:46,800
Speaker 1: in the song had that to me magical double meaning.

622
00:31:46,960 --> 00:31:48,840
Speaker 1: And then no one got it. My band didn't get it.

623
00:31:48,920 --> 00:31:51,880
Speaker 3: Which part didn't they get the double meaning? Or birth

624
00:31:51,960 --> 00:31:53,840
Speaker 3: or they just thought it was bar time only no

625
00:31:53,880 --> 00:31:56,920
Speaker 3: one ever said it's about someone being born? Nobody, and

626
00:31:57,280 --> 00:32:01,560
Speaker 3: I just made a funny decision. I'm a big explainer,

627
00:32:01,560 --> 00:32:03,960
Speaker 3: as you could probably tell. You know, I'm always like

628
00:32:04,040 --> 00:32:06,160
Speaker 3: ready to tell everybody why I did something or what.

629
00:32:06,600 --> 00:32:10,120
Speaker 3: But I did decide with that song not to really

630
00:32:10,120 --> 00:32:14,800
Speaker 3: talk about the double meaning. And then I got one email.

631
00:32:14,480 --> 00:32:19,960
Speaker 1: From a sixteen year old girl in Utah after the

632
00:32:20,040 --> 00:32:26,440
Speaker 1: song became really big, and she said, Dudean Wilson, I

633
00:32:26,440 --> 00:32:28,080
Speaker 1: have a theory about your song Closing Time, and I

634
00:32:28,120 --> 00:32:30,040
Speaker 1: know it's pretty crazy and if I'm wrong, just forgive me,

635
00:32:30,080 --> 00:32:33,160
Speaker 1: but it sounds to me like it's about someone being born,

636
00:32:33,960 --> 00:32:38,640
Speaker 1: no way. Yeah, one person, one person, And I was

637
00:32:38,720 --> 00:32:41,880
Speaker 1: kind of I was so overjoyed, like okay, somebody got it.

638
00:32:42,120 --> 00:32:44,440
Speaker 1: Then I just let I just let it lie for

639
00:32:44,480 --> 00:32:47,560
Speaker 1: about fifteen years, and then I just started talking about it.

640
00:32:49,040 --> 00:32:52,040
Speaker 3: So after Simisonic, I don't know, do you feel confident

641
00:32:52,040 --> 00:32:55,280
Speaker 3: as a songwriter like a f Was there confidence or

642
00:32:55,440 --> 00:32:58,440
Speaker 3: was there Okay, this is a new version of all

643
00:32:58,520 --> 00:32:59,920
Speaker 3: its one hundred percent of me. Now you're just gonna

644
00:33:00,480 --> 00:33:02,800
Speaker 3: you know, and not tour. Did you have to rebuild

645
00:33:02,840 --> 00:33:03,480
Speaker 3: the confidence?

646
00:33:05,880 --> 00:33:08,640
Speaker 1: Well, one of the reasons I stopped touring was because

647
00:33:08,720 --> 00:33:12,480
Speaker 1: the baby in question spent a year in the hospital

648
00:33:13,800 --> 00:33:18,600
Speaker 1: coco of my daughter, and we were driving back and

649
00:33:18,680 --> 00:33:20,720
Speaker 1: forth to intensive care for eight months and then to

650
00:33:20,800 --> 00:33:25,680
Speaker 1: this step down intensive care for four more months. And

651
00:33:25,920 --> 00:33:29,360
Speaker 1: I just realized that when all this and the doctors

652
00:33:29,360 --> 00:33:31,440
Speaker 1: told us this is gonna be a complicated life and

653
00:33:31,680 --> 00:33:34,640
Speaker 1: very medicalized for a long time, and I just realized

654
00:33:34,680 --> 00:33:37,800
Speaker 1: that there was going to have to be a horizon

655
00:33:38,120 --> 00:33:43,000
Speaker 1: somewhere in sight for the touring. And I managed to

656
00:33:43,120 --> 00:33:48,479
Speaker 1: like tour like crazy for another four years, three years,

657
00:33:49,160 --> 00:33:51,800
Speaker 1: and then it had to kind of take a step

658
00:33:52,000 --> 00:33:57,040
Speaker 1: back for me being a parent and I would say

659
00:33:58,280 --> 00:34:02,040
Speaker 1: my confidence has always been very mixed. I can't say

660
00:34:01,640 --> 00:34:04,400
Speaker 1: I'm always willing to go into something and try it,

661
00:34:04,440 --> 00:34:07,080
Speaker 1: like I'm willing to go up on stage and sing

662
00:34:07,080 --> 00:34:09,000
Speaker 1: a song with people that I only learned, you know,

663
00:34:09,160 --> 00:34:12,040
Speaker 1: twenty minutes ago. I don't know if that's confidence or

664
00:34:12,120 --> 00:34:15,560
Speaker 1: I don't know what that is, but I'm definitely ready

665
00:34:15,600 --> 00:34:19,879
Speaker 1: to be worried and insecure at all times about what

666
00:34:19,920 --> 00:34:21,520
Speaker 1: I have to offer. Every time I write a song

667
00:34:21,560 --> 00:34:24,759
Speaker 1: and I think this is great, Okay, that's it, that's

668
00:34:24,800 --> 00:34:27,719
Speaker 1: the last one. It's never going to happen again, it's like,

669
00:34:28,480 --> 00:34:30,040
Speaker 1: and I have to tell myself, no, you think this

670
00:34:30,160 --> 00:34:32,000
Speaker 1: every time. You always think it's the last one, but

671
00:34:32,040 --> 00:34:35,120
Speaker 1: it's never the last one. But it's so Coming out

672
00:34:35,160 --> 00:34:38,000
Speaker 1: of semi sonic and going into trying to write songs

673
00:34:38,000 --> 00:34:41,000
Speaker 1: for people was interesting because I kept asking people, do

674
00:34:41,000 --> 00:34:42,719
Speaker 1: you want to write a song with me? In Minneapolis,

675
00:34:42,800 --> 00:34:45,839
Speaker 1: no one wanted to do it. No one wanted to

676
00:34:45,880 --> 00:34:49,359
Speaker 1: like because everyone thought their method was really dumb and

677
00:34:49,400 --> 00:34:52,160
Speaker 1: really embarrassing and they made it up themselves, which is true,

678
00:34:52,160 --> 00:34:54,560
Speaker 1: they did make it up themselves. Nobody realized that they

679
00:34:54,600 --> 00:34:57,640
Speaker 1: made up the same method as everybody else. Everyone is

680
00:34:57,680 --> 00:35:01,719
Speaker 1: the same. Their method is acted together over years and

681
00:35:01,760 --> 00:35:06,200
Speaker 1: then slowly refined, you know. So I kept asking people

682
00:35:06,200 --> 00:35:07,879
Speaker 1: in Minneapolis, we write a song with me, and people

683
00:35:07,880 --> 00:35:09,920
Speaker 1: are like, I've never done that, you know, no one

684
00:35:09,960 --> 00:35:14,400
Speaker 1: wanted to do it. So one of the things I

685
00:35:14,480 --> 00:35:17,080
Speaker 1: did in response to that is to is to organize

686
00:35:17,120 --> 00:35:20,640
Speaker 1: some trips to Nashville because I had heard and I've

687
00:35:20,680 --> 00:35:28,440
Speaker 1: always I had always listened to UH Country records, and

688
00:35:28,440 --> 00:35:31,080
Speaker 1: when we were on tour, like our drummer Elaine was

689
00:35:31,120 --> 00:35:33,360
Speaker 1: obsessed with Alan Jackson, so we'd always listened to the

690
00:35:33,800 --> 00:35:36,399
Speaker 1: We listened to the Dead and Alan Jackson and Soundgarden

691
00:35:36,440 --> 00:35:43,320
Speaker 1: and Nirvana and UH Flaming Lips and Liz Fair and Buick,

692
00:35:43,400 --> 00:35:45,560
Speaker 1: you know. But one of it was A country was

693
00:35:45,560 --> 00:35:47,400
Speaker 1: always in the mix. And I had a lot of

694
00:35:47,440 --> 00:35:51,400
Speaker 1: reverence for the music that came out of Nshville. So

695
00:35:51,440 --> 00:35:54,200
Speaker 1: I thought, Okay, maybe I can go to Nashville and

696
00:35:54,239 --> 00:35:56,640
Speaker 1: like learn what it is that they do there that's

697
00:35:57,160 --> 00:36:00,520
Speaker 1: that I admire so much. So I came here here

698
00:36:00,719 --> 00:36:03,440
Speaker 1: a couple of times for like five or six years,

699
00:36:04,120 --> 00:36:05,000
Speaker 1: and I wrote with people.

700
00:36:05,440 --> 00:36:08,200
Speaker 3: One of the songs you wrote with Dirk's a good

701
00:36:08,200 --> 00:36:13,080
Speaker 3: friend of mine. You wrote Home with Dirks, and to

702
00:36:13,200 --> 00:36:16,520
Speaker 3: me as a songwriter, you guys were able to write

703
00:36:16,560 --> 00:36:22,960
Speaker 3: a song that felt patriotic but not cliche and not nationalist.

704
00:36:23,400 --> 00:36:26,000
Speaker 3: And there's a difference, right. I felt like, I don't

705
00:36:26,000 --> 00:36:27,400
Speaker 3: know if it was on purpose, but I felt like,

706
00:36:27,480 --> 00:36:30,960
Speaker 3: you guys walk that line. Were you purposefully walking that line?

707
00:36:31,040 --> 00:36:32,960
Speaker 1: Okay, that's funny that you should ask that, because it

708
00:36:33,000 --> 00:36:35,520
Speaker 1: relates to something I said before, and it's I love

709
00:36:35,560 --> 00:36:40,880
Speaker 1: that question. When we can, I tell my version of

710
00:36:40,880 --> 00:36:42,399
Speaker 1: how we wrote it, Yes, but it may not be

711
00:36:43,040 --> 00:36:46,080
Speaker 1: reads or Dirks's version exactly, but the way I remember it,

712
00:36:48,040 --> 00:36:49,879
Speaker 1: we all got together. I was really excited we had.

713
00:36:49,920 --> 00:36:52,080
Speaker 1: I had insisted that there'd be a piano at the session,

714
00:36:52,120 --> 00:36:54,040
Speaker 1: and apparently it was a kind of a pain in

715
00:36:54,040 --> 00:36:59,160
Speaker 1: the butt to organize that. I didn't realize that you

716
00:36:59,200 --> 00:37:01,400
Speaker 1: couldn't always just say I need a piano with the session.

717
00:37:01,400 --> 00:37:04,520
Speaker 1: But there was a piano with the session. And we

718
00:37:04,560 --> 00:37:06,080
Speaker 1: all showed up and we sort of were shooting the

719
00:37:06,080 --> 00:37:11,200
Speaker 1: breeze before we started. And then Dirk's got a text

720
00:37:11,280 --> 00:37:13,480
Speaker 1: or a call from his wife who's was a cold

721
00:37:13,560 --> 00:37:19,800
Speaker 1: morning and her preus wouldn't start and so he hopped

722
00:37:19,800 --> 00:37:22,680
Speaker 1: in his giant truck and drove away. He said, I'll

723
00:37:22,680 --> 00:37:25,279
Speaker 1: just be fifteen minutes. I'm sorry, IM, I gotta jump

724
00:37:25,280 --> 00:37:27,360
Speaker 1: start my wife's car. So he disappeared, and Brett and

725
00:37:27,440 --> 00:37:30,120
Speaker 1: I were sitting there and we talked for a little while,

726
00:37:30,120 --> 00:37:31,600
Speaker 1: and I was sitting at the piano while I was

727
00:37:31,600 --> 00:37:34,480
Speaker 1: talking to him, and I turned to the piano and

728
00:37:34,520 --> 00:37:36,920
Speaker 1: I literally just was like, you know, what's this thing like?

729
00:37:37,320 --> 00:37:43,720
Speaker 1: And I played one chord with two hands, and Brett

730
00:37:43,800 --> 00:37:47,960
Speaker 1: was holding on to his guitar at the time, and

731
00:37:48,040 --> 00:37:52,840
Speaker 1: he played that the guitar riff from the song like instantly,

732
00:37:53,400 --> 00:37:56,239
Speaker 1: like I was holding the note on the piano, and

733
00:37:56,280 --> 00:37:59,040
Speaker 1: he just played the beginning of the song. And where

734
00:37:59,040 --> 00:38:01,120
Speaker 1: did I? I said, what that come from? I was like,

735
00:38:01,280 --> 00:38:03,960
Speaker 1: that's amazing. I love that. It's incredible, and he goes, well,

736
00:38:04,800 --> 00:38:07,640
Speaker 1: I guess it came out of that piano chord and

737
00:38:07,680 --> 00:38:09,400
Speaker 1: out of this, and he pointed to a cross that

738
00:38:09,480 --> 00:38:11,319
Speaker 1: was on his guitar and he pointed and he said,

739
00:38:11,400 --> 00:38:16,840
Speaker 1: we came from there. And so Brett and I kind

740
00:38:16,840 --> 00:38:21,440
Speaker 1: of played around with a shape for the verse instrumentally.

741
00:38:23,719 --> 00:38:27,439
Speaker 1: Dirk's come back in fifteen minutes and he goes, okay,

742
00:38:27,440 --> 00:38:29,480
Speaker 1: so let's get started, and we said, well, we do

743
00:38:29,520 --> 00:38:31,080
Speaker 1: have something, and we played in what we were doing

744
00:38:31,160 --> 00:38:33,319
Speaker 1: and he was like, did you do this yesterday? When

745
00:38:33,320 --> 00:38:36,040
Speaker 1: did you do When did you write this? And we

746
00:38:36,080 --> 00:38:38,320
Speaker 1: said no, we we did this while you were off

747
00:38:38,760 --> 00:38:42,120
Speaker 1: jump starting your wife's car. And he said, this is incredible,

748
00:38:42,160 --> 00:38:44,000
Speaker 1: and I said, I have some thoughts about it. I

749
00:38:44,080 --> 00:38:47,000
Speaker 1: feel it reminds me of it reminds me of a

750
00:38:47,960 --> 00:38:49,399
Speaker 1: I don't know, it's almost like it feels like it's

751
00:38:49,400 --> 00:38:53,719
Speaker 1: got to be a patriotic song and maybe it even

752
00:38:53,800 --> 00:38:57,000
Speaker 1: has to have the word America in it. And they

753
00:38:57,000 --> 00:39:03,200
Speaker 1: both went, h no, like so that's me going to

754
00:39:03,280 --> 00:39:08,200
Speaker 1: the cheesy excess. But it did. It is what it

755
00:39:08,239 --> 00:39:12,200
Speaker 1: was about. It just didn't it didn't need to say

756
00:39:12,200 --> 00:39:15,040
Speaker 1: that word and that and that was their opinion and

757
00:39:15,080 --> 00:39:17,359
Speaker 1: I totally agree. I'm really glad that we didn't do that.

758
00:39:17,600 --> 00:39:20,239
Speaker 1: I'm glad we kept it more metaphorical. I think it's

759
00:39:20,239 --> 00:39:21,000
Speaker 1: a beute. I love it.

760
00:39:21,080 --> 00:39:25,600
Speaker 2: Yeah too. You wrote someone like You with Adele just

761
00:39:25,640 --> 00:39:26,120
Speaker 2: you two.

762
00:39:26,200 --> 00:39:31,799
Speaker 3: Yeah, to write Did she sing the I don't know,

763
00:39:32,120 --> 00:39:33,880
Speaker 3: just the demo the work tape? Does she sing the

764
00:39:33,880 --> 00:39:38,040
Speaker 3: work tape too. Yeah, because a lot of the times here,

765
00:39:38,080 --> 00:39:40,399
Speaker 3: like my friends, if they're the artist, they won't sing

766
00:39:40,440 --> 00:39:42,640
Speaker 3: the work tape because they don't really want the work

767
00:39:42,680 --> 00:39:44,920
Speaker 3: tape of them singing that early version of it existing.

768
00:39:44,920 --> 00:39:46,440
Speaker 3: So one of the writers that can also sing will

769
00:39:46,440 --> 00:39:48,600
Speaker 3: sing the work tape in case it never comes, so

770
00:39:48,640 --> 00:39:50,760
Speaker 3: that way it can't like actually be put out. Wow,

771
00:39:50,880 --> 00:39:52,520
Speaker 3: that's what I wondered about the Adele, like, did she

772
00:39:52,560 --> 00:39:54,000
Speaker 3: sing the work tape on? Was that even a thought

773
00:39:54,040 --> 00:39:57,600
Speaker 3: where maybe you sing it? So if it does exist somewhere,

774
00:39:57,640 --> 00:39:59,640
Speaker 3: it's not Adele singing a song that she never put out.

775
00:40:01,800 --> 00:40:06,120
Speaker 1: When we wrote together, she wasn't she She had had some

776
00:40:06,600 --> 00:40:12,760
Speaker 1: nice medium level success in America and she had played

777
00:40:12,760 --> 00:40:16,719
Speaker 1: on SNL and it had gone really really well. But

778
00:40:16,840 --> 00:40:20,719
Speaker 1: she wasn't hounded by photographers and whatnot. You know, she

779
00:40:20,760 --> 00:40:23,040
Speaker 1: didn't was living that life. So that wasn't really in

780
00:40:24,040 --> 00:40:26,880
Speaker 1: That wasn't really in the equation, you know, avoiding a

781
00:40:27,000 --> 00:40:30,880
Speaker 1: leakable version of the song. However, we cut it in

782
00:40:30,880 --> 00:40:34,160
Speaker 1: this small studio in La which had a piano in it,

783
00:40:34,239 --> 00:40:36,319
Speaker 1: a really nice piano. So I often wanted to do

784
00:40:36,640 --> 00:40:40,359
Speaker 1: like writing sessions there because it was this beautiful steinway there,

785
00:40:40,840 --> 00:40:46,360
Speaker 1: and we wrote it there, she sang it there. I

786
00:40:46,400 --> 00:40:48,880
Speaker 1: played the piano there. On the second day we got it,

787
00:40:48,920 --> 00:40:51,080
Speaker 1: we ironed out some pretty bad kinks that had had

788
00:40:51,120 --> 00:40:53,319
Speaker 1: on the first day, and we finished the song. And

789
00:40:53,440 --> 00:40:56,200
Speaker 1: that's there's no work tape of it. There's just that

790
00:40:56,239 --> 00:40:59,200
Speaker 1: demo of us. And there's no other version. Well there was.

791
00:40:59,239 --> 00:41:00,840
Speaker 1: They tried to recut it a couple times with a

792
00:41:00,840 --> 00:41:03,120
Speaker 1: full orchestra and band, and it didn't It wasn't cool.

793
00:41:03,560 --> 00:41:06,160
Speaker 1: So they just contacted me at the last second and said,

794
00:41:06,160 --> 00:41:08,399
Speaker 1: can you send the parts to the demo? Wow, we're

795
00:41:08,400 --> 00:41:09,040
Speaker 1: going to mix.

796
00:41:08,880 --> 00:41:10,880
Speaker 2: It for the record, And that's what's that's the record,

797
00:41:10,920 --> 00:41:11,520
Speaker 2: that's what we hear.

798
00:41:11,760 --> 00:41:13,359
Speaker 1: So really that was the first version of the song

799
00:41:13,400 --> 00:41:15,839
Speaker 1: that was the work tape, because it was literally hurt

800
00:41:16,000 --> 00:41:18,799
Speaker 1: and me hashing it out and me just being a

801
00:41:18,800 --> 00:41:21,600
Speaker 1: perfectionist about her getting a real performance.

802
00:41:21,880 --> 00:41:23,120
Speaker 2: Where do you keep your Grammys?

803
00:41:24,080 --> 00:41:28,080
Speaker 1: There's a bookshelf in my living room that has three

804
00:41:28,160 --> 00:41:29,799
Speaker 1: out of the four and the fourth one is still

805
00:41:29,800 --> 00:41:30,160
Speaker 1: in the mail.

806
00:41:30,200 --> 00:41:32,520
Speaker 2: Apparently, no way, you never got it.

807
00:41:32,600 --> 00:41:35,879
Speaker 1: I haven't gotten it yet. It's always a long delayed thing.

808
00:41:36,960 --> 00:41:37,520
Speaker 2: That's funny.

809
00:41:37,600 --> 00:41:39,120
Speaker 1: It always takes a long time. Then you get it.

810
00:41:39,280 --> 00:41:41,800
Speaker 1: You're like, what's this big square box that just arrived?

811
00:41:41,840 --> 00:41:43,880
Speaker 1: You know you don't And it's often from some like

812
00:41:43,880 --> 00:41:47,279
Speaker 1: I don't know where it's from, a publicy, publicity firm

813
00:41:47,360 --> 00:41:50,080
Speaker 1: or a law officers. I can't remember how they do it.

814
00:41:50,120 --> 00:41:52,279
Speaker 1: But it's never like from the Grammys, you know, so

815
00:41:52,320 --> 00:41:54,319
Speaker 1: you get, oh, what's in this? Maybe it's a piece

816
00:41:54,320 --> 00:41:56,279
Speaker 1: of music gear that I forgot I bought.

817
00:41:56,560 --> 00:41:58,840
Speaker 3: I'm used by because I get a if it's like

818
00:41:58,880 --> 00:42:01,200
Speaker 3: an acm orcma whatever, it'll be like fragile. But what

819
00:42:01,320 --> 00:42:03,720
Speaker 3: I order it's fragile, Like why is there a fragile

820
00:42:03,760 --> 00:42:05,840
Speaker 3: box on my porch? But the fragile thing throws me

821
00:42:05,880 --> 00:42:07,919
Speaker 3: off more than anyth because I don't really order fragile things.

822
00:42:08,320 --> 00:42:10,000
Speaker 3: And then I'm like, because you're right, it takes like

823
00:42:10,040 --> 00:42:11,560
Speaker 3: three you don't get the award at the show.

824
00:42:11,640 --> 00:42:14,200
Speaker 1: Did you get it when you've forgotten entirely about it? Yeah? Yeah,

825
00:42:14,400 --> 00:42:18,480
Speaker 1: Well my CMA this year showed up in many pieces.

826
00:42:18,680 --> 00:42:21,280
Speaker 1: It was it was in the mid it was busted.

827
00:42:21,640 --> 00:42:23,120
Speaker 1: The fragile need to be bigger on that. It was

828
00:42:23,200 --> 00:42:23,920
Speaker 1: really fragile.

829
00:42:24,040 --> 00:42:25,080
Speaker 2: Yeah.

830
00:42:25,480 --> 00:42:29,480
Speaker 3: The New Instrumental Album good Night Los Angeles comes out

831
00:42:29,520 --> 00:42:30,080
Speaker 3: May ninth.

832
00:42:30,360 --> 00:42:32,560
Speaker 2: You guys on Toward Toe the West Brocket.

833
00:42:33,640 --> 00:42:34,520
Speaker 1: Yes, this summer.

834
00:42:34,600 --> 00:42:36,360
Speaker 2: That's super cool. Yeah, that's fine.

835
00:42:36,440 --> 00:42:38,480
Speaker 3: Yeah we saw them, Eddie and I saw Toad of

836
00:42:38,480 --> 00:42:40,520
Speaker 3: the West Brocket a few years ago.

837
00:42:40,640 --> 00:42:41,520
Speaker 2: Yeah, still got it.

838
00:42:41,640 --> 00:42:44,279
Speaker 1: Oh, I love them. I love their songs. Glenn and

839
00:42:44,320 --> 00:42:48,400
Speaker 1: I've been friends for a long time, and uh so

840
00:42:48,440 --> 00:42:50,759
Speaker 1: I'm looking forward to that. And John and Jake and

841
00:42:50,840 --> 00:42:55,840
Speaker 1: I if we can just organize some some way or

842
00:42:55,920 --> 00:42:58,239
Speaker 1: reason to play a bunch of shows every year. We

843
00:42:58,520 --> 00:42:59,600
Speaker 1: always feel really lucky.

844
00:43:00,160 --> 00:43:02,839
Speaker 3: Put all the tour stuff down in our notes here

845
00:43:02,880 --> 00:43:06,040
Speaker 3: on the podcast. But Dan, I'm a massive fan. It's

846
00:43:06,040 --> 00:43:08,000
Speaker 3: super cool that you came by. I think I could

847
00:43:08,040 --> 00:43:10,080
Speaker 3: go two hours, but I know you're writing today. You

848
00:43:10,160 --> 00:43:13,880
Speaker 3: got a whole Nashville experience ahead of you, so I

849
00:43:13,880 --> 00:43:15,239
Speaker 3: won't take up too much of your time. But thank

850
00:43:15,280 --> 00:43:17,239
Speaker 3: you so much for giving me the last forty minutes

851
00:43:17,280 --> 00:43:17,480
Speaker 3: or so.

852
00:43:17,520 --> 00:43:19,399
Speaker 1: Bobby, thank you. This has really been fun.

853
00:43:19,440 --> 00:43:20,000
Speaker 2: That's awesome.

854
00:43:20,920 --> 00:43:33,360
Speaker 6: The Bobby Cast will be right back. This is the

855
00:43:33,400 --> 00:43:34,480
Speaker 6: Bobby Cast.

856
00:43:34,880 --> 00:43:37,239
Speaker 3: All right with Dan. It's pretty cool. As we mentioned

857
00:43:37,239 --> 00:43:39,600
Speaker 3: in the intro, all the songs he wrote for other artists.

858
00:43:39,960 --> 00:43:41,640
Speaker 3: What I wanted to do was take a second and

859
00:43:41,680 --> 00:43:46,240
Speaker 3: talk about artists who wrote songs for other artists, either

860
00:43:46,280 --> 00:43:48,759
Speaker 3: early in their career before they blew up, or they

861
00:43:48,800 --> 00:43:51,480
Speaker 3: did it as they were blowing up, or they did

862
00:43:51,480 --> 00:43:55,040
Speaker 3: it like Dan, after they already had their time as

863
00:43:55,080 --> 00:43:55,640
Speaker 3: an artist.

864
00:43:56,120 --> 00:43:58,920
Speaker 2: And so I have like ten of these. I have Seya,

865
00:44:00,239 --> 00:44:02,440
Speaker 2: she wrote Diamonds. Did you ever hear this? Sia?

866
00:44:02,680 --> 00:44:05,759
Speaker 3: Mike give us the podcast clips of them playing this

867
00:44:06,280 --> 00:44:08,319
Speaker 3: where you hear Sea singing? I think Benny Blanco plays

868
00:44:08,360 --> 00:44:10,719
Speaker 3: from his computer. Oh yeah, it's really cool when Sea

869
00:44:10,760 --> 00:44:14,640
Speaker 3: sings it. But so she wrote Diamonds for Rihanna Titanium,

870
00:44:14,719 --> 00:44:18,400
Speaker 3: which she's on David Getta, but it wasn't supposed to

871
00:44:18,400 --> 00:44:21,640
Speaker 3: have her name on it at all. And Sia is

872
00:44:21,920 --> 00:44:24,520
Speaker 3: like reluctantly famous because she hit her face.

873
00:44:24,320 --> 00:44:24,839
Speaker 2: For a long time.

874
00:44:24,920 --> 00:44:25,600
Speaker 4: Yeah with the wig.

875
00:44:25,760 --> 00:44:26,000
Speaker 2: Yeah.

876
00:44:26,480 --> 00:44:30,120
Speaker 3: So Cea was a songwriter first Ryan Tedder who's the

877
00:44:30,200 --> 00:44:33,719
Speaker 3: lead singer of One Republic, so was already an in

878
00:44:33,719 --> 00:44:38,719
Speaker 3: demand songwriter. Then has his artist vessel they blow up,

879
00:44:39,160 --> 00:44:41,680
Speaker 3: but songs that he wrote other than One Republic songs,

880
00:44:41,960 --> 00:44:46,120
Speaker 3: He wrote Halo Helo, Beyonce.

881
00:44:46,080 --> 00:44:52,040
Speaker 2: I could see Helo Helo Ruma has it adel yep,

882
00:44:52,320 --> 00:44:57,680
Speaker 2: and how do I sing this? I'm a sucker, I'm

883
00:44:57,680 --> 00:44:59,480
Speaker 2: a sucker for you, I'm a.

884
00:44:59,480 --> 00:45:02,680
Speaker 3: Suckerphe Yeah yeah, yah yah yah yea yeah. Jonas Brothers,

885
00:45:02,800 --> 00:45:08,200
Speaker 3: Yeah yeah, So he did that Chris Stapleton, which we

886
00:45:08,280 --> 00:45:10,960
Speaker 3: knew Chris a bit before he blew up as an artist.

887
00:45:10,960 --> 00:45:12,600
Speaker 3: We had him on our show before he ever had

888
00:45:12,640 --> 00:45:16,280
Speaker 3: a hit. He wasn't always a massive artist.

889
00:45:16,280 --> 00:45:16,360
Speaker 6: Now.

890
00:45:16,400 --> 00:45:17,840
Speaker 3: He was always trying to do the artist thing in

891
00:45:17,880 --> 00:45:22,560
Speaker 3: different forms. But you know, he wrote Drink Beer with

892
00:45:22,640 --> 00:45:25,680
Speaker 3: Luke Bryan. He wrote this song with Thomas Rhet that's

893
00:45:25,680 --> 00:45:28,880
Speaker 3: like you know that that Yeah, I don't even know

894
00:45:28,880 --> 00:45:32,880
Speaker 3: what that one was. Yeah, it kind of sounds like

895
00:45:33,480 --> 00:45:35,920
Speaker 3: that's the sound of the Chain Gains song, but it

896
00:45:35,920 --> 00:45:37,200
Speaker 3: was a Thomas Rhdd song. Yeah.

897
00:45:37,320 --> 00:45:38,799
Speaker 4: I think he might have had some trouble with it.

898
00:45:39,200 --> 00:45:41,200
Speaker 2: Oh really, I think so.

899
00:45:41,239 --> 00:45:44,640
Speaker 3: Thomas Rhett written a bunch of songs, and with Thomas Rhett,

900
00:45:44,640 --> 00:45:48,600
Speaker 3: I feel like he's always been a front facing artist.

901
00:45:49,200 --> 00:45:51,759
Speaker 3: But they write so many songs that Thomas w write

902
00:45:51,760 --> 00:45:53,399
Speaker 3: so many songs that he'll come in and talk about

903
00:45:53,400 --> 00:45:56,400
Speaker 3: how he's written a song and he's writing it for himself,

904
00:45:56,880 --> 00:45:59,600
Speaker 3: but the timing isn't right, meaning there's no album in sight,

905
00:46:00,600 --> 00:46:02,960
Speaker 3: like they just had made an album, put out an album,

906
00:46:03,120 --> 00:46:05,839
Speaker 3: and he's like, this song is so good, so I'm

907
00:46:05,840 --> 00:46:07,239
Speaker 3: just gonna go ahead and give it away.

908
00:46:07,360 --> 00:46:09,399
Speaker 4: And I think like starts like confetti right for Dustin Lynch.

909
00:46:09,480 --> 00:46:11,600
Speaker 3: Yeah, like he liked that song, but he said the

910
00:46:11,640 --> 00:46:13,680
Speaker 3: timing was so wrong and that he was gonna have

911
00:46:13,680 --> 00:46:14,960
Speaker 3: to hold it for like a year and a half.

912
00:46:15,440 --> 00:46:20,440
Speaker 3: So Dustin Lynch got it. That's it stars like confetti. Yeah, yeah,

913
00:46:20,480 --> 00:46:21,359
Speaker 3: what's the noise it does?

914
00:46:21,520 --> 00:46:21,680
Speaker 1: Yea?

915
00:46:21,719 --> 00:46:21,879
Speaker 3: Yeah?

916
00:46:21,960 --> 00:46:22,800
Speaker 2: Yeah.

917
00:46:22,880 --> 00:46:27,560
Speaker 3: He did round Here, Florida, Georgia line nineteen ninety four.

918
00:46:28,200 --> 00:46:31,640
Speaker 3: Jason Alden Thomas Red has a Bunch. I was watching

919
00:46:31,680 --> 00:46:35,480
Speaker 3: a whole TikTok series on Julia Michaels. I say series.

920
00:46:35,640 --> 00:46:39,200
Speaker 3: I've watched so much many Blanco content. And he talks

921
00:46:39,200 --> 00:46:43,000
Speaker 3: about Julia Michaels because they wrote a bunch together, and

922
00:46:43,120 --> 00:46:45,160
Speaker 3: so I'll do this first. Julian Michaels, before she was

923
00:46:45,200 --> 00:46:50,880
Speaker 3: a singer, she did Justin Bieber. Sorry, I have too

924
00:46:50,880 --> 00:46:52,279
Speaker 3: many songs in my head right now at this point

925
00:46:53,600 --> 00:46:54,160
Speaker 3: singing that one?

926
00:46:54,280 --> 00:46:55,840
Speaker 4: Is it too late now to say so?

927
00:46:56,160 --> 00:46:59,560
Speaker 3: Right, yeah, and good for you from first Lena Gomez.

928
00:47:00,160 --> 00:47:05,000
Speaker 3: But when they wrote I Got Issues, the label, according

929
00:47:05,000 --> 00:47:06,640
Speaker 3: to Benni Blanco wanted to get that to like a

930
00:47:06,640 --> 00:47:11,040
Speaker 3: big artist, and Julia Michaels, according to his story, calls

931
00:47:11,080 --> 00:47:13,040
Speaker 3: and like, hey, I want that song for myself because

932
00:47:13,040 --> 00:47:14,120
Speaker 3: I think I want to be an artist, and he

933
00:47:14,160 --> 00:47:16,879
Speaker 3: was like awesome, and so that's really what launched her

934
00:47:17,080 --> 00:47:19,320
Speaker 3: as an artist. That song was so good because.

935
00:47:19,120 --> 00:47:21,919
Speaker 2: I got issues. Ed Sheeron.

936
00:47:23,320 --> 00:47:26,680
Speaker 3: He this, oh man, I got like three Benny Blancos

937
00:47:26,680 --> 00:47:30,759
Speaker 3: in a row. The story was that they were in

938
00:47:30,760 --> 00:47:32,200
Speaker 3: the back of the bus and I think they were

939
00:47:32,239 --> 00:47:34,040
Speaker 3: going to go through customs or something in the bus

940
00:47:34,320 --> 00:47:35,680
Speaker 3: in a few hours. So it's like we can go

941
00:47:35,760 --> 00:47:38,279
Speaker 3: to sleep now and just wake up in a few hours,

942
00:47:38,360 --> 00:47:39,680
Speaker 3: or we can just stay up and write a song.

943
00:47:40,600 --> 00:47:42,080
Speaker 3: And so they just stayed up and wrote a song,

944
00:47:43,280 --> 00:47:48,000
Speaker 3: and they wrote that Love Yourself, and Ed Sheeron's got

945
00:47:48,040 --> 00:47:49,560
Speaker 3: like the work tape and he's playing it on the computer.

946
00:47:50,920 --> 00:47:55,040
Speaker 3: The tone of like Bieber Andsurant are similar ish to

947
00:47:55,080 --> 00:47:58,080
Speaker 3: where it doesn't sound like Bieber did a whole other

948
00:47:58,200 --> 00:48:01,200
Speaker 3: version of it. But yeah, they just kind of wrote

949
00:48:01,200 --> 00:48:02,720
Speaker 3: that because they didn't want to fall asleep.

950
00:48:02,920 --> 00:48:04,279
Speaker 7: Yeah, and I think he said he was going through

951
00:48:04,280 --> 00:48:05,600
Speaker 7: a breakup. He's like, I didn't want to write a

952
00:48:05,640 --> 00:48:07,160
Speaker 7: song about a breakup. He's like, no, we should write

953
00:48:07,160 --> 00:48:08,719
Speaker 7: a song about you. Not wanting to write a song

954
00:48:08,760 --> 00:48:09,400
Speaker 7: about a breakup.

955
00:48:10,400 --> 00:48:11,520
Speaker 2: You should go and look.

956
00:48:11,760 --> 00:48:14,560
Speaker 3: The whole Selena Gomez relationship has really taken me to

957
00:48:14,560 --> 00:48:17,040
Speaker 3: love Bennie Blanco, not even their dating, but it's put

958
00:48:17,120 --> 00:48:19,480
Speaker 3: him more again, him more front facing because he's a producer,

959
00:48:19,760 --> 00:48:21,279
Speaker 3: but he's like the most likable guy.

960
00:48:21,320 --> 00:48:23,280
Speaker 7: I mean, even the connection with that song because Bieber

961
00:48:23,360 --> 00:48:26,160
Speaker 7: ended up cutting it about Selena Gomez and then he

962
00:48:26,239 --> 00:48:27,360
Speaker 7: ends up with Selena Gome.

963
00:48:27,480 --> 00:48:30,640
Speaker 2: Oh I didn't think about that later on it. Yeah,

964
00:48:30,960 --> 00:48:32,120
Speaker 2: I knew that is weird.

965
00:48:32,440 --> 00:48:34,840
Speaker 3: That's gotta be weird for all of them, because I

966
00:48:34,880 --> 00:48:39,080
Speaker 3: saw where like Bieber and Selena's unfollowed or she unfollowed Benny,

967
00:48:39,160 --> 00:48:44,680
Speaker 3: I guess was the big story. Bruno mars before just

968
00:48:44,840 --> 00:48:48,320
Speaker 3: the way you are he wrote, now you're drying around

969
00:48:48,400 --> 00:48:51,880
Speaker 3: town with a girl love and I'm like, knit you

970
00:48:52,520 --> 00:48:57,719
Speaker 3: for Celo, which is fun. Casey Musgraves she co wrote

971
00:48:57,719 --> 00:49:04,920
Speaker 3: Mama's Broken Heart from Miranda Lambert Lizzo was a session

972
00:49:05,120 --> 00:49:08,800
Speaker 3: artist because Lizzo plays the flute, which is very interesting

973
00:49:08,800 --> 00:49:11,680
Speaker 3: because nobody plays the flute in the pop world. But

974
00:49:11,719 --> 00:49:13,600
Speaker 3: Lizzo worked as a songwriter and a session artist in

975
00:49:13,600 --> 00:49:16,799
Speaker 3: Minneapolis before she broke through as a solo artist. But

976
00:49:16,960 --> 00:49:22,759
Speaker 3: she wrote for some of Prince's proteges and doesn't have

977
00:49:23,040 --> 00:49:25,320
Speaker 3: from me looking at that, doesn't have any massive fits

978
00:49:25,320 --> 00:49:29,400
Speaker 3: that she wrote, but was like oddly behind the scenes,

979
00:49:29,520 --> 00:49:32,920
Speaker 3: very relevant because against she was a session flute player

980
00:49:32,920 --> 00:49:33,680
Speaker 3: and background singer.

981
00:49:33,719 --> 00:49:35,120
Speaker 4: I almost played the flute and band.

982
00:49:36,000 --> 00:49:37,040
Speaker 2: What kept you from doing it?

983
00:49:37,719 --> 00:49:39,920
Speaker 7: I couldn't bring myself to play the flute. I was like,

984
00:49:39,960 --> 00:49:41,680
Speaker 7: I can't see myself going.

985
00:49:41,760 --> 00:49:43,120
Speaker 2: I led you to want to do the flute because

986
00:49:43,120 --> 00:49:44,200
Speaker 2: you were you were in a punk band.

987
00:49:44,280 --> 00:49:46,440
Speaker 7: Yeah, but I wanted to audition for band in sixth grade.

988
00:49:46,520 --> 00:49:48,640
Speaker 7: So they did this thing where they brought all these

989
00:49:48,680 --> 00:49:51,200
Speaker 7: teachers with all these instruments and said pick an instrument.

990
00:49:51,560 --> 00:49:53,520
Speaker 7: And I wanted to be percussion, but everybody wanted to

991
00:49:53,520 --> 00:49:55,360
Speaker 7: do percussion because I wanted to be a drummer, and

992
00:49:55,360 --> 00:49:58,120
Speaker 7: they're like too many spots nobody's they're all filled.

993
00:49:58,440 --> 00:49:59,319
Speaker 4: So then they wanted me.

994
00:49:59,280 --> 00:50:00,799
Speaker 7: To play flute, and I was like, I can't do that,

995
00:50:00,840 --> 00:50:02,040
Speaker 7: so I settled on clarinet.

996
00:50:02,040 --> 00:50:03,440
Speaker 2: Oh, they wanted you to play flute.

997
00:50:03,480 --> 00:50:03,719
Speaker 1: Yeah.

998
00:50:03,800 --> 00:50:06,160
Speaker 7: They were like, it's totally open right now. We have

999
00:50:06,160 --> 00:50:08,200
Speaker 7: a lot of slots over here. You should go to flute.

1000
00:50:08,239 --> 00:50:09,920
Speaker 7: And I was like, no, no, no, I'll do clarinet.

1001
00:50:10,239 --> 00:50:11,480
Speaker 2: I didn't know you played clarinet.

1002
00:50:11,600 --> 00:50:12,759
Speaker 4: Yeah, I was first chair man.

1003
00:50:13,719 --> 00:50:15,920
Speaker 2: If one was putting your hands now, I.

1004
00:50:15,840 --> 00:50:16,919
Speaker 4: Think I could figure it out.

1005
00:50:17,440 --> 00:50:22,080
Speaker 7: I played probably two to three years of clarinet, so

1006
00:50:22,200 --> 00:50:23,600
Speaker 7: I think I can still remember it.

1007
00:50:23,640 --> 00:50:24,920
Speaker 2: Did you enjoy playing clarinet?

1008
00:50:24,960 --> 00:50:26,879
Speaker 7: I loved it at the time, But then, like you said,

1009
00:50:26,920 --> 00:50:28,319
Speaker 7: I wanted to be in a punk band, so I

1010
00:50:28,320 --> 00:50:29,120
Speaker 7: was like, I got it.

1011
00:50:29,160 --> 00:50:30,439
Speaker 4: I just got to play guitar now.

1012
00:50:30,600 --> 00:50:32,759
Speaker 3: Man, it would be so punk to play clarinet in

1013
00:50:32,800 --> 00:50:35,480
Speaker 3: a punk band because it would be so not punked.

1014
00:50:35,480 --> 00:50:36,360
Speaker 3: It would be so punk.

1015
00:50:36,560 --> 00:50:38,560
Speaker 4: It would cut through so much in a punk song.

1016
00:50:38,680 --> 00:50:39,520
Speaker 4: Clarinet solo.

1017
00:50:40,120 --> 00:50:41,520
Speaker 3: How did you get a clarinet because one of the

1018
00:50:41,560 --> 00:50:43,560
Speaker 3: reasons I didn't do music was I couldn't afford an

1019
00:50:43,560 --> 00:50:44,640
Speaker 3: instrument because they were expensive.

1020
00:50:44,719 --> 00:50:45,560
Speaker 4: Yeah, you could rent it.

1021
00:50:46,400 --> 00:50:47,040
Speaker 2: Is that what you guys did?

1022
00:50:47,120 --> 00:50:47,279
Speaker 1: Yeah?

1023
00:50:47,320 --> 00:50:49,520
Speaker 7: I think we could rent it for like twenty bucks

1024
00:50:49,560 --> 00:50:50,759
Speaker 7: a month or something like that.

1025
00:50:51,280 --> 00:50:52,560
Speaker 4: So yeah, I rented a clarinet.

1026
00:50:52,680 --> 00:50:52,839
Speaker 1: Yeah.

1027
00:50:52,840 --> 00:50:54,520
Speaker 3: I was secretly jealous of the band kids because I

1028
00:50:54,560 --> 00:50:58,040
Speaker 3: really wanted to do music, but I couldn't.

1029
00:50:58,440 --> 00:50:59,200
Speaker 2: I don't know I did.

1030
00:50:59,200 --> 00:51:01,880
Speaker 3: There may have been rental options, but I couldn't afford

1031
00:51:01,880 --> 00:51:03,680
Speaker 3: the instrument in my mind, so I never even tried.

1032
00:51:05,080 --> 00:51:08,440
Speaker 3: So then I was like, nah, man sucks. But really, secretly,

1033
00:51:08,480 --> 00:51:10,600
Speaker 3: like in my heart, I was a little jealous that

1034
00:51:10,920 --> 00:51:12,120
Speaker 3: these kids got to play band.

1035
00:51:12,200 --> 00:51:14,239
Speaker 7: And the coolest part was like learning how to read music.

1036
00:51:14,280 --> 00:51:15,239
Speaker 4: Yeah, that's how I did it.

1037
00:51:15,760 --> 00:51:17,880
Speaker 5: Let's take a quick pause for a message from our

1038
00:51:17,920 --> 00:51:31,320
Speaker 5: sponsor and we're back on the Bobby cast. Neo started

1039
00:51:31,320 --> 00:51:35,680
Speaker 5: out behind the scenes. He wrote Irreplaceable for Beyonce, and

1040
00:51:35,719 --> 00:51:37,280
Speaker 5: then he became a star. He's from Arkansas.

1041
00:51:37,320 --> 00:51:37,719
Speaker 2: Do you know that.

1042
00:51:38,800 --> 00:51:41,320
Speaker 4: I think I've looked that up before. These people.

1043
00:51:42,360 --> 00:51:44,560
Speaker 2: He doesn't like rep it hard or anything.

1044
00:51:44,640 --> 00:51:46,040
Speaker 4: That's why I was like, is this true or not.

1045
00:51:47,560 --> 00:51:51,120
Speaker 3: Meghan Trainor and she has written even country songs. She's

1046
00:51:51,160 --> 00:51:55,840
Speaker 3: written songs for Rascal Flats, She's written for Sabrina Carpenter.

1047
00:51:55,880 --> 00:51:59,160
Speaker 3: I think in her earlier days, did you see I

1048
00:51:59,200 --> 00:52:01,840
Speaker 3: was watching to the Fortnite stuff with the new Sabrina

1049
00:52:01,840 --> 00:52:06,000
Speaker 3: Carpenter's skin. Yeah, and how they'll come together, Yeah they

1050
00:52:06,120 --> 00:52:06,919
Speaker 3: turn into a band.

1051
00:52:07,040 --> 00:52:07,360
Speaker 4: Yeah.

1052
00:52:07,520 --> 00:52:10,080
Speaker 7: I just saw them doing pretty suggestive things with them

1053
00:52:10,080 --> 00:52:10,960
Speaker 7: two coming together.

1054
00:52:11,120 --> 00:52:11,920
Speaker 2: Oh that's funny.

1055
00:52:12,280 --> 00:52:15,479
Speaker 3: I saw like six of them and they're fighting other

1056
00:52:15,560 --> 00:52:18,839
Speaker 3: people and other skins, and they didn't know each other.

1057
00:52:19,280 --> 00:52:21,360
Speaker 3: But then they all just decided to team up, and

1058
00:52:21,360 --> 00:52:23,399
Speaker 3: all of a sudden, there's six of them fighting everybody else.

1059
00:52:23,800 --> 00:52:25,640
Speaker 3: And then once there was nobody else around, it allowed

1060
00:52:25,640 --> 00:52:28,400
Speaker 3: them to have instruments and they start playing Espresso with

1061
00:52:28,400 --> 00:52:30,279
Speaker 3: the full instruments, drums, singer, the whole thing.

1062
00:52:30,840 --> 00:52:34,040
Speaker 2: That's funny. You played Fortnite, Yeah for about a year.

1063
00:52:34,200 --> 00:52:34,600
Speaker 4: Yeah.

1064
00:52:34,680 --> 00:52:37,360
Speaker 3: I'm just not much of a shoot them up like.

1065
00:52:37,440 --> 00:52:41,600
Speaker 3: It was fun, but it was so kid intensive mm hmm.

1066
00:52:42,280 --> 00:52:44,680
Speaker 3: Where I can play I have like three friends and

1067
00:52:44,719 --> 00:52:48,400
Speaker 3: we play Madden. I only need three friends total, and

1068
00:52:48,440 --> 00:52:51,200
Speaker 3: I can play a lot of that by myself. With Fortnite.

1069
00:52:51,200 --> 00:52:53,160
Speaker 3: If I'm playing by myself, there are also like other

1070
00:52:53,280 --> 00:52:55,680
Speaker 3: kids I'm playing against, and it was just too much.

1071
00:52:56,760 --> 00:52:58,640
Speaker 3: And so it also wasn't that good because I didn't

1072
00:52:58,640 --> 00:53:00,360
Speaker 3: care that much about it. Where I just I love sports,

1073
00:53:00,360 --> 00:53:03,000
Speaker 3: so I like dialed into make Arkansas win the championship.

1074
00:53:03,760 --> 00:53:06,120
Speaker 3: But yeah, I had about a year of Fortnite Charlie

1075
00:53:06,160 --> 00:53:09,840
Speaker 3: Pooth and he still writes a lot, but he co

1076
00:53:09,960 --> 00:53:12,680
Speaker 3: wrote slow motion portray songs even back when he was

1077
00:53:12,719 --> 00:53:15,200
Speaker 3: doing YouTube. Charlie pooths to me, I think of for

1078
00:53:15,320 --> 00:53:18,840
Speaker 3: just having perfect pitch because they'll pitch on TikTok. Yeah,

1079
00:53:19,120 --> 00:53:21,240
Speaker 3: because again identify pitch, but he can also make pitch,

1080
00:53:21,560 --> 00:53:25,000
Speaker 3: which is really interesting. I was watching the yacht Rock

1081
00:53:25,080 --> 00:53:29,080
Speaker 3: documentary on Max and what I didn't know about yacht rock,

1082
00:53:29,200 --> 00:53:30,960
Speaker 3: well there was a lot, but I didn't know that

1083
00:53:30,960 --> 00:53:35,440
Speaker 3: that term didn't exist when yacht rock was actually happening.

1084
00:53:36,160 --> 00:53:38,560
Speaker 3: Yacht Rock is actually a term that was made up

1085
00:53:38,560 --> 00:53:41,279
Speaker 3: by people on the Internet way later, referring to that

1086
00:53:41,600 --> 00:53:47,719
Speaker 3: music of like soulful mostly white people with beards that

1087
00:53:47,800 --> 00:53:51,880
Speaker 3: played guitars, and so yacht rock was the thing they

1088
00:53:51,880 --> 00:53:55,759
Speaker 3: did in like the early two thousands and identified it

1089
00:53:55,800 --> 00:53:59,360
Speaker 3: all way later. And so Kenny Logins was like the

1090
00:53:59,480 --> 00:54:05,480
Speaker 3: king of yacht rock. And Kenny Loggins is footloose, no no, no, no,

1091
00:54:05,680 --> 00:54:08,279
Speaker 3: do too. But he wrote what a Full Believes for

1092
00:54:08,320 --> 00:54:10,600
Speaker 3: the Doobie Brothers a song that won Grammy for Song

1093
00:54:10,640 --> 00:54:15,719
Speaker 3: of the Year, and this is that song here now

1094
00:54:15,800 --> 00:54:18,040
Speaker 3: that says yat rock like this song here because the

1095
00:54:18,040 --> 00:54:20,480
Speaker 3: Doobie brother has to me and I wasn't alive when

1096
00:54:20,520 --> 00:54:22,200
Speaker 3: they were massive. But they have like two versions. They

1097
00:54:22,200 --> 00:54:24,319
Speaker 3: have the hippie version, which we talked about, which is

1098
00:54:24,360 --> 00:54:27,960
Speaker 3: like whoa, whoa, whoa, China grow or I want to

1099
00:54:28,000 --> 00:54:30,960
Speaker 3: hear some funky Dixie lamp, Pretty Mama, go and take

1100
00:54:31,040 --> 00:54:34,480
Speaker 3: me by the like that, which is a whole blackwater

1101
00:54:34,680 --> 00:54:37,680
Speaker 3: keep on rue, miss won't you keep on shine and

1102
00:54:37,719 --> 00:54:40,239
Speaker 3: know me? And then they have this which feels like

1103
00:54:40,960 --> 00:54:48,840
Speaker 3: yacht rock Central. The documentary is pretty good, not my favorite.

1104
00:54:49,760 --> 00:54:51,359
Speaker 3: Have you watch any of those Bill Simmons. I think

1105
00:54:51,360 --> 00:54:53,000
Speaker 3: they're called music box documentaries.

1106
00:54:53,320 --> 00:54:56,440
Speaker 7: I think I've seen maybe was one of the Woodstock

1107
00:54:56,480 --> 00:54:59,080
Speaker 7: ones part yes, then yes, the Woodstock.

1108
00:54:58,719 --> 00:55:01,279
Speaker 3: Awesome And people would get there and look at the

1109
00:55:01,280 --> 00:55:03,160
Speaker 3: lineup and they look at it now and they were like, godly, look,

1110
00:55:03,200 --> 00:55:07,040
Speaker 3: it's so testosterone filled. Yeah, it ends up being just

1111
00:55:07,080 --> 00:55:11,480
Speaker 3: an s show because limbiscuit and Chili for everybody's like

1112
00:55:12,520 --> 00:55:14,120
Speaker 3: urging the crowd to go crazy, so they do and

1113
00:55:14,120 --> 00:55:17,520
Speaker 3: they burn everything down, but also just the full lineup,

1114
00:55:17,600 --> 00:55:20,000
Speaker 3: like that enough of that music over that amount of

1115
00:55:20,000 --> 00:55:23,880
Speaker 3: time probably just gets all the testosterra. Like Atlantis was

1116
00:55:23,920 --> 00:55:25,480
Speaker 3: like this is so weird, Like Joel, I think he

1117
00:55:25,520 --> 00:55:25,920
Speaker 3: played it.

1118
00:55:25,960 --> 00:55:28,000
Speaker 4: I think yeah, she had a terrible experience and she.

1119
00:55:28,000 --> 00:55:30,120
Speaker 3: Was like, this is not for me. There's another one

1120
00:55:31,080 --> 00:55:33,080
Speaker 3: that I watched. Okay, this is what it was. Jeel

1121
00:55:33,120 --> 00:55:35,520
Speaker 3: did that, but I watched the Atlantis one.

1122
00:55:35,840 --> 00:55:36,520
Speaker 2: It was awesome.

1123
00:55:36,680 --> 00:55:41,719
Speaker 3: That was really good, Like I forgot just how transcendent

1124
00:55:41,800 --> 00:55:43,600
Speaker 3: she was as an artist because she's been around for

1125
00:55:43,600 --> 00:55:46,920
Speaker 3: so long now. But that Jagged Little Pill album, that

1126
00:55:47,000 --> 00:55:49,040
Speaker 3: thing had like five singles on it, which was unheard

1127
00:55:49,080 --> 00:55:52,719
Speaker 3: of back then because it took a song forever to

1128
00:55:52,760 --> 00:55:55,040
Speaker 3: make it to number one on like Top forty radio.

1129
00:55:56,600 --> 00:55:58,160
Speaker 3: But the Atlantis one was really good. It made want

1130
00:55:58,200 --> 00:55:59,719
Speaker 3: to go see her. I think she's doing a residency

1131
00:55:59,719 --> 00:56:01,840
Speaker 3: in Vegas and that one made me want to go

1132
00:56:01,880 --> 00:56:02,520
Speaker 3: see Alanis.

1133
00:56:02,560 --> 00:56:04,200
Speaker 7: I think it was in that documentary where she said

1134
00:56:04,239 --> 00:56:06,359
Speaker 7: she didn't get recognized too much after her first music

1135
00:56:06,440 --> 00:56:08,320
Speaker 7: video because her hair was in her face the whole time.

1136
00:56:08,760 --> 00:56:11,040
Speaker 3: Oh yeah, because you ought to know. It's like written,

1137
00:56:11,160 --> 00:56:14,160
Speaker 3: yeah that it's like from far back and her hair's

1138
00:56:14,160 --> 00:56:19,480
Speaker 3: in her face. That's crazy, because I want you to

1139
00:56:19,640 --> 00:56:23,239
Speaker 3: know that I had and that was an alternative song.

1140
00:56:24,360 --> 00:56:27,399
Speaker 3: Now it feels like that's that's like soft pop or

1141
00:56:27,440 --> 00:56:32,000
Speaker 3: like mainstream for then. But that thing I believe launched

1142
00:56:32,040 --> 00:56:34,200
Speaker 3: on like the alternative station in Los Angeles.

1143
00:56:34,280 --> 00:56:35,480
Speaker 4: I just heard that as a pop song.

1144
00:56:35,560 --> 00:56:36,480
Speaker 2: Yeah it was.

1145
00:56:36,800 --> 00:56:39,400
Speaker 3: It was very, very and part of it is, uh,

1146
00:56:39,520 --> 00:56:42,040
Speaker 3: would she go down on you and not the ata?

1147
00:56:43,360 --> 00:56:45,480
Speaker 3: And that was in the song until they took it out. Yeah,

1148
00:56:45,480 --> 00:56:48,879
Speaker 3: Atlantis was awesome. But like we're talking about with Dan,

1149
00:56:49,000 --> 00:56:51,200
Speaker 3: a lot of these artists. Tyler Hubbard's a guy to

1150
00:56:51,160 --> 00:56:53,640
Speaker 3: who wrote a bunch of songs and is a songwriter

1151
00:56:53,880 --> 00:56:56,080
Speaker 3: aside from doing his solo work with Florida Georgia Lyon

1152
00:56:56,160 --> 00:56:57,799
Speaker 3: and even Tyler Hubbard now and he has a bunch

1153
00:56:57,800 --> 00:56:59,759
Speaker 3: of songs. But I just want to take a minute

1154
00:56:59,800 --> 00:57:04,800
Speaker 3: and talk about other artists who were songwriters, either before, during,

1155
00:57:05,080 --> 00:57:08,400
Speaker 3: or after their artist careers. Which I didn't know the

1156
00:57:08,440 --> 00:57:11,319
Speaker 3: story that Dan told. I didn't know that kid got

1157
00:57:11,360 --> 00:57:13,400
Speaker 3: sick and that's why they kind of stopped like touring.

1158
00:57:14,800 --> 00:57:15,800
Speaker 2: Did you know that I know that?

1159
00:57:16,040 --> 00:57:16,200
Speaker 1: Yeah?

1160
00:57:16,240 --> 00:57:17,280
Speaker 2: I didn't either, but I.

1161
00:57:17,200 --> 00:57:19,920
Speaker 3: Thought it was awesome, and thank you guys for listening,

1162
00:57:20,320 --> 00:57:22,080
Speaker 3: and thanks for hanging out with the Bobbycast if you

1163
00:57:22,080 --> 00:57:24,040
Speaker 3: don't mind share this with a friend if they love music, Like,

1164
00:57:24,200 --> 00:57:26,240
Speaker 3: for the most part, this is just a music podcast,

1165
00:57:26,400 --> 00:57:28,360
Speaker 3: and it was super cool to have Dan on. So

1166
00:57:29,760 --> 00:57:31,720
Speaker 3: I feel like I'm a bigger Semisonic fan than I was.

1167
00:57:31,760 --> 00:57:33,600
Speaker 3: I didn't know the guy was like a Harvard like

1168
00:57:33,840 --> 00:57:39,040
Speaker 3: music genius. Like that's pretty cool because I feel like

1169
00:57:39,040 --> 00:57:41,240
Speaker 3: they just see it different, like I'll never I can't.

1170
00:57:41,240 --> 00:57:42,840
Speaker 3: I don't think I would ever talk music and be

1171
00:57:42,920 --> 00:57:45,240
Speaker 3: able to understand what he's actually seeing in his head

1172
00:57:45,240 --> 00:57:48,120
Speaker 3: as he's talking about it like that level, like if

1173
00:57:48,160 --> 00:57:50,760
Speaker 3: you talk with like a really good comedian or somebody

1174
00:57:50,760 --> 00:57:53,840
Speaker 3: in art, you just can't see what they're seeing. And

1175
00:57:53,880 --> 00:57:55,400
Speaker 3: I feel like I would never be able to understand

1176
00:57:55,400 --> 00:57:56,600
Speaker 3: what he was actually saying.

1177
00:57:56,560 --> 00:57:57,720
Speaker 4: And on a scholar level.

1178
00:57:58,040 --> 00:57:59,800
Speaker 3: Yeah, like, so I appreciate him dumbing it down for

1179
00:57:59,880 --> 00:58:02,240
Speaker 3: us today. Yeah, thank you guys for listening. You follow

1180
00:58:02,280 --> 00:58:04,200
Speaker 3: the Bobbycast on social media. That would be awesome and

1181
00:58:04,200 --> 00:58:05,240
Speaker 3: we will see you guys next week.

1182
00:58:05,240 --> 00:58:07,120
Speaker 2: All right, by everybody, thanks

1183
00:58:07,160 --> 00:58:09,320
Speaker 6: For listening to a Bobby Cast production.