1 00:00:00,600 --> 00:00:03,480 Speaker 1: All right, welcome to the Bobby Cast Episode one oh two. 2 00:00:04,440 --> 00:00:07,760 Speaker 1: About to play for you Dave Cohen, who I've worked 3 00:00:07,760 --> 00:00:10,280 Speaker 1: with a few times, and I think I'm the lowest 4 00:00:10,320 --> 00:00:12,920 Speaker 1: on his total poll of people he's worked with. And 5 00:00:12,920 --> 00:00:16,200 Speaker 1: I think you'll understand is we talked back and forth, 6 00:00:16,280 --> 00:00:18,119 Speaker 1: but I don't want it to be lost in the 7 00:00:18,160 --> 00:00:23,200 Speaker 1: interview how talented and well respected this guy is as 8 00:00:23,239 --> 00:00:29,000 Speaker 1: a session piano slash keyboard player. Because for us, when 9 00:00:29,000 --> 00:00:31,960 Speaker 1: we were doing the Raging Idiots album, the record label 10 00:00:31,960 --> 00:00:33,680 Speaker 1: was gonna pay whatever amount of money, and I said, hey, 11 00:00:33,720 --> 00:00:35,320 Speaker 1: I want the best guy, and that's how I met 12 00:00:35,400 --> 00:00:38,240 Speaker 1: Dave Cohen because he was a guy that was in 13 00:00:38,640 --> 00:00:41,080 Speaker 1: running all the people playing on the record and he 14 00:00:41,159 --> 00:00:44,360 Speaker 1: was playing piano, and we got a long, great personality. 15 00:00:44,479 --> 00:00:46,320 Speaker 1: You'll see two on my Instagram when I posted a 16 00:00:46,320 --> 00:00:48,560 Speaker 1: picture of Dave and I all the artists posting below 17 00:00:48,600 --> 00:00:51,879 Speaker 1: that going Dave, Dave, do you say that, Mike? Everybody 18 00:00:51,880 --> 00:00:55,120 Speaker 1: knows Dave. So we haven't had a session player in yet, 19 00:00:55,280 --> 00:00:57,760 Speaker 1: and that means when we were recording our records, or 20 00:00:57,800 --> 00:01:00,360 Speaker 1: anyone for that matter, mostly anyone more than us. But 21 00:01:00,400 --> 00:01:04,480 Speaker 1: I just know from my personal experience there's a guitar player, 22 00:01:04,680 --> 00:01:07,760 Speaker 1: there's an acoustic guitar player, there's a piano player, there's 23 00:01:07,760 --> 00:01:10,880 Speaker 1: a drummer, and they're all in the studio making music. 24 00:01:11,720 --> 00:01:13,759 Speaker 1: And there's a band leader. And Dave was the band 25 00:01:13,840 --> 00:01:16,559 Speaker 1: leader on our records and mini records, but I wanted 26 00:01:16,560 --> 00:01:18,119 Speaker 1: to bring him in and you're gonna hear that. So 27 00:01:18,760 --> 00:01:20,200 Speaker 1: that's coming up. I do want to say to that 28 00:01:20,319 --> 00:01:22,039 Speaker 1: I'm all out on the road and if you guys 29 00:01:22,080 --> 00:01:23,959 Speaker 1: want to come to a show about to head out 30 00:01:23,959 --> 00:01:27,240 Speaker 1: in a few weeks, mas I record this. It's February, 31 00:01:27,319 --> 00:01:31,240 Speaker 1: but March, April, May June my Red Hoodie Comedy Tour. 32 00:01:31,760 --> 00:01:34,759 Speaker 1: Just go to Bobby Bones Comedy dot com and tickets 33 00:01:34,760 --> 00:01:36,800 Speaker 1: to that or there. A lot of them are sold out, 34 00:01:36,800 --> 00:01:39,880 Speaker 1: but some aren't let to see you at be it. 35 00:01:40,440 --> 00:01:42,559 Speaker 1: Other than that, let's get started here with Dave Cohen 36 00:01:43,600 --> 00:01:47,680 Speaker 1: like session player extraordin here on all the albums you've 37 00:01:47,680 --> 00:01:49,360 Speaker 1: heard this guy played piano and you had no idea. 38 00:01:49,560 --> 00:01:51,520 Speaker 1: So here we go Upisode one or two of the 39 00:01:51,560 --> 00:01:57,120 Speaker 1: Bobby Cast. All right, welcome back, introduce yourself, Please find guests. 40 00:01:57,440 --> 00:02:00,360 Speaker 1: My name is Dave. Dave go on I no day 41 00:02:00,440 --> 00:02:04,320 Speaker 1: from we've worked together, and I think I always felt 42 00:02:04,360 --> 00:02:07,600 Speaker 1: guilty because Dave is what I would call. First of all, 43 00:02:07,640 --> 00:02:10,440 Speaker 1: I knew you was a session player who came in 44 00:02:10,680 --> 00:02:14,640 Speaker 1: and I think we're recrutting a Raging Idiots album two 45 00:02:14,720 --> 00:02:18,880 Speaker 1: years ago maybe, and you were the friendly guy that 46 00:02:19,040 --> 00:02:21,720 Speaker 1: made me. Although I knew I was bad, you were like, 47 00:02:21,800 --> 00:02:24,440 Speaker 1: who cares, Let's just have fun, you said on the piano. Yeah, 48 00:02:24,520 --> 00:02:27,800 Speaker 1: I do believe you were a session leader, and so 49 00:02:27,840 --> 00:02:31,840 Speaker 1: you ran all the musicians and we would do songs. Afterward, 50 00:02:31,880 --> 00:02:34,480 Speaker 1: we'd say on the piano, we just but I felt 51 00:02:34,520 --> 00:02:37,519 Speaker 1: very comfortable with You're very warm, thank you, and then 52 00:02:37,680 --> 00:02:42,640 Speaker 1: we did it again and yeah, and it's working. Yeah, 53 00:02:42,639 --> 00:02:44,680 Speaker 1: well it's it's it's I don't know if it's working. 54 00:02:44,760 --> 00:02:47,840 Speaker 1: And it definitely holds its place as I stare on 55 00:02:47,880 --> 00:02:50,959 Speaker 1: the wall. There's a big old number one comedy album. 56 00:02:51,080 --> 00:02:54,560 Speaker 1: You played on that record, probably your greatest achievement except 57 00:02:54,600 --> 00:02:56,640 Speaker 1: for a lot here that has nothing to do with me, 58 00:02:56,680 --> 00:02:59,839 Speaker 1: and as much bigger. So I say session player because 59 00:02:59,880 --> 00:03:01,320 Speaker 1: it's I knew you, and then I would see you 60 00:03:01,320 --> 00:03:05,400 Speaker 1: out playing like I think the c M as in 61 00:03:05,440 --> 00:03:09,239 Speaker 1: the house bandmas Um. I think I ran into you. Afterward, 62 00:03:09,919 --> 00:03:13,200 Speaker 1: I think we were maybe the honors. We were talking outside, 63 00:03:13,440 --> 00:03:16,000 Speaker 1: So then I started to go, Okay, this guy's not 64 00:03:16,040 --> 00:03:19,520 Speaker 1: just popping studio to studio being an expert piano player. 65 00:03:20,400 --> 00:03:24,919 Speaker 1: He also goes and plays expertly as house band. Sure 66 00:03:26,360 --> 00:03:31,400 Speaker 1: you do it all. I played the piano. Yeah, different rooms. 67 00:03:32,200 --> 00:03:34,600 Speaker 1: I was. I was reading and stuff about you because 68 00:03:34,760 --> 00:03:36,680 Speaker 1: I have to be kind of a stalker for this 69 00:03:36,760 --> 00:03:39,960 Speaker 1: part of it, right, which worried me because definitely when 70 00:03:40,000 --> 00:03:43,040 Speaker 1: I was doing my research for this, of course, like 71 00:03:43,200 --> 00:03:46,760 Speaker 1: the first I'm like looking looking like Dan Huff, Sure 72 00:03:47,120 --> 00:03:50,160 Speaker 1: listen to that, and then it's like the this is 73 00:03:50,200 --> 00:03:52,520 Speaker 1: your life with Dan Huff and I'm like, oh my gosh, 74 00:03:52,520 --> 00:03:55,880 Speaker 1: what that d was good? That was juicy. There was 75 00:03:55,960 --> 00:04:00,160 Speaker 1: like I was geeking out on that one. So you say, 76 00:04:00,200 --> 00:04:04,720 Speaker 1: you play piano, but you started playing keys keyboards? Yeah, 77 00:04:05,040 --> 00:04:08,200 Speaker 1: that went home. I was five. Is something that came 78 00:04:08,240 --> 00:04:11,800 Speaker 1: to naturally. I was over at my grandparents friend's house. 79 00:04:12,120 --> 00:04:15,280 Speaker 1: So the story goes, I mean I was there, but 80 00:04:15,320 --> 00:04:19,719 Speaker 1: I don't really remember much of it, but basically he 81 00:04:20,360 --> 00:04:24,000 Speaker 1: my grandfather's friend, showed me Twinkled Twinkle, Little Star or 82 00:04:24,080 --> 00:04:27,680 Speaker 1: something like that, and by the end of the afternoon, 83 00:04:27,800 --> 00:04:31,000 Speaker 1: I put on my own little concert and played Twinkled 84 00:04:31,000 --> 00:04:37,040 Speaker 1: twink a Little Star, And as parents read into every 85 00:04:37,080 --> 00:04:43,800 Speaker 1: little thing, that was like, well, Dave's gotta you gotta 86 00:04:43,880 --> 00:04:47,520 Speaker 1: pursue that. And you're not just a piano player, even 87 00:04:47,960 --> 00:04:50,760 Speaker 1: a good piano player. To make work as a session player, 88 00:04:51,240 --> 00:04:53,960 Speaker 1: you really have to be elite because you're playing on records. 89 00:04:54,440 --> 00:04:58,360 Speaker 1: For For before I became into Nashville and listening to music, 90 00:04:58,400 --> 00:05:00,800 Speaker 1: I just thought everybody played with their band, sure, And 91 00:05:00,800 --> 00:05:02,880 Speaker 1: then I would start to see documentaries, even the Wrecking 92 00:05:02,920 --> 00:05:06,120 Speaker 1: Crew documentary. I thought these arts just showed up with 93 00:05:06,120 --> 00:05:09,880 Speaker 1: their band and they made a record. Like in the sixties, seventies, eighties, 94 00:05:10,240 --> 00:05:13,279 Speaker 1: even the nineties. Some when when the hoodies and the 95 00:05:13,279 --> 00:05:16,880 Speaker 1: collective souls here in town. That's not really how it works. 96 00:05:17,520 --> 00:05:21,720 Speaker 1: That is not often how it works. And there's a 97 00:05:21,760 --> 00:05:25,800 Speaker 1: lot of bands that are doing that and you hear 98 00:05:25,839 --> 00:05:29,440 Speaker 1: it and it's awesome and it's a thing. But a 99 00:05:29,480 --> 00:05:32,520 Speaker 1: lot of the time in Nashville it's I WoT say, 100 00:05:32,520 --> 00:05:37,640 Speaker 1: it's such a machine, but the the pace at which 101 00:05:38,720 --> 00:05:46,000 Speaker 1: music is written, demoed, pitched, recorded and sent out to 102 00:05:46,080 --> 00:05:49,719 Speaker 1: the radio, and that kind of thing doesn't leave a 103 00:05:49,760 --> 00:05:53,080 Speaker 1: lot of time to make records at the pace that 104 00:05:53,760 --> 00:05:57,160 Speaker 1: hood he would have made their records, or a lot 105 00:05:57,240 --> 00:06:00,640 Speaker 1: of take the take the time, and the those days 106 00:06:00,720 --> 00:06:04,120 Speaker 1: of like you know they when you watch Tom Petty 107 00:06:04,200 --> 00:06:07,320 Speaker 1: documentaries where they spent all the entire week getting drum 108 00:06:07,400 --> 00:06:11,760 Speaker 1: sounds and then undid all of that and started all 109 00:06:11,760 --> 00:06:15,279 Speaker 1: over again. That's awesome and that's an amazing way to 110 00:06:15,320 --> 00:06:19,279 Speaker 1: make a record, but it doesn't work necessarily in the 111 00:06:19,360 --> 00:06:23,000 Speaker 1: Nashville time scale. You talk about demos just so people know, 112 00:06:23,160 --> 00:06:24,840 Speaker 1: I'll give an example of what a demo would be. 113 00:06:24,880 --> 00:06:28,680 Speaker 1: Let's say that Lori McKenna and another writer or two 114 00:06:28,839 --> 00:06:31,039 Speaker 1: they write a song and they need to record it 115 00:06:31,080 --> 00:06:33,000 Speaker 1: so they can pitch it so it sounds really good, 116 00:06:33,040 --> 00:06:35,960 Speaker 1: so they can pitch it to Tim McGraw. You'll go 117 00:06:36,040 --> 00:06:39,960 Speaker 1: and record it with Lori singing it, make it sound awesome, 118 00:06:40,480 --> 00:06:42,159 Speaker 1: and then you get that. And that's what a demo 119 00:06:42,240 --> 00:06:44,880 Speaker 1: is as compared to when these songs, these are real 120 00:06:44,920 --> 00:06:48,200 Speaker 1: life songs totally they go on records. Yeah, so demo 121 00:06:48,360 --> 00:06:53,160 Speaker 1: is basically a union scale. But the thought is, yeah, 122 00:06:53,200 --> 00:06:56,360 Speaker 1: as far as being able to pitch asade you if 123 00:06:56,400 --> 00:06:59,640 Speaker 1: you're a songwriter and you want to show Rascal Flats 124 00:07:00,400 --> 00:07:04,039 Speaker 1: this song that you wrote for them. Sometimes it's tough 125 00:07:04,160 --> 00:07:07,320 Speaker 1: with just the song, if you're with your iPhone recording 126 00:07:07,320 --> 00:07:10,640 Speaker 1: from you in the songwriting room, it's tough to show 127 00:07:10,680 --> 00:07:13,040 Speaker 1: them with the vision that you see for the song. 128 00:07:13,120 --> 00:07:17,000 Speaker 1: So you bring it into a demo session and you 129 00:07:17,040 --> 00:07:20,160 Speaker 1: can knock out, you know, five or six songs in 130 00:07:20,200 --> 00:07:25,560 Speaker 1: a three hour period. It's not it's not a finished recording. 131 00:07:25,720 --> 00:07:28,239 Speaker 1: It's not a it's not a record, it's not supposed 132 00:07:28,280 --> 00:07:31,440 Speaker 1: to be released. It's just something that this is in 133 00:07:31,560 --> 00:07:33,920 Speaker 1: the vein. And so the songwriter will come to the 134 00:07:33,920 --> 00:07:37,200 Speaker 1: demo session and go, we're thinking Rascal Flats on this, 135 00:07:37,880 --> 00:07:43,200 Speaker 1: So yeah, do your best Rascal Flats and yeah, so 136 00:07:43,720 --> 00:07:46,480 Speaker 1: well you do. For most of the days. You go 137 00:07:46,640 --> 00:07:50,280 Speaker 1: from studio to studio and you'll sit down at whatever 138 00:07:50,360 --> 00:07:53,240 Speaker 1: piano type instrument they have there and then play it 139 00:07:53,360 --> 00:07:57,160 Speaker 1: right that or I definitely have my gear that shows 140 00:07:57,280 --> 00:08:01,560 Speaker 1: up there. So there's some there's a whole industry in 141 00:08:01,640 --> 00:08:05,920 Speaker 1: Nashville called cartage, and so shout out to Larry Freakins 142 00:08:06,000 --> 00:08:08,880 Speaker 1: and Pockets and Jordan's the three guys that take care 143 00:08:08,920 --> 00:08:11,520 Speaker 1: of my gear and I text them at the beginning 144 00:08:11,520 --> 00:08:13,400 Speaker 1: of the week say I'll be here, here and here, 145 00:08:14,040 --> 00:08:21,960 Speaker 1: and my keyboard world sort of magically appears up. You're 146 00:08:21,960 --> 00:08:24,480 Speaker 1: going studio to studio, and I wonder, when you think back, 147 00:08:25,000 --> 00:08:26,800 Speaker 1: what are some of the biggest songs that you've been 148 00:08:26,840 --> 00:08:34,760 Speaker 1: a part of. Ah, I mean I think right now? Uh, well, 149 00:08:34,840 --> 00:08:37,439 Speaker 1: Chris Young Losing Sleep? So you play the keys on 150 00:08:37,520 --> 00:08:45,480 Speaker 1: Losing Sleep? Yes, can you hear your keys? That's funny. 151 00:08:45,559 --> 00:08:48,360 Speaker 1: I had a conversation literally yesterday with my dad that goes, 152 00:08:48,559 --> 00:08:52,760 Speaker 1: he goes, I can hear your son, but I don't know, 153 00:08:52,840 --> 00:08:57,600 Speaker 1: I can't hear you. And for the most part, it's 154 00:08:57,640 --> 00:09:01,200 Speaker 1: the type of thing where i'd go a lot of 155 00:09:01,200 --> 00:09:04,600 Speaker 1: the time the keyboards and Nashville are supporting role. Um. 156 00:09:04,679 --> 00:09:07,120 Speaker 1: You know, you don't hear a lot of piano solos anymore, 157 00:09:07,160 --> 00:09:09,840 Speaker 1: a lot of keyboard solos. Um. So a lot of 158 00:09:09,880 --> 00:09:14,560 Speaker 1: what I do is pads and background stuff where if 159 00:09:14,600 --> 00:09:17,200 Speaker 1: you I always tell me that if you muted it, 160 00:09:17,720 --> 00:09:23,360 Speaker 1: you'd miss it. But oft times it's it's not about 161 00:09:23,400 --> 00:09:25,960 Speaker 1: the keyboards. How about this one? Because I have a 162 00:09:25,960 --> 00:09:33,679 Speaker 1: whole list of songs here. How often are you in 163 00:09:33,760 --> 00:09:37,559 Speaker 1: the studio with the artist persons not at all. Um, 164 00:09:37,600 --> 00:09:41,280 Speaker 1: it all depends. I mean, some some artists are they're 165 00:09:42,000 --> 00:09:45,080 Speaker 1: all the time. When some artists just due to their 166 00:09:45,520 --> 00:09:51,080 Speaker 1: touring schedule and whatever, they'll either sing vocals ahead of time, 167 00:09:51,200 --> 00:09:53,479 Speaker 1: or they'll be there for the first day of tracking 168 00:09:53,720 --> 00:09:58,160 Speaker 1: or almost always there there as much as they physically 169 00:09:58,200 --> 00:10:03,079 Speaker 1: can be. But oft times they can't be there, which 170 00:10:03,160 --> 00:10:05,839 Speaker 1: is why I didn't get to meet the back Street Boys. 171 00:10:06,800 --> 00:10:09,440 Speaker 1: So you did not meet the Bay I didn't. Who 172 00:10:09,440 --> 00:10:11,400 Speaker 1: have you been in the studio with where you're like, man, 173 00:10:11,640 --> 00:10:19,120 Speaker 1: they are really freaking special. Honestly. Kid Rock was a 174 00:10:20,120 --> 00:10:29,080 Speaker 1: really sweet, genuine, laid back honest you know hey, I 175 00:10:29,120 --> 00:10:35,559 Speaker 1: mean Bob, I was like, okay cool Kid Rock, Yeah, Okay, 176 00:10:35,640 --> 00:10:40,840 Speaker 1: Mr Rock Yeah, okay, m yeah totally and he he 177 00:10:41,040 --> 00:10:48,079 Speaker 1: sang and his instincts are like artists, the artists that 178 00:10:48,120 --> 00:10:53,040 Speaker 1: have been there a long time. They're not always virtuosic musicians, 179 00:10:53,080 --> 00:10:59,120 Speaker 1: and they're not necessarily virtuosic songwriters or this or that. 180 00:10:59,679 --> 00:11:02,880 Speaker 1: Every artists sort of has the thing that they're great 181 00:11:02,920 --> 00:11:08,600 Speaker 1: at and they you know, are able to make up 182 00:11:08,640 --> 00:11:13,040 Speaker 1: for other deficiencies and other things. But the one constant 183 00:11:13,080 --> 00:11:17,000 Speaker 1: thing with Big artists successful people that I've noticed is 184 00:11:17,200 --> 00:11:22,280 Speaker 1: just their instincts. Um. Steven Tyler was another. You work 185 00:11:22,320 --> 00:11:25,040 Speaker 1: with him on his country project? Yes? What was he like? 186 00:11:25,480 --> 00:11:27,040 Speaker 1: Because I geeked out when he here to the radio 187 00:11:27,080 --> 00:11:30,160 Speaker 1: studio And it was weird with Steven Tyler because the 188 00:11:30,200 --> 00:11:32,400 Speaker 1: first time I met him, I thought, this is one 189 00:11:32,440 --> 00:11:37,320 Speaker 1: of the coolest things I've ever done, because he's, um, 190 00:11:37,360 --> 00:11:41,079 Speaker 1: maybe the biggest American rock star alive. Like, think about 191 00:11:41,160 --> 00:11:44,800 Speaker 1: who would be who would beat Steven Tyler. Dave Grohl 192 00:11:44,840 --> 00:11:48,040 Speaker 1: would be up there, but he doesn't have the lunch yet. Yeah. 193 00:11:48,080 --> 00:11:51,520 Speaker 1: I mean it's like on on classic rock radio. I 194 00:11:51,559 --> 00:11:56,080 Speaker 1: mean there's not many people that are still still kicking it. 195 00:11:56,200 --> 00:11:59,480 Speaker 1: You know, it's like Bob Seegers still tours and still tours. 196 00:11:59,520 --> 00:12:01,079 Speaker 1: But who would you put up on that right now? 197 00:12:01,160 --> 00:12:05,160 Speaker 1: Living Mount Rushmore of rock because I think Steven Tyler 198 00:12:05,240 --> 00:12:08,200 Speaker 1: is up. I think Dave Grohl is up. American American. Yeah, 199 00:12:09,679 --> 00:12:13,320 Speaker 1: you can't put Bono, he's in Ireland. You can't put 200 00:12:13,400 --> 00:12:16,280 Speaker 1: the Yeah, exactly, there's the international dudes. What about the 201 00:12:16,280 --> 00:12:19,360 Speaker 1: Eagles would you put? I'd put the Eagles. I mean 202 00:12:19,400 --> 00:12:21,960 Speaker 1: they're classic with Vince Gill and they won a super 203 00:12:21,960 --> 00:12:25,800 Speaker 1: Bowl and everything. It was well, yeah, I would put 204 00:12:25,880 --> 00:12:32,880 Speaker 1: Nick Foles on, but as far as I mean, I 205 00:12:32,920 --> 00:12:34,959 Speaker 1: don't know was he able to still sing it? Steven 206 00:12:35,000 --> 00:12:41,360 Speaker 1: Tyler like, I mean, he's he's saying as good that 207 00:12:42,280 --> 00:12:47,160 Speaker 1: just him running scratch vocals in the studio is was 208 00:12:48,000 --> 00:12:51,559 Speaker 1: just as good as as anything. Hearing him and you're 209 00:12:52,520 --> 00:12:55,120 Speaker 1: a little bit oh my gosh, like and and leading 210 00:12:55,200 --> 00:12:56,960 Speaker 1: up to it, he'd been he didn't. He did a 211 00:12:56,960 --> 00:13:00,239 Speaker 1: lot of writing in town, so I'd play on demos 212 00:13:00,679 --> 00:13:04,240 Speaker 1: where he would have pre recorded his voice, but he 213 00:13:04,320 --> 00:13:08,640 Speaker 1: wasn't there. And and that just turning up the vocal 214 00:13:08,720 --> 00:13:12,480 Speaker 1: fader on your cue box there and hearing hearing Steven 215 00:13:12,520 --> 00:13:17,280 Speaker 1: Tyler's like, my god, that's so cool. And he is 216 00:13:18,000 --> 00:13:22,360 Speaker 1: as far as talking about instincts like what he him 217 00:13:22,600 --> 00:13:26,000 Speaker 1: and Kid Rock and any of those people that have 218 00:13:26,120 --> 00:13:30,920 Speaker 1: had the long career is just there. Should it be 219 00:13:31,000 --> 00:13:35,320 Speaker 1: A or B? They go, should be be and they're right. 220 00:13:36,320 --> 00:13:39,120 Speaker 1: And sometimes they'll they'll sing a thing and I'll go, 221 00:13:40,440 --> 00:13:42,800 Speaker 1: they'll sing a part to me, and I'll kind of 222 00:13:42,840 --> 00:13:46,560 Speaker 1: go like, of course, I'll entertain and I'll do it 223 00:13:46,640 --> 00:13:49,040 Speaker 1: in my head. I'm going there And that's not gonna work, 224 00:13:50,000 --> 00:13:54,839 Speaker 1: but sure enough, I play that thing. And then he goes, gay, man, 225 00:13:54,880 --> 00:13:59,000 Speaker 1: get on guitar and play that thing, and and in 226 00:13:59,200 --> 00:14:02,880 Speaker 1: ten fifteen that's there's like a whole the whole part 227 00:14:02,920 --> 00:14:05,920 Speaker 1: of the song that that I didn't hear. And this 228 00:14:06,000 --> 00:14:10,640 Speaker 1: was in his head and just his his gut told 229 00:14:10,720 --> 00:14:12,360 Speaker 1: him that that was the thing to do. I remember 230 00:14:12,360 --> 00:14:14,280 Speaker 1: talking to Steven Tyler and we were off to the 231 00:14:14,320 --> 00:14:17,760 Speaker 1: side and I said, hey, um, I asked him about 232 00:14:17,760 --> 00:14:21,280 Speaker 1: Freddie Mercury. I say, because again, when I get to 233 00:14:21,320 --> 00:14:24,200 Speaker 1: do these type things, I get to ask questions that 234 00:14:24,240 --> 00:14:27,320 Speaker 1: I would never ask in human because it would just 235 00:14:27,480 --> 00:14:30,160 Speaker 1: be too intrusive. If I'm like, hey, Steven Tyler, I 236 00:14:30,160 --> 00:14:33,080 Speaker 1: know we're at dinner about Freddie Mercury, but I could 237 00:14:33,120 --> 00:14:35,240 Speaker 1: just say, hey, so did you know Freddy Mercury. I'm 238 00:14:35,240 --> 00:14:37,600 Speaker 1: a huge Queen fan. I think if Queen were alive 239 00:14:37,680 --> 00:14:41,440 Speaker 1: right now, their sound is still currently one of the 240 00:14:41,440 --> 00:14:44,280 Speaker 1: few I think, Biggie Queen, there are a few of 241 00:14:44,320 --> 00:14:46,200 Speaker 1: those acts that if you put them in right now, 242 00:14:46,280 --> 00:14:50,000 Speaker 1: they still oddly work. And I was talking about Queen 243 00:14:50,000 --> 00:14:53,080 Speaker 1: and he said, yeah, man, very easy to be on 244 00:14:53,080 --> 00:14:55,800 Speaker 1: the front of our bus. He said, we talked for 245 00:14:55,880 --> 00:14:57,800 Speaker 1: like a year together, and but he'd stay up in 246 00:14:57,800 --> 00:14:59,120 Speaker 1: the very front of the bus with me and he goes, 247 00:14:59,560 --> 00:15:01,040 Speaker 1: I don't ober any of it because I was so 248 00:15:01,080 --> 00:15:03,960 Speaker 1: out of my mind. And I thought that was so funny. 249 00:15:04,360 --> 00:15:06,040 Speaker 1: Even when I asked him about music, I said, hey, 250 00:15:06,040 --> 00:15:09,880 Speaker 1: what what was the change for you guys? Because they 251 00:15:09,880 --> 00:15:13,800 Speaker 1: went a long time without being big, you know, late seventies, 252 00:15:14,680 --> 00:15:17,880 Speaker 1: the Boston Band, they weren't big. They didn't have a 253 00:15:17,960 --> 00:15:19,960 Speaker 1: number one I don't think until the Arma Getting song, 254 00:15:20,160 --> 00:15:22,600 Speaker 1: even though they had all the songs that but that 255 00:15:22,640 --> 00:15:26,120 Speaker 1: was their first number one song. I said, what, you know, 256 00:15:26,160 --> 00:15:28,680 Speaker 1: what was it? And he goes, I'm gonna tell you, man, 257 00:15:29,240 --> 00:15:32,280 Speaker 1: we were doing I'll stop doing my impression. But he 258 00:15:32,360 --> 00:15:35,960 Speaker 1: said they were doing sweet emotion. He said it was 259 00:15:36,000 --> 00:15:37,520 Speaker 1: the first time that anyone and just said, let's just 260 00:15:37,520 --> 00:15:40,160 Speaker 1: start with the chorus because they just go it just 261 00:15:40,200 --> 00:15:43,920 Speaker 1: started to sweet, and he goes, that changed it for us. 262 00:15:43,960 --> 00:15:45,920 Speaker 1: We thought we can now do whatever we want with music. 263 00:15:45,960 --> 00:15:50,440 Speaker 1: It doesn't matter anymore, absolutely, And and that's the type 264 00:15:50,440 --> 00:15:54,600 Speaker 1: of thing that you can experiment like today with pro 265 00:15:54,680 --> 00:15:58,880 Speaker 1: tools and computers, you can go, what if this and 266 00:15:58,920 --> 00:16:01,960 Speaker 1: you just two or three key strokes and then the 267 00:16:01,960 --> 00:16:05,200 Speaker 1: whole you know, the first choruses flowed to the beginning 268 00:16:05,240 --> 00:16:07,320 Speaker 1: of the infro and you can kind of see but 269 00:16:08,680 --> 00:16:11,840 Speaker 1: two pick that up in your head and to and 270 00:16:12,000 --> 00:16:14,960 Speaker 1: to think that that might be a good idea is 271 00:16:15,480 --> 00:16:18,360 Speaker 1: what makes it special. You just see so many artists. 272 00:16:19,240 --> 00:16:23,040 Speaker 1: I mean you you work with every day, somebody's singing 273 00:16:23,720 --> 00:16:27,760 Speaker 1: where you are. Yeah, you just see so many great 274 00:16:27,840 --> 00:16:33,280 Speaker 1: that do you ever lose the concept that everyone's really 275 00:16:33,840 --> 00:16:36,000 Speaker 1: You're working with great people all the time, so when 276 00:16:36,040 --> 00:16:41,120 Speaker 1: someone really pops through, you're just like, oh good god. Yeah, 277 00:16:41,520 --> 00:16:46,960 Speaker 1: Like I haven't been struck like that with just a 278 00:16:47,040 --> 00:16:52,720 Speaker 1: singer that kicks so much as she is incredible. And 279 00:16:52,760 --> 00:16:55,240 Speaker 1: I spent a couple of days in the studio and 280 00:16:55,680 --> 00:17:00,400 Speaker 1: with her and just she had scratch of a coals. 281 00:17:00,520 --> 00:17:02,480 Speaker 1: She didn't have to sing. She could have sat in 282 00:17:02,520 --> 00:17:07,119 Speaker 1: the control room and just kind of oversaw everything. But 283 00:17:07,600 --> 00:17:11,080 Speaker 1: she goes, I think I can let me, let me 284 00:17:11,280 --> 00:17:15,359 Speaker 1: go out there and sing it with the band, and 285 00:17:15,359 --> 00:17:19,920 Speaker 1: and just not wormed up. She just belted it out 286 00:17:20,000 --> 00:17:24,680 Speaker 1: and it was I mean, it was Carrie Underwood. Remember, 287 00:17:25,320 --> 00:17:27,040 Speaker 1: I've been able to do some cool things that I 288 00:17:27,040 --> 00:17:28,600 Speaker 1: shouldn't be able to do, and I get to sing 289 00:17:28,640 --> 00:17:31,120 Speaker 1: and do it with Carrie Underwood played on that. So 290 00:17:31,440 --> 00:17:33,760 Speaker 1: I wasn't in the studio that day, but so she 291 00:17:33,880 --> 00:17:35,520 Speaker 1: came and sang with you guys because she's saying, I'm 292 00:17:35,680 --> 00:17:38,199 Speaker 1: the first record, and I know you guys were doing 293 00:17:38,240 --> 00:17:41,159 Speaker 1: the record. And but then we sang together at the 294 00:17:41,200 --> 00:17:44,760 Speaker 1: rheman and so I'm doing the thing and I'm singing 295 00:17:44,840 --> 00:17:47,520 Speaker 1: apart and Carrie comes out and we're looking at each other. 296 00:17:47,640 --> 00:17:50,159 Speaker 1: She started singing, and again, I like, you get to 297 00:17:50,160 --> 00:17:52,040 Speaker 1: hear good people sing all the time on my radio studio. 298 00:17:52,400 --> 00:17:53,960 Speaker 1: It sounds like alien was coming out of her mouth. 299 00:17:54,000 --> 00:17:56,879 Speaker 1: It was that strong. It was so perfect and that strong. 300 00:17:57,640 --> 00:17:59,880 Speaker 1: And rumor is with Carrie is that she doesn't allow 301 00:17:59,920 --> 00:18:02,200 Speaker 1: you to manipulate her voice on a record. She has 302 00:18:02,200 --> 00:18:04,199 Speaker 1: to get exactly right and you don't use it. And 303 00:18:04,200 --> 00:18:06,360 Speaker 1: that's it's she sings that good that she's like, I'm 304 00:18:06,400 --> 00:18:10,600 Speaker 1: using my real voice. That's it. Yeah, there's no auto tuning, 305 00:18:10,680 --> 00:18:16,160 Speaker 1: there's no fixings. Let me talk about this for one second. 306 00:18:16,560 --> 00:18:19,520 Speaker 1: Blue Apron it comes right to your house and they 307 00:18:19,560 --> 00:18:24,159 Speaker 1: deliver fresh preportion ingredients, step by step recipes right to 308 00:18:24,240 --> 00:18:26,960 Speaker 1: your door that can be cooked and under forty five minutes. 309 00:18:26,960 --> 00:18:29,199 Speaker 1: The menu changes every week based on what's in season, 310 00:18:29,640 --> 00:18:32,320 Speaker 1: based on what's designed by the Blue Apron in house 311 00:18:32,320 --> 00:18:35,119 Speaker 1: culinary team. You can make things and it comes to 312 00:18:35,119 --> 00:18:36,680 Speaker 1: your house and you can sit there for three days, 313 00:18:36,720 --> 00:18:39,520 Speaker 1: four days, and whenever you feel like it. Make things 314 00:18:39,520 --> 00:18:43,200 Speaker 1: like strip steak and potatoes with spicy maple collared greens. 315 00:18:43,240 --> 00:18:44,640 Speaker 1: The point is you can make this when you want, 316 00:18:44,640 --> 00:18:46,840 Speaker 1: and you can actually cook it, because there's a car 317 00:18:46,960 --> 00:18:48,239 Speaker 1: that tells you if I can do it, you can 318 00:18:48,280 --> 00:18:51,400 Speaker 1: do it. Spicy chicken and stir fried vegetables with jasmine rice, 319 00:18:51,800 --> 00:18:54,720 Speaker 1: soy glazed Korean rice cakes with broccoli and soft boiled eggs, 320 00:18:54,800 --> 00:18:58,360 Speaker 1: or creamy fusili Bukati pasta with fries, rosemary and walnuts. 321 00:18:58,440 --> 00:19:02,119 Speaker 1: So very flexible, twelve new recipes each week. Blue Apron 322 00:19:02,160 --> 00:19:05,439 Speaker 1: sins only non GMO ingredients with no meat added. So 323 00:19:06,359 --> 00:19:09,200 Speaker 1: I love Blue Apron, I eat Blue Apron. Blue Apron 324 00:19:09,280 --> 00:19:11,399 Speaker 1: is training the listeners of the Bobby Cash Are you 325 00:19:11,440 --> 00:19:13,159 Speaker 1: here to thirty dollars off your first order if you 326 00:19:13,200 --> 00:19:16,280 Speaker 1: go to Blue Apron dot com slash Bobby Cast thirty 327 00:19:16,280 --> 00:19:19,879 Speaker 1: dollars off Blue apron dot com slash Bobby cast Blue 328 00:19:19,880 --> 00:19:22,160 Speaker 1: Apron a better way to cook. Okay, so let's start. 329 00:19:22,240 --> 00:19:25,240 Speaker 1: Let's go back to your your Canadian Yes, and so 330 00:19:25,560 --> 00:19:28,879 Speaker 1: you came to America win ten years ago, I moved. 331 00:19:29,320 --> 00:19:33,400 Speaker 1: I moved here to Nashville from Toronto under what guys? 332 00:19:34,400 --> 00:19:39,360 Speaker 1: I wanted to play piano for a living, and I 333 00:19:39,440 --> 00:19:44,080 Speaker 1: felt I had reached a ceiling in Canada and wanted 334 00:19:44,119 --> 00:19:48,680 Speaker 1: to make a move to have a bigger opportunity to 335 00:19:49,080 --> 00:19:51,239 Speaker 1: move to America in the land of opportunity. Did you 336 00:19:51,240 --> 00:19:53,280 Speaker 1: think that you wanted to play a band? Did you 337 00:19:53,320 --> 00:19:55,239 Speaker 1: think did you know what it? At that point I 338 00:19:55,280 --> 00:19:59,920 Speaker 1: had already been in a band and quit the band. 339 00:20:00,000 --> 00:20:02,280 Speaker 1: And to be the best one of the band, no, 340 00:20:02,920 --> 00:20:05,440 Speaker 1: you had to be You're an expert of what you know. 341 00:20:05,520 --> 00:20:07,040 Speaker 1: You had to have been the best one if you 342 00:20:07,119 --> 00:20:10,160 Speaker 1: ranked everyone in Madden and your other dudes we went. 343 00:20:10,600 --> 00:20:12,800 Speaker 1: They were friends from music school. So as far as 344 00:20:13,080 --> 00:20:17,399 Speaker 1: I mean, as far as playing ability, that's that's the 345 00:20:17,480 --> 00:20:21,000 Speaker 1: thing with especially in session land here in Nashville. It's 346 00:20:22,119 --> 00:20:26,800 Speaker 1: we're not making jazz Odyssey records. It's it's not rocket 347 00:20:26,800 --> 00:20:31,639 Speaker 1: science music. So often the playing thing is it's about 348 00:20:32,960 --> 00:20:37,040 Speaker 1: it's such about nuance. It's not really about the virtuosity 349 00:20:37,240 --> 00:20:39,640 Speaker 1: or the who can play fast and who can play 350 00:20:39,680 --> 00:20:41,320 Speaker 1: the you know that sort of thing when you think 351 00:20:41,400 --> 00:20:44,399 Speaker 1: of who's the who's the best piano player in the world. 352 00:20:44,480 --> 00:20:47,960 Speaker 1: But to counter your point, there are so many great 353 00:20:47,960 --> 00:20:50,960 Speaker 1: players that the greatest of great are the ones that 354 00:20:51,040 --> 00:20:52,720 Speaker 1: get the jobs even if you don't need them for 355 00:20:52,720 --> 00:20:56,480 Speaker 1: the reason that they're so great. Sure, does that make sense, Absolutely, 356 00:20:56,800 --> 00:20:58,760 Speaker 1: because if there're a lot of good players, and there's 357 00:20:58,760 --> 00:21:00,280 Speaker 1: a lot of great players and they both want to 358 00:21:00,320 --> 00:21:03,840 Speaker 1: play a mediocre level, you took with the best player. Absolutely. 359 00:21:04,080 --> 00:21:08,440 Speaker 1: I think good music can be played well as easily 360 00:21:08,600 --> 00:21:12,040 Speaker 1: as good music can be played poorly. I also believe 361 00:21:12,119 --> 00:21:15,240 Speaker 1: that bad music can be played well and bad music 362 00:21:15,240 --> 00:21:18,879 Speaker 1: can be played poorly. And so the big picture of 363 00:21:18,920 --> 00:21:22,960 Speaker 1: going into the studio is me going, whatever the music is, 364 00:21:23,400 --> 00:21:26,400 Speaker 1: it can be played well. How do you do that? 365 00:21:27,040 --> 00:21:29,560 Speaker 1: Was it hard for you to live in America as 366 00:21:29,600 --> 00:21:33,680 Speaker 1: a citizen because I have friends that it's impossible, it's 367 00:21:33,680 --> 00:21:35,960 Speaker 1: hard for them to become I'm definitely not a citizen. 368 00:21:36,720 --> 00:21:40,280 Speaker 1: I have a green card. And was that hard to get? Yes? 369 00:21:40,640 --> 00:21:44,480 Speaker 1: Really expensive and really hard and really took a long time, 370 00:21:44,520 --> 00:21:49,920 Speaker 1: and I had work visas before that, and and yeah, 371 00:21:50,200 --> 00:21:54,240 Speaker 1: I mean I I'd never worked today in the in 372 00:21:54,320 --> 00:21:59,840 Speaker 1: this country illegally, um. And that cost a lot of money. 373 00:22:00,080 --> 00:22:02,719 Speaker 1: That was I don't think a lot of people can 374 00:22:03,240 --> 00:22:07,560 Speaker 1: could could do that. Um. Not to mention the way 375 00:22:07,680 --> 00:22:12,359 Speaker 1: like I used music as the work visa, so I 376 00:22:12,359 --> 00:22:16,600 Speaker 1: hadn't know one visa, which is in their words, an 377 00:22:16,760 --> 00:22:21,600 Speaker 1: extraordinary talent visa, the extraordinary alien. So audition for them. 378 00:22:22,560 --> 00:22:25,400 Speaker 1: We have to hire a lawyer to them to tell 379 00:22:25,440 --> 00:22:29,120 Speaker 1: them the lawyer talk. So you moved the States ten 380 00:22:29,200 --> 00:22:33,240 Speaker 1: years ago, and how do you get into the session game? 381 00:22:33,960 --> 00:22:36,840 Speaker 1: I was way not even close to session game. I 382 00:22:36,880 --> 00:22:40,200 Speaker 1: was still My goal was to to be on the road, 383 00:22:40,280 --> 00:22:42,120 Speaker 1: So I was. I moved here with a road gig. 384 00:22:42,160 --> 00:22:44,960 Speaker 1: I toured for a long long time with a I 385 00:22:44,960 --> 00:22:48,000 Speaker 1: would know. Uh, yeah, I mean I toured with Joe 386 00:22:48,080 --> 00:22:51,640 Speaker 1: Nichols was my first gig that I landed here in Nashville, 387 00:22:51,680 --> 00:22:53,159 Speaker 1: and I was with him for a bunch of years, 388 00:22:53,280 --> 00:22:57,879 Speaker 1: and I did uh. I spent a year subbing for 389 00:22:57,880 --> 00:23:00,920 Speaker 1: a good friend of mine, UM when he was on 390 00:23:00,960 --> 00:23:02,600 Speaker 1: and off the road with Big and Rich. So I, 391 00:23:02,880 --> 00:23:04,959 Speaker 1: oh boy, you got two parties right there, depending on 392 00:23:04,960 --> 00:23:08,280 Speaker 1: when you got Joe, you got to two parties. I 393 00:23:08,400 --> 00:23:12,600 Speaker 1: got chilled out Joe and uh and I got you 394 00:23:12,680 --> 00:23:16,160 Speaker 1: got big and they are there, Yeah, they come how 395 00:23:16,160 --> 00:23:19,160 Speaker 1: they come? So you're on the road with Joe bigger 396 00:23:19,280 --> 00:23:22,840 Speaker 1: to anybody else. I mean, I played with Winona, and 397 00:23:22,880 --> 00:23:27,639 Speaker 1: I've played with Casey Musgraves, and I've i've I've subbed 398 00:23:27,720 --> 00:23:30,320 Speaker 1: in and and sort of appeared with people. How do 399 00:23:30,359 --> 00:23:32,960 Speaker 1: you get those gigs? Because I saw you playing the 400 00:23:32,960 --> 00:23:35,879 Speaker 1: CMA then the house band at CMAS, right, how do 401 00:23:35,920 --> 00:23:41,840 Speaker 1: you get that gig? Uh? That gig came through h 402 00:23:42,840 --> 00:23:44,800 Speaker 1: Is it just your the best? And is that really what? 403 00:23:45,000 --> 00:23:46,680 Speaker 1: They just look for the best of the best. There's 404 00:23:46,680 --> 00:23:51,080 Speaker 1: a short list of the best. That's why I just 405 00:23:51,160 --> 00:23:53,760 Speaker 1: see the house band and I go, oh, I've I've 406 00:23:54,000 --> 00:23:56,399 Speaker 1: seen and worked with a bunch of these guys, and 407 00:23:56,480 --> 00:23:58,640 Speaker 1: so I know three or four of you. I'll say 408 00:23:58,640 --> 00:24:03,720 Speaker 1: success breeds six sess and definitely people in those higher 409 00:24:03,760 --> 00:24:09,200 Speaker 1: pressure situations, people don't want to take chances with people 410 00:24:09,359 --> 00:24:12,800 Speaker 1: that they don't know whether or not they're good. They 411 00:24:12,840 --> 00:24:17,040 Speaker 1: could be the best player, but if the band leader, um, 412 00:24:17,080 --> 00:24:22,320 Speaker 1: who was Derek wells um guitar player. When he put 413 00:24:22,359 --> 00:24:26,360 Speaker 1: that band together, he is gonna put people, but he's 414 00:24:26,359 --> 00:24:29,760 Speaker 1: comfortable with and he knows what's the job. Right. Does 415 00:24:29,760 --> 00:24:31,440 Speaker 1: pay dose gigs pay well for doing like the house 416 00:24:31,440 --> 00:24:34,000 Speaker 1: band gig? Sure? Are they just union scale or is 417 00:24:34,040 --> 00:24:36,800 Speaker 1: it better than that? There's union scale? And I think 418 00:24:36,800 --> 00:24:39,600 Speaker 1: that there's whenever they re er it, there's another little 419 00:24:40,359 --> 00:24:43,679 Speaker 1: little chunk and play. Yes, let's see you play on 420 00:24:43,760 --> 00:24:50,239 Speaker 1: this jam. Much like a songwriter, I'll say, hey, if 421 00:24:50,240 --> 00:24:52,119 Speaker 1: you it's Sometimes they remember when I wrote the song. 422 00:24:52,200 --> 00:24:54,320 Speaker 1: Sometimes they don't if I played this song. Can you 423 00:24:54,359 --> 00:25:01,240 Speaker 1: erectly playing this song? I literally remember this. Yes, Laurence 424 00:25:01,240 --> 00:25:05,119 Speaker 1: another one who just sings her brains out, one of 425 00:25:05,160 --> 00:25:10,639 Speaker 1: the best. We recorded that a while ago. I remember 426 00:25:10,760 --> 00:25:12,920 Speaker 1: maybe it took a minute for it to come out. 427 00:25:13,640 --> 00:25:17,840 Speaker 1: Um we recorded a while ago before that, but I 428 00:25:17,880 --> 00:25:24,440 Speaker 1: definitely remember. I definitely remember that Buzby producing that, and 429 00:25:24,720 --> 00:25:30,280 Speaker 1: he was Buzby is an amazing visceral producer, like he 430 00:25:30,440 --> 00:25:34,199 Speaker 1: is somebody that gets really into it. And he'll mind 431 00:25:34,560 --> 00:25:38,120 Speaker 1: drum fills for the for the drummer through the glass 432 00:25:38,280 --> 00:25:43,800 Speaker 1: and and he had at that that day, he had 433 00:25:43,880 --> 00:25:49,480 Speaker 1: a flashlight and we were playing down and he if 434 00:25:49,520 --> 00:25:53,679 Speaker 1: he something came to him, like an idea or something 435 00:25:53,720 --> 00:25:56,720 Speaker 1: like that, he would kind of flash this flashlight through 436 00:25:56,720 --> 00:26:00,640 Speaker 1: the glass and get get my attention and or get 437 00:26:00,680 --> 00:26:04,440 Speaker 1: the drummer's attention and drumfill here or something like that. 438 00:26:04,760 --> 00:26:09,280 Speaker 1: So you're watching his cues. Yeah, I mean it was 439 00:26:09,320 --> 00:26:11,080 Speaker 1: more like that was in the moment, and then I'll 440 00:26:11,080 --> 00:26:13,320 Speaker 1: take that into account for the next take. It's funny. 441 00:26:13,320 --> 00:26:14,720 Speaker 1: I'm looking at saw the stuff that you've been on 442 00:26:14,760 --> 00:26:16,960 Speaker 1: and it's a lot of the artists. And again, we 443 00:26:17,000 --> 00:26:18,760 Speaker 1: weren't a town where there's a lot of greatness and 444 00:26:18,760 --> 00:26:22,720 Speaker 1: then there are people who are great dirt inside the grounds. 445 00:26:22,920 --> 00:26:25,639 Speaker 1: It's a very talented town. It's like the major leagues 446 00:26:25,680 --> 00:26:27,240 Speaker 1: where you move you play your minor league all into 447 00:26:27,240 --> 00:26:29,240 Speaker 1: the places and you come here and I'll play you. 448 00:26:29,320 --> 00:26:37,080 Speaker 1: Lucy Silva's and same. I love her, Yes, you're in 449 00:26:37,119 --> 00:26:51,960 Speaker 1: your distinctly in this. It was I can hear that. Yeah, 450 00:26:52,320 --> 00:26:56,840 Speaker 1: that comes on, you know exactly. She's so good, right. 451 00:26:57,400 --> 00:27:01,600 Speaker 1: She She's also somebody that I knew and obviously now 452 00:27:01,680 --> 00:27:07,080 Speaker 1: and they're married, she's yeah, but I mean I knew 453 00:27:07,440 --> 00:27:11,840 Speaker 1: her before they were married, Um, and before then she's 454 00:27:12,280 --> 00:27:15,600 Speaker 1: I mean, she's a successful artist in the UK before 455 00:27:15,640 --> 00:27:18,480 Speaker 1: she even god here, like she's been killing it. She 456 00:27:18,560 --> 00:27:21,520 Speaker 1: did a Metallica cover that ended up being a top 457 00:27:21,560 --> 00:27:26,520 Speaker 1: ten song in the UK. She's really incredible and for 458 00:27:26,600 --> 00:27:28,639 Speaker 1: some reason, as close as I am, because she's one 459 00:27:28,680 --> 00:27:30,280 Speaker 1: of the people that I really enjoyed. I've been friends 460 00:27:30,280 --> 00:27:32,000 Speaker 1: and I took her out on the road and we've 461 00:27:32,000 --> 00:27:35,400 Speaker 1: had you know, we totally and uh, I've never brought 462 00:27:35,400 --> 00:27:37,160 Speaker 1: her in almost because we're too close of friends, Lucy, 463 00:27:37,200 --> 00:27:39,879 Speaker 1: and it's been I just haven't made that call. But 464 00:27:40,000 --> 00:27:41,439 Speaker 1: you don't want to call your good friends and be 465 00:27:41,520 --> 00:27:44,480 Speaker 1: like hey, yeah. And she's never called me and said hey, 466 00:27:44,520 --> 00:27:48,480 Speaker 1: can I come on? So I think we're stalemating each other. Yeah, 467 00:27:48,520 --> 00:27:50,399 Speaker 1: that's a weird um like play some more that I 468 00:27:50,400 --> 00:27:51,959 Speaker 1: got some more here? This is something new. This is 469 00:27:52,160 --> 00:27:56,560 Speaker 1: what kept a new single. You know, this this is 470 00:27:56,560 --> 00:27:59,520 Speaker 1: is single. I mean not playing the Fifth Kids to 471 00:27:59,600 --> 00:28:06,159 Speaker 1: come on. If the songs on the radio, do you 472 00:28:06,200 --> 00:28:12,919 Speaker 1: get paid more? I don't get paid necessarily from terrestrial radio. 473 00:28:12,960 --> 00:28:15,560 Speaker 1: But there are some back end things with streaming now 474 00:28:16,119 --> 00:28:21,159 Speaker 1: that are new new avenues. That's good because that was 475 00:28:21,240 --> 00:28:24,040 Speaker 1: never the case for players and writers. And this has 476 00:28:24,080 --> 00:28:26,560 Speaker 1: been a big problem is that writers still need the 477 00:28:26,560 --> 00:28:29,560 Speaker 1: freaking radio. They can get paid because they're working on 478 00:28:29,640 --> 00:28:32,359 Speaker 1: the streaming. But you guys are making money on streaming. 479 00:28:32,359 --> 00:28:36,679 Speaker 1: It's our background singers, yes, but the writers still aren't 480 00:28:36,800 --> 00:28:40,960 Speaker 1: seeing a fair compensation from streaming. That is the this 481 00:28:41,040 --> 00:28:44,640 Speaker 1: is the struggle. And throughout the nineties and that kind 482 00:28:44,680 --> 00:28:48,040 Speaker 1: of thing, it was the songwriters that were like, you 483 00:28:48,080 --> 00:28:50,719 Speaker 1: had a big hit, you had to cut, you had whatever. 484 00:28:50,920 --> 00:28:54,520 Speaker 1: I mean, they were selling CDs, there was money, money 485 00:28:54,520 --> 00:28:59,400 Speaker 1: coming in, and there were established streams of income for 486 00:28:59,440 --> 00:29:05,240 Speaker 1: songwriter is um. And then when everything changed that there 487 00:29:05,840 --> 00:29:11,080 Speaker 1: stream of income was still radio and still mechanical stuff. 488 00:29:11,760 --> 00:29:16,240 Speaker 1: And I mean I don't know the ins and outs 489 00:29:16,280 --> 00:29:21,440 Speaker 1: of like when and what was negotiated, but SAG after 490 00:29:21,520 --> 00:29:24,880 Speaker 1: the Screen Actors Guild and after and the a f 491 00:29:24,880 --> 00:29:35,000 Speaker 1: of M, the Musician Union, gotta something worked out that um, 492 00:29:35,040 --> 00:29:41,040 Speaker 1: it's not spot, it's it's like maybe it's YouTube and 493 00:29:42,240 --> 00:29:46,200 Speaker 1: you're getting paid. Yeah, it's like some are right now. 494 00:29:46,360 --> 00:29:52,040 Speaker 1: There's there's just not an overarching rule through all Sonic totally, 495 00:29:52,200 --> 00:29:54,920 Speaker 1: which there eventually will be. But it's also new that 496 00:29:54,960 --> 00:29:58,000 Speaker 1: it's hard to get legislation first of all, on anything. Secondly, 497 00:29:58,040 --> 00:30:00,680 Speaker 1: when something is so new, you're talking about a bunch 498 00:30:00,720 --> 00:30:03,840 Speaker 1: of basically eight year old, clueless white men who have 499 00:30:03,960 --> 00:30:07,400 Speaker 1: no idea what they're talking about. Absolutely, and so the 500 00:30:07,600 --> 00:30:10,840 Speaker 1: last thing they care about is what we're listening to 501 00:30:10,920 --> 00:30:13,960 Speaker 1: and how writers, musicians, artists should be compensated totally, and 502 00:30:14,000 --> 00:30:15,880 Speaker 1: it's hard to get to them to even think it's 503 00:30:15,880 --> 00:30:18,840 Speaker 1: a thing. So then you get send money on lobbyists. 504 00:30:18,840 --> 00:30:21,680 Speaker 1: So yes, you got some money on lobbyists. And then 505 00:30:22,160 --> 00:30:25,520 Speaker 1: the people who have the opposing interests usually have way 506 00:30:25,560 --> 00:30:30,680 Speaker 1: more money for for lobbying interests. And and then you've 507 00:30:30,720 --> 00:30:35,320 Speaker 1: got uh, all the n s A. I people that 508 00:30:35,480 --> 00:30:38,120 Speaker 1: go and I know all my songwriter friends that go 509 00:30:38,200 --> 00:30:42,680 Speaker 1: over there and play for Congressman. He's the leader. Yeah, 510 00:30:42,720 --> 00:30:45,800 Speaker 1: he runs that stuff. And Lee has been a good 511 00:30:45,840 --> 00:30:48,320 Speaker 1: friend of mine for a while. I already doing his 512 00:30:48,400 --> 00:30:52,440 Speaker 1: demos years ago, and uh, and he's doing great. So 513 00:30:52,480 --> 00:30:55,960 Speaker 1: I thought they had a win. They did very recently. 514 00:30:56,000 --> 00:30:58,880 Speaker 1: They did a good step in the right direction, which 515 00:30:58,920 --> 00:31:01,960 Speaker 1: is so what what what's a good good day for you? Then? Well, 516 00:31:01,960 --> 00:31:04,760 Speaker 1: what fulfills you? Because it seems, you know, like myself, 517 00:31:04,800 --> 00:31:06,880 Speaker 1: you can start doing the same thing over and over again. 518 00:31:06,880 --> 00:31:08,560 Speaker 1: Even know you enjoy it, it it can start to burn. 519 00:31:08,640 --> 00:31:11,160 Speaker 1: You can you get to burn? Yeah, I mean a 520 00:31:11,200 --> 00:31:16,720 Speaker 1: good day for me is it's it's a good day 521 00:31:16,800 --> 00:31:20,200 Speaker 1: versus a bad day is the time the people who 522 00:31:20,200 --> 00:31:27,040 Speaker 1: I'm playing with, And fortunately, as I progress in my career, 523 00:31:28,400 --> 00:31:33,480 Speaker 1: my peers are I get to be surrounded with great 524 00:31:33,560 --> 00:31:37,160 Speaker 1: people on a more regular basis than I had been 525 00:31:37,200 --> 00:31:43,120 Speaker 1: surrounded with great people before. So I mean a lot 526 00:31:43,160 --> 00:31:45,000 Speaker 1: of the time. I mean, you really can't go wrong. 527 00:31:45,120 --> 00:31:48,000 Speaker 1: It's like and I'll go back to this, like I 528 00:31:48,040 --> 00:31:50,920 Speaker 1: play the piano for a living, Like it's even when 529 00:31:50,920 --> 00:31:54,360 Speaker 1: it's like a hard day, it's never bad day. It's 530 00:31:54,400 --> 00:31:59,240 Speaker 1: just like a hard day will be a triple demo 531 00:32:00,080 --> 00:32:03,840 Speaker 1: day where you don't you're trying to cramp five songs 532 00:32:03,840 --> 00:32:07,480 Speaker 1: in a session, and so tend one. You do tend 533 00:32:07,840 --> 00:32:10,760 Speaker 1: five songs, and then you have your hour break, and 534 00:32:10,760 --> 00:32:13,440 Speaker 1: then you do five more songs. You have an hour break, 535 00:32:13,520 --> 00:32:18,120 Speaker 1: and then it's nine pm and you haven't answered any 536 00:32:18,160 --> 00:32:22,120 Speaker 1: text messages and you haven't had a chance to call 537 00:32:22,240 --> 00:32:25,360 Speaker 1: your dad back, or you haven't he's grabbing about the radio. 538 00:32:25,440 --> 00:32:28,320 Speaker 1: It doesn't it doesn't hear your song on he doesn't 539 00:32:28,320 --> 00:32:44,720 Speaker 1: even swede. Another one that is surprisingly a great singer 540 00:32:44,760 --> 00:32:47,080 Speaker 1: with Danielle and she was in a few weeks ago 541 00:32:47,520 --> 00:32:50,640 Speaker 1: and sitting the same chair she is, uh, you know, 542 00:32:51,080 --> 00:32:55,960 Speaker 1: four ft tall, sings like she's ten ft tall. And 543 00:32:56,000 --> 00:32:58,840 Speaker 1: that was the first time I worked with her. Uh. 544 00:32:58,840 --> 00:33:02,880 Speaker 1: And yeah, she's is just awesome and the energy and 545 00:33:02,920 --> 00:33:05,840 Speaker 1: the whole thing. I mean, it's like, I want to 546 00:33:05,960 --> 00:33:08,120 Speaker 1: talk about this for one second. One of the benefits 547 00:33:08,160 --> 00:33:10,640 Speaker 1: of doing this podcast around my house is that in 548 00:33:10,720 --> 00:33:13,040 Speaker 1: my house I have all the things that made me comfortable, 549 00:33:13,360 --> 00:33:15,400 Speaker 1: like the chair that I'm sitting in now, even my bed. 550 00:33:16,280 --> 00:33:18,000 Speaker 1: I don't do this from my bed, but it is 551 00:33:18,240 --> 00:33:20,480 Speaker 1: in my bedroom right down the hallway, and I have 552 00:33:20,560 --> 00:33:22,880 Speaker 1: a sleep number bed, and I do talk about how 553 00:33:22,920 --> 00:33:25,120 Speaker 1: it has changed my life and for me, I do 554 00:33:25,200 --> 00:33:28,760 Speaker 1: struggle sleeping, but it has helps so much. I mostly 555 00:33:28,760 --> 00:33:30,440 Speaker 1: struggle because I wake up at three in the morning, 556 00:33:30,480 --> 00:33:32,280 Speaker 1: but my sleep number. I go into the store, I 557 00:33:32,360 --> 00:33:34,240 Speaker 1: lay down in the bed. You look at the ceiling 558 00:33:34,320 --> 00:33:35,880 Speaker 1: or wherever they have the computer and it shows your 559 00:33:35,880 --> 00:33:38,200 Speaker 1: back your neck and they say, well, if we did this, 560 00:33:38,200 --> 00:33:40,080 Speaker 1: this would fix your back. And they give you a 561 00:33:40,120 --> 00:33:43,560 Speaker 1: sleep Number and my setting is a thirty and I've 562 00:33:43,560 --> 00:33:45,520 Speaker 1: been checked again. I went back just because I was 563 00:33:45,640 --> 00:33:48,200 Speaker 1: the mall and it's still a thirty. So my sleep 564 00:33:48,240 --> 00:33:50,160 Speaker 1: Number saying the thirty. My sleep i Q score last 565 00:33:50,240 --> 00:33:52,560 Speaker 1: night was in the nineties. Sleep Number beds cost about 566 00:33:52,600 --> 00:33:55,360 Speaker 1: the same as a traditional mattresses the last twice as 567 00:33:55,400 --> 00:33:57,080 Speaker 1: long and nine had a ten on a recommend So 568 00:33:57,160 --> 00:34:00,640 Speaker 1: going during the ultimate Sleep Number events on limited edition 569 00:34:00,680 --> 00:34:04,640 Speaker 1: at bed and Quinn matches start only six. Sleep Number 570 00:34:04,640 --> 00:34:08,080 Speaker 1: has over five fifty stores nationwide. Sleep Number dot com, 571 00:34:08,120 --> 00:34:12,279 Speaker 1: slash bones, sleep number dot com, slash bones check it out, 572 00:34:12,520 --> 00:34:15,680 Speaker 1: all right, So it's interesting. You're the first session player 573 00:34:16,400 --> 00:34:18,000 Speaker 1: artist music. I know you was a session. I don't 574 00:34:18,040 --> 00:34:20,040 Speaker 1: know if it's insult is an insulting session player? You know, 575 00:34:20,360 --> 00:34:22,640 Speaker 1: what do you do? Okay? Because I don't know the terminology. 576 00:34:22,680 --> 00:34:25,000 Speaker 1: All I know, Hey, we're gonna do a session. Dave's 577 00:34:25,000 --> 00:34:27,480 Speaker 1: playing and he's running it, and so you tell him 578 00:34:27,560 --> 00:34:31,600 Speaker 1: what you want. So you're the first player. You're the 579 00:34:31,640 --> 00:34:33,960 Speaker 1: first session player that I've had in that records Records. 580 00:34:34,200 --> 00:34:36,040 Speaker 1: That's awesome because I think you're the only one that 581 00:34:36,040 --> 00:34:39,480 Speaker 1: I really know. But I always like you the only 582 00:34:39,480 --> 00:34:41,920 Speaker 1: one you need to know. That's true too, That's true too. 583 00:34:41,960 --> 00:34:44,120 Speaker 1: Here's the song that for sure you have to remember. 584 00:34:44,160 --> 00:34:52,240 Speaker 1: This is how the old raging Idiots. But she's as 585 00:34:52,320 --> 00:35:03,879 Speaker 1: Charles Kelly and I singing that Jesus and that's yeah, 586 00:35:05,000 --> 00:35:06,799 Speaker 1: that's all I can take you. That of mean yea, yeah, 587 00:35:07,440 --> 00:35:13,160 Speaker 1: I got a bunch of your stuff. Is giving her 588 00:35:13,160 --> 00:35:19,279 Speaker 1: a song because I love this song too, written Sands, Yes, right, yeah, 589 00:35:20,000 --> 00:35:22,080 Speaker 1: I love this song. How about a song? Giving her 590 00:35:22,080 --> 00:35:24,239 Speaker 1: a song and go, holy crowd, that's a good song. 591 00:35:24,320 --> 00:35:26,120 Speaker 1: And then it turns out to be some massive hit. 592 00:35:26,680 --> 00:35:28,160 Speaker 1: You ever hear one early and go that's it? You 593 00:35:28,239 --> 00:35:31,840 Speaker 1: just go, oh it moves me. Yes, I mean you 594 00:35:31,840 --> 00:35:34,560 Speaker 1: you know, tell me about one where you go, oh, 595 00:35:34,640 --> 00:35:36,600 Speaker 1: it's got to be one. And then eight months later 596 00:35:36,600 --> 00:35:39,520 Speaker 1: it ends up being one. The first time I worked 597 00:35:39,560 --> 00:35:44,320 Speaker 1: with Chris Young and Corey Crowd are for for Chris's 598 00:35:44,760 --> 00:35:51,600 Speaker 1: for I'm Coming Over. Uh that was the fort or 599 00:35:51,640 --> 00:35:56,560 Speaker 1: something maybe, but that was like the song. It just 600 00:35:56,560 --> 00:35:59,600 Speaker 1: seemed like teed up. It's just that song, that song. 601 00:36:00,000 --> 00:36:05,760 Speaker 1: Every day I remember. I remember hearing the demo and 602 00:36:06,080 --> 00:36:09,239 Speaker 1: Corey going, you know, this is kind of where we're 603 00:36:09,280 --> 00:36:11,520 Speaker 1: going with it and Chris is somebody that's really involved 604 00:36:11,520 --> 00:36:14,600 Speaker 1: in his records, and you know so that that was cool. 605 00:36:14,719 --> 00:36:17,640 Speaker 1: You can feel it? Yeah? Yeah, So okay, are either 606 00:36:17,800 --> 00:36:21,440 Speaker 1: now with playing because you plan on everybody? Director? I 607 00:36:21,440 --> 00:36:23,600 Speaker 1: mean I have I have so many songs that you've 608 00:36:23,600 --> 00:36:31,480 Speaker 1: played on here by intial I hear you there and 609 00:36:31,800 --> 00:36:45,719 Speaker 1: into saying, ok I hear you on this one. So 610 00:36:45,800 --> 00:36:49,640 Speaker 1: what are you tired of doing this all day now? No? 611 00:36:50,120 --> 00:36:55,120 Speaker 1: Definitely not that. What I was referring to was more 612 00:36:55,239 --> 00:37:04,879 Speaker 1: so UM, the type of music that there's certain there's 613 00:37:04,920 --> 00:37:09,719 Speaker 1: no way to say that. I don't want to sound 614 00:37:09,200 --> 00:37:14,520 Speaker 1: whatever I want. But but but definitely, on those long 615 00:37:14,640 --> 00:37:18,759 Speaker 1: demo days, I find myself looking at my phone a lot, 616 00:37:19,080 --> 00:37:25,200 Speaker 1: and I find myself not giving sometimes the songs the 617 00:37:25,239 --> 00:37:29,319 Speaker 1: dedication they deserve. UM, and I feel like I'm not 618 00:37:29,400 --> 00:37:33,160 Speaker 1: representing my brand. Challenge. I mean that basically what it 619 00:37:33,160 --> 00:37:35,000 Speaker 1: sounds like. You don't feel like you're being challenged when 620 00:37:35,000 --> 00:37:39,000 Speaker 1: you're doing these demo sessions. Sure, I'm glad you can't buy. 621 00:37:39,440 --> 00:37:42,920 Speaker 1: Thank you for having HUM. I'm looking forward to you 622 00:37:42,960 --> 00:37:45,520 Speaker 1: know you're getting us some more piano tracks. Is that 623 00:37:45,520 --> 00:37:47,000 Speaker 1: what you say? How you say it? I'm looking forward 624 00:37:47,000 --> 00:37:51,160 Speaker 1: to getting more piano tracks. Yeah, always piano stuff, some damian. 625 00:37:51,560 --> 00:37:54,399 Speaker 1: I have no idea my piano. I have no never 626 00:37:54,480 --> 00:37:57,520 Speaker 1: too late I see one. Oh, I have a four 627 00:37:57,600 --> 00:38:00,759 Speaker 1: in the house. There's no shorty. That doesn't mean I 628 00:38:00,760 --> 00:38:02,319 Speaker 1: don't I know how to play them. That was the 629 00:38:02,320 --> 00:38:06,200 Speaker 1: coolest MTV cribs. Justin Timberlake had Rhodes at the foot 630 00:38:06,200 --> 00:38:08,239 Speaker 1: of his bed, and I thought that was the coolest thing. Ever, 631 00:38:08,320 --> 00:38:10,839 Speaker 1: how many do you have your place at home? I 632 00:38:10,880 --> 00:38:13,880 Speaker 1: only have one. I've got a I've got a studio, 633 00:38:13,960 --> 00:38:16,719 Speaker 1: so I've got one Nord keyboard in there, and have 634 00:38:16,760 --> 00:38:20,080 Speaker 1: a baby grand piano. Okay, I would drive by. I 635 00:38:20,120 --> 00:38:22,080 Speaker 1: should live a few houses down from Gary the Box 636 00:38:22,160 --> 00:38:26,120 Speaker 1: Rascal Flats and his his a humongous white piano right 637 00:38:26,120 --> 00:38:28,000 Speaker 1: in the front door. Like you drive by, and it's 638 00:38:28,080 --> 00:38:30,799 Speaker 1: just like you're driving by and you see it. Is 639 00:38:30,880 --> 00:38:33,960 Speaker 1: there an extra like sitting on it in black and 640 00:38:34,000 --> 00:38:36,239 Speaker 1: white with like a rose in the there should be? 641 00:38:36,440 --> 00:38:40,440 Speaker 1: It looks like that kind of piano, and that piano 642 00:38:40,480 --> 00:38:42,279 Speaker 1: has to cost. How much does the grand piano cost? 643 00:38:42,360 --> 00:38:44,480 Speaker 1: A big white grand piano. We're not guessing, hids, but 644 00:38:44,520 --> 00:38:49,640 Speaker 1: in general, you being fifty grand crazy. That's why I 645 00:38:49,640 --> 00:38:51,879 Speaker 1: would think I'll drop by and go. There's a nice 646 00:38:51,880 --> 00:38:55,440 Speaker 1: car right there. Yeah, I mean Ben his costs more 647 00:38:55,440 --> 00:38:57,560 Speaker 1: than that. That's great box, right. Yeah. You know he's 648 00:38:57,560 --> 00:39:00,560 Speaker 1: got a good piano, he's got some some gold. Oh man, 649 00:39:00,640 --> 00:39:02,880 Speaker 1: those rich people. One day we're gonna get there to day. 650 00:39:03,360 --> 00:39:07,239 Speaker 1: One day we're gonna. Hey, I really appresh that you're 651 00:39:07,280 --> 00:39:10,839 Speaker 1: coming by. It's good Dave going, and uh, these things 652 00:39:10,960 --> 00:39:15,200 Speaker 1: last forever, these podcasts. So Dave could either be out 653 00:39:15,239 --> 00:39:17,200 Speaker 1: of work in a year or you could be producing 654 00:39:17,200 --> 00:39:20,960 Speaker 1: your favorite new record. I'm probably yeah that direction as well, 655 00:39:21,560 --> 00:39:23,680 Speaker 1: but I know where you live. As we come over, 656 00:39:24,080 --> 00:39:26,600 Speaker 1: we'll do it again, all right, Dave Cohen, And we'll 657 00:39:26,640 --> 00:39:31,399 Speaker 1: see guys next time on the podcast. Thank you. I'll 658 00:39:31,440 --> 00:39:34,200 Speaker 1: be like that. One is a very insider podcast. I 659 00:39:34,320 --> 00:39:38,640 Speaker 1: enjoyed it. I'll encourage you to check out Christian Bushes 660 00:39:38,680 --> 00:39:41,080 Speaker 1: podcast called Geeking Out with Christian Bush Want have a 661 00:39:41,080 --> 00:39:45,440 Speaker 1: sugar Land? He talked to Granger Smith about bees. He 662 00:39:45,560 --> 00:39:51,320 Speaker 1: talked to manager in town about like fighting are the 663 00:39:51,400 --> 00:39:55,040 Speaker 1: specific kind of fighting taekwondo? I'll call everything karate, and 664 00:39:55,040 --> 00:39:57,319 Speaker 1: I shouldn't. I was gonna say karate. So you can 665 00:39:57,400 --> 00:40:00,279 Speaker 1: hear that one. Also, Jake Owen has a pod guest 666 00:40:00,920 --> 00:40:04,279 Speaker 1: called Good Company with Jake Going and the Whiskey Riff 667 00:40:04,320 --> 00:40:06,359 Speaker 1: guys have Whiskey Riff Raff. We encourage you to check 668 00:40:06,440 --> 00:40:09,879 Speaker 1: them out if you like country music. If you're listening 669 00:40:09,880 --> 00:40:13,120 Speaker 1: to this, you probably like those podcasts too, So that's that. 670 00:40:13,600 --> 00:40:16,840 Speaker 1: I believe Steve Moakler will be in soon in the 671 00:40:16,920 --> 00:40:18,640 Speaker 1: next couple of episodes, and a big fan of Steve 672 00:40:18,640 --> 00:40:21,439 Speaker 1: Mokler is a songwriter and artists, so come back soon 673 00:40:21,520 --> 00:40:25,319 Speaker 1: for that. Dave Haywood seems to be the next one though. 674 00:40:25,400 --> 00:40:28,920 Speaker 1: Dave Haywood from Lady Annabellum, who I didn't know on 675 00:40:29,000 --> 00:40:31,719 Speaker 1: a personal level until this podcast. We had met many times, 676 00:40:31,760 --> 00:40:34,279 Speaker 1: but he was always with the group and you, as 677 00:40:34,320 --> 00:40:36,160 Speaker 1: you'll hear coming up, or maybe it's already out right 678 00:40:36,160 --> 00:40:39,040 Speaker 1: as you hear this. Just a brilliant guy. So Dave 679 00:40:39,080 --> 00:40:43,719 Speaker 1: Haywood and Steve Mokler coming real soon. Thanks for hanging 680 00:40:43,760 --> 00:40:44,799 Speaker 1: out with us here. Thank you Bye.