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Speaker 1: All right, Welcome to episode seventy four, The Bobby Cast

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Speaker 1: and with Heather More again songwriter singer song Hello, hell

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Speaker 1: h m hm hi again Hi? Okay? Can hear now?

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Speaker 1: You shouldn't have a sit to awkward him, Mike? Can

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Speaker 1: we make our guests not sit awkwardly? Yeah? I look

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Speaker 1: like too proper. No, no, we are. They don't give

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Speaker 1: us a good equipment, so we have to fix it

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Speaker 1: in your small everything. Who was the last person in?

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Speaker 1: Move it down a little bit. She's like talking up

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Speaker 1: into it. Give me a good posture. It's here we go.

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Speaker 1: Who was the last person in? Jared? That's awesome? All right,

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Speaker 1: so I boba the way, Welcome to the house. Thank

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Speaker 1: you for you got to meet the dog. Not everybody

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Speaker 1: that comes to meet the dog. Oh. I kind of

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Speaker 1: made a buddy downstairs. Yeah. So I think the last

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Speaker 1: place I saw you was at like the listening room

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Speaker 1: where do we run into each other? It was like

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Speaker 1: a Christmas thing with um because I was was Kelly

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Speaker 1: Bannon and somebody else was there. But I think it

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Speaker 1: was like the side area that they have kind of

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Speaker 1: everything gets the back and forth charity show. I'm trying

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Speaker 1: to remember that. So I know we saw each other

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Speaker 1: and you had written something or put something out that

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Speaker 1: I was like, yes, I was like I remember the

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Speaker 1: stopped you again and we didn't know each other, and

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Speaker 1: I was like, hey, I want you to know I

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Speaker 1: don't know it was. It was Megan Lindsley Lindsay. I'm

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Speaker 1: not all a certain Lindsley in my head because I

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Speaker 1: have something there in amorrow. But Megan Lindsay we had

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Speaker 1: wrote a song a few years ago called Cocaine and Jesus.

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Speaker 1: That's right, I'm gonna pull that up. And I remember

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Speaker 1: going up because I had just heard it and I

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Speaker 1: was remember seeking you out and I was like, she's

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Speaker 1: gonna think I'm such a and I was like, this

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Speaker 1: song is so good. You know I'm gonna play And

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Speaker 1: this wasn't part of it, but which one of the mine?

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Speaker 1: Do you ever? So everything's hooked up to my Alexa.

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Speaker 1: So I'm playing music into my bedroom right now that

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Speaker 1: she'll be playing here. Mike Dee's got it. Don't worry there.

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Speaker 1: It is, Thank you preachers, boy. Let me start raisin

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Speaker 1: head all right, this is a Cocaine in Jesus. Megan

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Speaker 1: Lindsay recorded it just I can remember what it was,

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Speaker 1: and I remember I loved whatever. But I want to

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Speaker 1: hear this ago. It's been a while so I've heard it.

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Speaker 1: He grew up preachers boy raisin hell and making noise,

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Speaker 1: and she's been all the good years trying to save him.

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Speaker 1: Never come and not for air. She followed him around everywhere.

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Speaker 1: Heavy hand love she had, she gave him well, loved

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Speaker 1: her more, the rocking room. He loved them all, and

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Speaker 1: she never loved. Every time he pulled her close, she

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Speaker 1: felt me. He was sitting on the dark side of

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Speaker 1: the moon, so far gone. The pretty song shas a

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Speaker 1: right looks like free. He's out cocaine, she's out, jees

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Speaker 1: with the blame, he's got his rais at the end

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Speaker 1: of day, there's just something where are needing heat out cocaine,

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Speaker 1: she's out. And that's gives me goose bumps again. It's

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Speaker 1: like the first time. I love it. It's good right,

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Speaker 1: It's one of the I remember right of that day

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Speaker 1: because she that's like you know, you know people in

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Speaker 1: town and then like you finally get in the room

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Speaker 1: with them. But I remember, like some days I'll just

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Speaker 1: have like a fit day, like just whatever is in

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Speaker 1: the room, like you're not thinking overthinking it and she

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Speaker 1: I just remember getting on that and just feeling like

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Speaker 1: I don't know what this is, Like we're going, we're

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Speaker 1: going all the way there. When where do we start this?

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Speaker 1: So when she but she had the idea for Comcan

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Speaker 1: and Jesus, like she had that title the title to

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Speaker 1: you look at it and you go, that's the that's

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Speaker 1: an odjuct position, like they should not be together. And

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Speaker 1: then you hear it and you're like, wow, that's what

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Speaker 1: it was. I remember going up to you and pulling

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Speaker 1: you aside and going, I don't want to be a weirdo.

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Speaker 1: But that song like made me like thanks. That's so

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Speaker 1: cool to hear it again too, because it's such a

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Speaker 1: good production they did on that. She her voice is

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Speaker 1: so emotional and it has that like rasting that you like,

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Speaker 1: I mean, I believe her when you sing that that. Yeah,

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Speaker 1: I remember you. I think you tweeted something about it

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Speaker 1: because I was on the road. Um I remember, I

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Speaker 1: actually remember where it was. When I saw it. I

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Speaker 1: would like run into um a rushed room. On tour

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Speaker 1: with Kelly Bannon, I was singing this like background vocals

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Speaker 1: for her and she was opening for Luke, and then

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Speaker 1: my phone started like blowing up and it was like,

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Speaker 1: did you write a song about cocaine like some of

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Speaker 1: my friends. I was like, actually I did, must be

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Speaker 1: the Megan songs, so thank you that it's really good.

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Speaker 1: Um so, but what I like to do first is

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Speaker 1: like to kind of give people just an idea a

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Speaker 1: few of the things that are you written, and then

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Speaker 1: we'll come back around to it. But because Brett Eldridge

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Speaker 1: bet to the Music wrote us a bread made you

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Speaker 1: a lot of money, lose my mind Bread, you know

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Speaker 1: the song that you wrote that isn't hasn't been a single,

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Speaker 1: but I love is I'll be the Moon. I had

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Speaker 1: Dirks and Maren come singing on the show because when

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Speaker 1: that record came out, I was like, this song it

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Speaker 1: like blew me a thank you. I'm so proud of

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Speaker 1: that one. Yeah, it's crazy good. I don't I don't

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Speaker 1: want to. I don't want to be scre Ryan. Yeah,

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Speaker 1: Ryan and Matt drags those are I remember that day.

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Speaker 1: It was so weird, like Ryan came in with this

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Speaker 1: idea about a son in a moon, and I came

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Speaker 1: in with basically an idea about a moon and sen

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Speaker 1: because just like I remember I had been in a

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Speaker 1: meeting and be like, oh, I'm gonna go to this.

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Speaker 1: I've got Ryan and Matt today. I want to write

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Speaker 1: about this moon Sun thing. And when Ryan said that,

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Speaker 1: I was like, d like what song player text you about?

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Speaker 1: Like just one of those weird moments You're like, how

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Speaker 1: are we on the same page before we ever? Like

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Speaker 1: I love that song and I know for you you

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Speaker 1: had to hope it'd be a single. Oh yeah, because

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Speaker 1: that's how you really get paid. But okay, pay the

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Speaker 1: side like that song. I've had more people will come

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Speaker 1: up to this. Yeah, I've had a lot of people

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Speaker 1: like it's my favorite song on the record. Cute that.

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Speaker 1: And I remember when they added Marion because we didn't

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Speaker 1: know who the girl is gonna end up being like

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Speaker 1: I just did the like holding singing the vocals so

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Speaker 1: something was there so they could model on the singing

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Speaker 1: after it, and then when Marion was on it, it it

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Speaker 1: was like, oh, okay, this is like even went to

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Speaker 1: the next level. But I've had a lot of people

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Speaker 1: if because I'll play it as shows just from like

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Speaker 1: when I'm playing rounds or when I'm traveling and play

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Speaker 1: it and then people will come up and be like

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Speaker 1: that song just like Tears Apart, but I don't don't repeat,

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Speaker 1: you know, like that kind of moment. So Dirk's owed

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Speaker 1: me a favor and I made him come with Marin

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Speaker 1: and sing that song. That's why his his album was coming.

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Speaker 1: I was like, dude, me a favor, So call Marion

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Speaker 1: and you guys come up and sing. He's like, it's

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Speaker 1: not the single. I was like, I don't care to know,

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Speaker 1: me a favor. So they came up. Let let me

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Speaker 1: do a commercial real quick. Uh? Did you know the

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Speaker 1: who apply for any given job online is a hundred

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Speaker 1: and eighteen people. Only twenty percent of those applicants get

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Speaker 1: interview because many companies you software discreened applications before anyone

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Speaker 1: sees your resume. Did you know that I didn't start

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Speaker 1: uploading your resume? And you probably won't get a job

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Speaker 1: you're tired applying, what would you do if you want

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Speaker 1: a songwrite? Or do you think, oh gosh, I would

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Speaker 1: be like a teacher. Maybe maybe maybe. If you're tired

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Speaker 1: dot com or visit an office nearby today. So, uh,

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Speaker 1: your your story? Would you say what you said? No? No, no,

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Speaker 1: I thought you said something like that's interesting. I'm gonna say, yeah,

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Speaker 1: said it's very interesting. So you got your Texas born

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Speaker 1: and right, yeah, you here, um two thousand and five.

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Speaker 1: Something asked me that they didn't and I was like, oh,

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Speaker 1: it's kind of getting blurry. But around oh five, and

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Speaker 1: that's the same year that I signed my first like

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Speaker 1: pub deal. So you moved here, and how quickly did

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Speaker 1: you get a publio? I mean it took a few months,

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Speaker 1: which sounds that sounds probably lame to other people have

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Speaker 1: been here for a few years, but um, I I

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Speaker 1: made trips from Texas a few times, and UM, I

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Speaker 1: remember a couple of years before I moved here, there

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Speaker 1: was a songwriter here that was like, I'm gonna do

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Speaker 1: a Texas night at the Bluebird. And so my kind

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Speaker 1: of first trip where I spent more time, like a

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Speaker 1: week here, was playing the Bluebird with some three other

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Speaker 1: people from Texas, and then um, we went out for

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Speaker 1: barbecue and did the whole thing. And then when I

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Speaker 1: got up here there was, um, he's not alive anymore.

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Speaker 1: But there was a guy that went to TCU where

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Speaker 1: I went to college. Then I'd tracked down through a

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Speaker 1: book and then I like went in xerox is like

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Speaker 1: yearbook photo from like the sixties or seventies, and then

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Speaker 1: called him this is weird, but him and I know

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Speaker 1: it's so weird. He actually worked for the prison system

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Speaker 1: by the time. While he tracked him down, his name

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Speaker 1: was Merlin Littlefield and he had been the director at

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Speaker 1: as CAP and I was asked CAP at the time,

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Speaker 1: and so he called somebody as CAP. I was like,

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Speaker 1: there's this girl that is coming up from Texas. She's

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Speaker 1: new to town, Like just let her come play you

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Speaker 1: some songs, and so I went and played um John

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Speaker 1: Briggs songs at as Cap and then it was pouring

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Speaker 1: down rain that day, and so I think I was

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Speaker 1: in there for a couple of hours just playing. He

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Speaker 1: was like, we'll play something else, play something else, play

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Speaker 1: something else. So I just kept playing on songs and

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Speaker 1: then he had a couple of people just come over

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Speaker 1: from the row and just like listen and like say hi.

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Speaker 1: And then the next day a couple of those people

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Speaker 1: ended up calling me to come by their office and

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Speaker 1: it was like this weird, like little snowball that started.

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Speaker 1: And so then I would just go play for people

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Speaker 1: if I wrote something new that I loved, and that

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Speaker 1: was part of the beginning of my story and then

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Speaker 1: the other flip sides. Right before I moved to town. Um,

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Speaker 1: there's a girl I met and she you said, you

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Speaker 1: should move to Nashville. You've got to meet my brother

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Speaker 1: in law. His name is Joe Fisher. He is at

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Speaker 1: Universal Music. And at the time, I just played some

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Speaker 1: shows with Rodney Foster and he had that was his

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Speaker 1: song plugger, and so it was kind of this full circle,

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Speaker 1: a little moment that happened, and um, so I called Joe,

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Speaker 1: Like the first day I was here and was like

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Speaker 1: when do I come meet? Thinking that's just how it works.

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Speaker 1: And then I went to his office and he was like,

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Speaker 1: how many songs do you think you've written? And at

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Speaker 1: the time, whenever, my gigs were really long in college,

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Speaker 1: like these three hour gigs, I just write more songs

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Speaker 1: is than horrible remembering covers. And so I was like,

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Speaker 1: I don't know, like five fift dude, don't you know?

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Speaker 1: He was like what. So he's like bringing me, just

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Speaker 1: bring me songs. So we I just go play for

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Speaker 1: people and then Wonder Chapel ended up offering me a deal,

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Speaker 1: so that's where I landed first, and then I ended

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Speaker 1: up It's Sony for like my second view. So you

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Speaker 1: moved to town and did you move town? What you

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Speaker 1: want to be an artist? Yeah? You know, yeah, oh definitely.

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Speaker 1: I had a band in college and um it was

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Speaker 1: they were in Austin, based in Austin, So I would

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Speaker 1: like finish classes on Thursday and usually go and meet

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Speaker 1: them down in Austin and play like Cheatham Street Warehouse

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Speaker 1: or Green Hall and um around Dallas, like this place

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Speaker 1: called Port David's Pub, and I mean there's so many

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Speaker 1: places to play down there, and I used to tag

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Speaker 1: along with Randy Rogers. Remember that he's awesome and that

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Speaker 1: you like young guys and um and Rannie was kind

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Speaker 1: enough to let me play with him. And then when

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Speaker 1: I got to town, it was kind of this season

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Speaker 1: I feel like in the business where um, my publisher

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Speaker 1: at the time was like, you just sing your own

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Speaker 1: demos and then like we'll pitch them and then people

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Speaker 1: will hear you. And but then I started getting cuts

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Speaker 1: and so it was like, oh, but now you're like

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Speaker 1: being successful on the other side of it. So is

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Speaker 1: it weird? Because I have a friend who's going through

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Speaker 1: this now where he's had a couple of hits, but

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Speaker 1: he came to town to be an artist. He started

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Speaker 1: to make money songwriting, and to go be an artist.

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Speaker 1: It's almost a sacrifice of time and money. Yeah, like

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Speaker 1: the flip of it. So you're like backing away from

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Speaker 1: something you're just now being successful. Yeah, it can be

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Speaker 1: a weird. Yeah, it's kind of. I mean I definitely

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Speaker 1: had a moment of like, well, these doors are opening,

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Speaker 1: Like I do love I love songwriting like I've always

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Speaker 1: done it. I would have this video when I'm like

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Speaker 1: a little kid, and we're about We're in California, about

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Speaker 1: to go to the airport, and my aunt's like filming

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Speaker 1: me to like kill time while my parents are probably

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Speaker 1: living in the car, and I'm like, this is a

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Speaker 1: song by Heather Morgan, like sing it and there's the

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Speaker 1: vibratos all there, and so I'm kind of like we've

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Speaker 1: and doing this for a really long time too on

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Speaker 1: the outside of it. So now like in my own story,

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Speaker 1: I love watching my friends like Nataliehimby and Lawya McKenna

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Speaker 1: kind of do it that way because I've always been

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Speaker 1: such a fan of Patti Griffin and like Gillian Welch

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Speaker 1: and kind of the America Americana part of things a

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Speaker 1: little bit that, um like I just made a record

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Speaker 1: and I'm finishing up this week. But really, yeah, just

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Speaker 1: like I know that's something that's important to me. So

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Speaker 1: I kind of been doing it on my own, but um,

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Speaker 1: in that vein so I can still write songs and

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Speaker 1: have that, but I want that lane in my life

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Speaker 1: for sure. You want to play, yeah, I still do.

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Speaker 1: You still want to pursue that, but not not like

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Speaker 1: I don't. I sat next to a music critic at

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Speaker 1: a wedding not too long ago, and he was like

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Speaker 1: I played him some of the music and he was like,

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Speaker 1: why don't she want to be adele? And I was like,

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Speaker 1: as there's already like that's awesome. I don't think that's

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Speaker 1: so cool. But I was like, I just want to

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Speaker 1: play like beautiful places and get to share my music.

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Speaker 1: I feel like, because I don't know when I get

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Speaker 1: to do songwriting shows, even here in town, there's just

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Speaker 1: such a like I have such a gratefulness for it

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Speaker 1: that that I sounds so weird. I don't know, it's

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Speaker 1: something that happened a couple of years ago, but there's

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Speaker 1: a thing like this button got pushed within me or

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Speaker 1: something like that. Or it was like it's good. It's

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Speaker 1: good in any capacity. Like I just I get happy.

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Speaker 1: I'm happy when I get to play, if that makes sense.

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Speaker 1: So I'm trying to create a little bit more of

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Speaker 1: that and copy Laura McKenna or go that route. How

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Speaker 1: does it work? I think of a lot of people

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Speaker 1: to listen to this, and you know it the songwriter

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Speaker 1: part of it, and you're talking about writing today, I

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Speaker 1: assume he wrote. Yeah, most people that come over to

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Speaker 1: the house, So how are you, how does the songwriter

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Speaker 1: book what with other writers? Well, luckily with being a

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Speaker 1: win a publishing deal, they kind of, I guess cast

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Speaker 1: your calendar almost in a way. I don't know if

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Speaker 1: that's if I just made that up maybe, but they'll

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Speaker 1: um book like today I was with Mackenzie Porter that's

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Speaker 1: with Big Loud Records. I'm hoping I'm saying that right.

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Speaker 1: And then Lindsay Rhymes of Scott that's a great writer, engineer, producer,

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Speaker 1: all of the above from Australia. So and with the

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Speaker 1: three of us have never written before. And then Mackenzie's

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Speaker 1: publishings with Sony. Actually we're all Sony writers, so that

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Speaker 1: was kind of probably an easy thing to put on

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Speaker 1: the calendar. They created the day yes and so like okay,

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Speaker 1: so when I like look at my calendar yesterday and

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Speaker 1: I was like thirty Sony for our hall with these guys, So,

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Speaker 1: how far ahead are you booked right now? I know

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Speaker 1: I've got stuff through like November, but it's not like

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Speaker 1: it's kind of like there's holes in that. It's not

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Speaker 1: like solid do you leave holes in case that's like, hey,

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Speaker 1: I want a day I can write with ex friends. Yeah,

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Speaker 1: and that's what this year was. My guy Sony. He

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Speaker 1: was like, I'm not gonna book you like five days

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Speaker 1: out every day and you're not going to have any

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Speaker 1: room or something cool comes up, like we leave room

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Speaker 1: for that, or we kind of shuffle if something that

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Speaker 1: just seems like it's the right thing to put on

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Speaker 1: a day that might have something else, try try to

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Speaker 1: make room for all that stuff. So with something like

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Speaker 1: and I'll just play this here from Brett, was that

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Speaker 1: something you scheduled? Yeah, that was scheduled. That was our

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Speaker 1: first write together with Raw and it's Raw and Brett.

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Speaker 1: I mean that's a pretty like Ross is as good

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Speaker 1: as it gets. Yeah, he's Brett can write and sing

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Speaker 1: his brains out. I mean, how do you feel walk

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Speaker 1: into that? Right? Do you get super prepared? I feel no?

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Speaker 1: I feel like no, are you the opposite? You like

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Speaker 1: to go in and just kind of see where it

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Speaker 1: takes you. I mean, I'll definitely have ideas and stuff.

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Speaker 1: But those guys, it's I mean I've a mind with

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Speaker 1: them for so long now that it is really kind

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Speaker 1: of um. There's like a spontaneous magic that seems to

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Speaker 1: kept up with what that combination is. And also like

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Speaker 1: everybody's job kind of I don't know if this makes

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Speaker 1: any sense, but sometimes I'll compare it to like baseball.

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Speaker 1: That might be a terrible metaphor, Like I feel like

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Speaker 1: in that situation, Brett is at the batter's box and

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Speaker 1: then like maybe Ross is playing short stuff, maybe I'm

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Speaker 1: on first base, but it that we kind of Brett

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Speaker 1: is so creative and he stays up at night and

347
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Speaker 1: he has so many ideas that like, he probably can't

348
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Speaker 1: even make enough albums for all the stuff that's going

349
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Speaker 1: on in his brain. So our job is kind of

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Speaker 1: just like catch the magic and what and kind of

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Speaker 1: like when it's coming at you so fast, try to

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Speaker 1: be like, okay, that's the thing that feels right. And

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Speaker 1: then Ross is so great at interpreting like what Brett's

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Speaker 1: trying to convey, if it's a beat or if it's

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Speaker 1: like a key or vibe, that it is kind of

356
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Speaker 1: this like we're like, just it's so weird how it

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Speaker 1: happens because we've done it so much that they're both

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Speaker 1: pretty well and I am too, Like if you're listening

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Speaker 1: to my answers here, I'm like, what, let's go here

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Speaker 1: and come back. But maybe it just we all cancel

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Speaker 1: each other out Somehow are you consider now in the

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Speaker 1: Brett camp? Since you have multiple songs? I guess maybe

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Speaker 1: I get to come to camp. Yeah, I think I

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Speaker 1: hope so, like you get to be in a camp

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Speaker 1: after I mean, here's lose my mind. That was one

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Speaker 1: of those came first? Which one came first? Be in

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Speaker 1: the music and then lose my mind? Is that what

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Speaker 1: you're asking? Were they written be to the music first

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Speaker 1: and then lose my line? Yeah, be amusing I lost

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Speaker 1: my mone? Yeah, so about the second hit you get?

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Speaker 1: Are you then in the camp? Everybody? Yeah, it's like

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Speaker 1: in the Carry camp. I know everybody that's terms like

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Speaker 1: that term used to be so l a to me

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Speaker 1: and then I'm like, oh, it's a natural term now.

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Speaker 1: But so Brett will just call and be like, hey,

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Speaker 1: can we get together on Yeah, we'll try it. Like

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Speaker 1: we actually, Ross and Brett and myself right now we

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Speaker 1: all have the same song Clugger, and so like in November,

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Speaker 1: um we did, like Ross and I went on the

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Speaker 1: bus for a round of shows when he was opening

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Speaker 1: for Keith and Marin was like out there, so she

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Speaker 1: had people on her bus that we're writing and then

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Speaker 1: with um like a week later, I'm sorry, I just

384
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Speaker 1: had the mic. A week later, like on a Wednesday,

385
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Speaker 1: Brett texted and I was like, Hey, do you want

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Speaker 1: to come on the bus tonight. We're gonna do another

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Speaker 1: run of writing. And so there was like two headed

388
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Speaker 1: back to back, but they were both like the first

389
00:20:12,840 --> 00:20:14,320
Speaker 1: one was more playing than the second one. The second

390
00:20:14,359 --> 00:20:16,600
Speaker 1: was kind of like very spontaneous. So when you go

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Speaker 1: on a bus to write, like I go on a

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Speaker 1: bus when we play shows, like, yeah, we hop in

393
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Speaker 1: and it's everybody's so that's what you're doing. You go, yeah,

394
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Speaker 1: you're on the bus, and then you set aside of

395
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Speaker 1: a few amount of hours. Yeah, like we'll start writing

396
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Speaker 1: first thing in the morning, or we'll go get breakfast

397
00:20:32,920 --> 00:20:36,919
Speaker 1: at caterine or something, and then right until lunch and

398
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Speaker 1: then sometimes write a little bit more in the afternoon.

399
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Speaker 1: And then when we were out in November, Rawson I

400
00:20:42,880 --> 00:20:45,919
Speaker 1: tagged along for his workout session with his trainer, and

401
00:20:45,960 --> 00:20:48,040
Speaker 1: then afterwards he had to go sound check, and then

402
00:20:48,520 --> 00:20:50,160
Speaker 1: we kind of watched part of the show and then

403
00:20:50,440 --> 00:20:54,000
Speaker 1: once he was done, we wrote wow. Um, I guess

404
00:20:54,080 --> 00:20:55,720
Speaker 1: Keith had started to set and then he had to

405
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Speaker 1: go back out for the encore. It sounds like a

406
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Speaker 1: lot of work. It can be pretty intense. Good, I

407
00:21:01,200 --> 00:21:03,359
Speaker 1: guess yeah, because you're like, we have this time and

408
00:21:03,400 --> 00:21:05,400
Speaker 1: we know you're leaving up. You know, four you haven't

409
00:21:05,400 --> 00:21:07,000
Speaker 1: meet and greet or five you have meet grade. So

410
00:21:07,440 --> 00:21:08,919
Speaker 1: let's try to get this vocal or just try to

411
00:21:08,920 --> 00:21:11,680
Speaker 1: get a couple of songs done. And you take equip

412
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Speaker 1: with Ross and I've written this up with Ross. Yeah,

413
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Speaker 1: he has a computer and he does so. Is that

414
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Speaker 1: the kind of the rig that you guys recording, Like

415
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Speaker 1: Ross takes the laptop and you put a microphone on

416
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Speaker 1: the table and you just right and sing into it. Yeah,

417
00:21:23,800 --> 00:21:26,399
Speaker 1: pretty much. Sometimes I'm like the scriber. I feel like

418
00:21:26,400 --> 00:21:28,040
Speaker 1: the girl, like the girls trying to catch all the

419
00:21:28,080 --> 00:21:30,840
Speaker 1: words must be like do you have that? I bet

420
00:21:30,920 --> 00:21:34,199
Speaker 1: that's just like throwing with those two. Yeah, it's just

421
00:21:34,600 --> 00:21:36,240
Speaker 1: and again I haven't spent enough time around you don't know.

422
00:21:36,520 --> 00:21:40,639
Speaker 1: But just like bad, you can get goofy in a

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00:21:40,640 --> 00:21:43,760
Speaker 1: good way, like where you're kind of slap happy. I guess,

424
00:21:43,880 --> 00:21:49,080
Speaker 1: tell me about this one here. Yes, we wrote that

425
00:21:49,119 --> 00:21:56,280
Speaker 1: intail actually we um I remember. I think it was

426
00:21:56,320 --> 00:21:59,280
Speaker 1: going to have a different angle on it like sure

427
00:21:59,280 --> 00:22:01,800
Speaker 1: it would be nice love like kind of thing. And

428
00:22:02,440 --> 00:22:05,040
Speaker 1: I remember us and I've been like, man, let's still love,

429
00:22:05,040 --> 00:22:06,840
Speaker 1: so let's just go for it. Make your love song

430
00:22:07,560 --> 00:22:09,840
Speaker 1: and make sure that angle like let the angle be

431
00:22:09,960 --> 00:22:12,119
Speaker 1: that you already like love something. So you three were

432
00:22:12,200 --> 00:22:15,320
Speaker 1: kind of the thing, well we have what we've we

433
00:22:15,400 --> 00:22:17,439
Speaker 1: worked well together, and we know we've known each other

434
00:22:17,520 --> 00:22:19,080
Speaker 1: for a really long time, like we've known each other

435
00:22:19,119 --> 00:22:24,520
Speaker 1: before anybody cared about anything that we were creating. Yeah,

436
00:22:24,600 --> 00:22:27,880
Speaker 1: because it's like in this town, you're cool once things

437
00:22:27,920 --> 00:22:30,040
Speaker 1: start to happen. Yeah, And once things start to happen,

438
00:22:30,040 --> 00:22:31,679
Speaker 1: people want to hang out with you. And then you're like,

439
00:22:31,840 --> 00:22:33,560
Speaker 1: then I want to hang out because things are happening.

440
00:22:34,480 --> 00:22:37,560
Speaker 1: You have people that you kind of struggled with. Yeah,

441
00:22:37,760 --> 00:22:39,919
Speaker 1: you never have to worry about that. It's so funny.

442
00:22:40,000 --> 00:22:44,119
Speaker 1: I mean I would have this memory of walking down um,

443
00:22:44,119 --> 00:22:47,080
Speaker 1: walking down with these alleys on music grow because we couldn't,

444
00:22:47,160 --> 00:22:49,200
Speaker 1: like we the three of us couldn't get into a party,

445
00:22:49,280 --> 00:22:51,560
Speaker 1: like nobody would let us in, and so we had

446
00:22:51,600 --> 00:22:53,560
Speaker 1: to like we we just want to hung out at

447
00:22:53,600 --> 00:22:55,720
Speaker 1: this old office building that I'm pretty sure it shocked

448
00:22:55,760 --> 00:23:00,680
Speaker 1: to yoga now yeah, right there. I was okay, yeah,

449
00:23:00,720 --> 00:23:03,159
Speaker 1: so you know exactly the alley I'm talking about. But

450
00:23:03,320 --> 00:23:06,120
Speaker 1: like we like, we didn't have any money. I think

451
00:23:06,880 --> 00:23:09,240
Speaker 1: Brett told the story the Number one party for be

452
00:23:09,359 --> 00:23:12,000
Speaker 1: the music that we all like pulled together like eight

453
00:23:12,000 --> 00:23:14,119
Speaker 1: bucks and bought a bottle tequila and went to the

454
00:23:14,359 --> 00:23:16,960
Speaker 1: empty publisher house and we're like, okay, we'll just hanging

455
00:23:16,960 --> 00:23:19,359
Speaker 1: out with each other. So I was like, yeah, I

456
00:23:19,680 --> 00:23:22,320
Speaker 1: do remember that. I remembered I was wearing when you

457
00:23:22,400 --> 00:23:24,480
Speaker 1: came to town. Would you say it was so five

458
00:23:24,560 --> 00:23:27,320
Speaker 1: or so? Who were the people that because everybody kind

459
00:23:27,320 --> 00:23:30,480
Speaker 1: of has classes, Yeah, who came to town around the

460
00:23:30,520 --> 00:23:34,640
Speaker 1: same time you came to town that you get to know? Um? Well,

461
00:23:34,640 --> 00:23:36,720
Speaker 1: I would say my I feel like my class kind

462
00:23:36,720 --> 00:23:39,880
Speaker 1: of turned out to be like John Knight and then

463
00:23:40,720 --> 00:23:45,399
Speaker 1: Ross of course, and then Nicole Galleon. Um, people that

464
00:23:45,440 --> 00:23:47,480
Speaker 1: are still Nicole's got a really good one of these

465
00:23:47,520 --> 00:23:49,480
Speaker 1: two if you're listening to this, and Nicole's was really yeah,

466
00:23:49,560 --> 00:23:53,760
Speaker 1: she's a great, great podcast. Um, just from early on,

467
00:23:53,800 --> 00:23:55,879
Speaker 1: those are the ones that I still like. See and

468
00:23:55,880 --> 00:23:58,000
Speaker 1: then I met Jared a little bit later, but not

469
00:23:58,040 --> 00:24:02,120
Speaker 1: too much later. J Johnson see American Bang or cat

470
00:24:02,160 --> 00:24:04,000
Speaker 1: like three or he was actually it was American Bang

471
00:24:04,040 --> 00:24:06,720
Speaker 1: when I met him, and then I remember I just

472
00:24:06,720 --> 00:24:08,719
Speaker 1: remember writing with him my first time to write with him.

473
00:24:08,760 --> 00:24:10,840
Speaker 1: He had like amazing sunglasses on. He looked like he

474
00:24:10,960 --> 00:24:15,240
Speaker 1: was a beatle kara and then thinking like this guy. Wow,

475
00:24:15,280 --> 00:24:19,160
Speaker 1: He's like how is how is this happening? Because he's

476
00:24:19,200 --> 00:24:21,440
Speaker 1: so cool and I'm just go from Texas and then

477
00:24:21,880 --> 00:24:23,960
Speaker 1: we end up hitting it off and we've been buddies

478
00:24:24,240 --> 00:24:27,800
Speaker 1: ever since. I just I love how like he'll say anything, yeah,

479
00:24:28,040 --> 00:24:32,760
Speaker 1: your faith right, we talked in here and they text

480
00:24:32,800 --> 00:24:34,360
Speaker 1: me for like an hour calling me out on things

481
00:24:34,480 --> 00:24:36,520
Speaker 1: right after we because there like I forgot to say

482
00:24:36,560 --> 00:24:40,399
Speaker 1: this and I don't know, but it's always I like

483
00:24:40,520 --> 00:24:44,679
Speaker 1: consistent people. Yes that and he is sure I know

484
00:24:44,760 --> 00:24:47,000
Speaker 1: what to expect and I don't have to worry that

485
00:24:47,000 --> 00:24:50,240
Speaker 1: you're pulling something over being if I know I can

486
00:24:50,240 --> 00:24:53,400
Speaker 1: trust that you're going to always give me the same

487
00:24:54,320 --> 00:24:57,359
Speaker 1: kind of person. Yeah, that's what I like about Jaren. Yeah,

488
00:24:57,480 --> 00:25:01,240
Speaker 1: like I can appreciate it's always be to The music

489
00:25:01,400 --> 00:25:04,160
Speaker 1: was like the song of the year that was very

490
00:25:04,400 --> 00:25:06,840
Speaker 1: life changing. That was so crazy because I remember the

491
00:25:06,920 --> 00:25:09,679
Speaker 1: year before for the b m I Awards. I wrote

492
00:25:09,760 --> 00:25:13,400
Speaker 1: Jody Williams and email telling him like it was almost

493
00:25:13,520 --> 00:25:15,159
Speaker 1: it probably read like a school assignment. I was like,

494
00:25:15,160 --> 00:25:17,119
Speaker 1: dear Jody, this is why I would love to be

495
00:25:17,119 --> 00:25:19,240
Speaker 1: included in the b m I Awards because I wasn't

496
00:25:19,280 --> 00:25:21,800
Speaker 1: getting one. Um, And I wrote him a list of

497
00:25:21,880 --> 00:25:24,240
Speaker 1: why I thought it might be good for my career

498
00:25:24,359 --> 00:25:26,639
Speaker 1: just to get to be there for that, and he

499
00:25:27,680 --> 00:25:29,959
Speaker 1: gave me an extra ticket. That those things are kind

500
00:25:29,960 --> 00:25:31,840
Speaker 1: of hard to get into, so he's really kind and

501
00:25:31,880 --> 00:25:35,640
Speaker 1: gave me an extra ticket. And then the next year

502
00:25:35,720 --> 00:25:37,000
Speaker 1: was like the first year to get an award, and

503
00:25:37,000 --> 00:25:38,399
Speaker 1: then we won a Song of the Year, so he

504
00:25:38,560 --> 00:25:40,600
Speaker 1: afterwards he was like that email you sent me last

505
00:25:40,640 --> 00:25:43,320
Speaker 1: year's like you really want adia this year. But my

506
00:25:43,400 --> 00:25:46,560
Speaker 1: sister came with me for that, and UM, yeah, it

507
00:25:46,600 --> 00:25:48,639
Speaker 1: was really awesome. I just remember somebody was talking to

508
00:25:48,640 --> 00:25:50,480
Speaker 1: me when they were about to announce it, and somebody

509
00:25:50,480 --> 00:25:52,119
Speaker 1: else from the table like hit me and they were

510
00:25:52,119 --> 00:25:55,239
Speaker 1: like you need to be watching. No, I didn't know.

511
00:25:55,320 --> 00:25:57,239
Speaker 1: They were like they were like, make sure you have

512
00:25:57,320 --> 00:25:59,760
Speaker 1: family there, and I was like, I'll bring my sister,

513
00:26:00,119 --> 00:26:02,560
Speaker 1: like she'll have fun and she'll like you bring just

514
00:26:02,760 --> 00:26:05,600
Speaker 1: enough family to have family, right, yeah, and if you

515
00:26:05,720 --> 00:26:10,159
Speaker 1: lose someone that you're still yeah, you're still totally. So

516
00:26:10,320 --> 00:26:12,280
Speaker 1: it was those nights are so fun. But I remember

517
00:26:12,320 --> 00:26:14,480
Speaker 1: like my hands wouldn't stop shaking. It was so weird,

518
00:26:14,520 --> 00:26:17,040
Speaker 1: Like yeah, it was like this, I don't know what what

519
00:26:17,080 --> 00:26:18,800
Speaker 1: I mean, Like why is why are my hands doing that?

520
00:26:18,880 --> 00:26:21,359
Speaker 1: It's so weird. And then did you get cooler around

521
00:26:21,359 --> 00:26:24,520
Speaker 1: talent as far as you wanted to write with you that, like,

522
00:26:24,600 --> 00:26:27,720
Speaker 1: did the calendar start to I feel like people gave

523
00:26:27,760 --> 00:26:33,080
Speaker 1: me a shot that maybe didn't beforehand. And um, yeah,

524
00:26:33,119 --> 00:26:35,440
Speaker 1: I do feel like there was a shift. I don't

525
00:26:35,480 --> 00:26:37,919
Speaker 1: know if I got cooler for sure, but I do

526
00:26:38,000 --> 00:26:41,760
Speaker 1: feel like some more opportunities came along and and it

527
00:26:41,880 --> 00:26:43,880
Speaker 1: was just I think it was just nice. Somebody said

528
00:26:43,920 --> 00:26:45,320
Speaker 1: something really cool to me. It was actually at a

529
00:26:45,359 --> 00:26:47,960
Speaker 1: Christmas party at Jared's house. It was this guy Mark Beason,

530
00:26:48,080 --> 00:26:52,000
Speaker 1: who's an amazing writer, and he said, um, he said,

531
00:26:52,160 --> 00:26:55,520
Speaker 1: your first hit song represents all the songs that you

532
00:26:55,560 --> 00:26:58,400
Speaker 1: wrote before that. It's just like a culmination of all

533
00:26:58,440 --> 00:27:01,320
Speaker 1: the work you fit in, all the risk taking you did,

534
00:27:01,520 --> 00:27:04,639
Speaker 1: like all the times you showed up. That's what it

535
00:27:04,720 --> 00:27:06,919
Speaker 1: also means, so he just wanted to make sure like

536
00:27:06,960 --> 00:27:09,680
Speaker 1: I understood that angle on it, and it was I don't.

537
00:27:09,760 --> 00:27:12,520
Speaker 1: It was so cool to hear that, because you never know,

538
00:27:12,680 --> 00:27:14,760
Speaker 1: like we wrote a beach song in January one year

539
00:27:14,760 --> 00:27:18,920
Speaker 1: and it ended up being that so um so, yeah,

540
00:27:18,920 --> 00:27:21,240
Speaker 1: it was really cool. But I did feel like, okay,

541
00:27:21,359 --> 00:27:24,119
Speaker 1: like a big exhale moment and the other cool thing.

542
00:27:24,240 --> 00:27:26,520
Speaker 1: I think that was fun that somebody described at the

543
00:27:26,640 --> 00:27:29,800
Speaker 1: moment as Matt Jenkins said this. Sorry Matt, I'm quoting you,

544
00:27:29,880 --> 00:27:32,760
Speaker 1: but he said it's like he was like, as a guy,

545
00:27:32,800 --> 00:27:34,320
Speaker 1: it's like the first time you have to kiss the girl,

546
00:27:34,400 --> 00:27:36,280
Speaker 1: you just like want to get it over with having

547
00:27:36,280 --> 00:27:39,760
Speaker 1: a hit song. He's like, now like I I kissed

548
00:27:39,760 --> 00:27:42,160
Speaker 1: the girl. Basically, that's what he said. I don't take

549
00:27:42,160 --> 00:27:44,960
Speaker 1: that out of it. That's gonna sound funky. Now that

550
00:27:45,040 --> 00:27:47,800
Speaker 1: will quote you in the next one. Great. Let me

551
00:27:47,840 --> 00:27:50,120
Speaker 1: ask you a question about this because I remember talking

552
00:27:50,119 --> 00:27:52,600
Speaker 1: about this on the radio show. So this is Brett

553
00:27:53,000 --> 00:28:02,840
Speaker 1: you make and this is so I don't even know

554
00:28:02,880 --> 00:28:07,120
Speaker 1: what happened with this, did you. Yeah, they're all there, Yeah,

555
00:28:07,160 --> 00:28:09,840
Speaker 1: they're all on there. They didn't. Luckily, they're like kind

556
00:28:09,880 --> 00:28:11,920
Speaker 1: because they were like, what what It's a country song

557
00:28:12,480 --> 00:28:16,080
Speaker 1: and so many people have used that line. We were

558
00:28:16,119 --> 00:28:20,000
Speaker 1: like the thousand people, but it's the success is that

559
00:28:20,080 --> 00:28:22,480
Speaker 1: what bread the hey? Oh wow, we need to get

560
00:28:22,520 --> 00:28:25,360
Speaker 1: this on. Well, it kind of happened in the room

561
00:28:25,400 --> 00:28:28,280
Speaker 1: and I remember having that moment of like this was

562
00:28:28,320 --> 00:28:30,240
Speaker 1: that on that or was that not? And then later

563
00:28:30,560 --> 00:28:33,879
Speaker 1: we were at UM some event where Brett's team from

564
00:28:33,880 --> 00:28:36,560
Speaker 1: Warner Brothers was there and they were like, Hey, we're

565
00:28:36,600 --> 00:28:38,480
Speaker 1: working on the line from the song with a least

566
00:28:38,520 --> 00:28:41,120
Speaker 1: my mind and I was like, okay, some n y

567
00:28:41,200 --> 00:28:44,240
Speaker 1: U professor was like looking at it on that line,

568
00:28:44,280 --> 00:28:46,480
Speaker 1: so like they wanted to change it. They wanted to

569
00:28:46,560 --> 00:28:48,200
Speaker 1: change it or they wanted to figure out like how

570
00:28:48,280 --> 00:28:52,080
Speaker 1: much of that of the song was I guess percentages

571
00:28:52,200 --> 00:28:54,680
Speaker 1: or something. And so I was like, well, that's those

572
00:28:54,680 --> 00:28:56,800
Speaker 1: are the professionals, like we'll just leave it to that

573
00:28:58,960 --> 00:29:01,680
Speaker 1: with the they only they didn't get a lot of it.

574
00:29:01,680 --> 00:29:05,240
Speaker 1: It really like. And the funny thing is there's two guys,

575
00:29:05,280 --> 00:29:09,880
Speaker 1: so it's um Celo Green Mouse Indanger Mouse, which so

576
00:29:10,480 --> 00:29:13,560
Speaker 1: it's so cool to me. It's even this a weird situation. UM.

577
00:29:13,640 --> 00:29:17,360
Speaker 1: And then the two other guys are actually two guys

578
00:29:17,440 --> 00:29:21,160
Speaker 1: that Narls Barkley borrowed from, so they're like the original

579
00:29:21,680 --> 00:29:24,400
Speaker 1: people that created something, and then Narls Barkley borrowed from

580
00:29:25,000 --> 00:29:28,360
Speaker 1: so Cilo and thank your Mouth borrowed from them. Just

581
00:29:28,400 --> 00:29:30,920
Speaker 1: that one part of it though, so well, I guess

582
00:29:30,960 --> 00:29:34,040
Speaker 1: for the Narls Barkley song maybe somehow, so somehow, it's

583
00:29:34,040 --> 00:29:38,360
Speaker 1: all there's like three different compositions, if you want to

584
00:29:38,360 --> 00:29:41,720
Speaker 1: say professionally, like the other thing is like an Italian

585
00:29:41,840 --> 00:29:44,240
Speaker 1: musical from the sixties. I'm not kidding. Somebody came up

586
00:29:44,240 --> 00:29:45,600
Speaker 1: to me at the Bluebird and they're like, do you

587
00:29:45,600 --> 00:29:47,040
Speaker 1: know the history of your own song? And I was like,

588
00:29:47,080 --> 00:29:50,560
Speaker 1: apparently not. I've nobody's ever shared that with me. So

589
00:29:50,640 --> 00:29:52,640
Speaker 1: that two other guys have an Italian last same and

590
00:29:53,400 --> 00:29:55,480
Speaker 1: I don't even I don't know anything about them, but

591
00:29:55,520 --> 00:29:58,720
Speaker 1: I do know that because it was number one, we

592
00:29:58,880 --> 00:30:03,560
Speaker 1: got we Want to Pop Award in London last year

593
00:30:04,200 --> 00:30:07,320
Speaker 1: because of it. But just based on like the math

594
00:30:07,440 --> 00:30:09,560
Speaker 1: of it, did that cost you a lot of money?

595
00:30:09,560 --> 00:30:15,680
Speaker 1: Haven't add all them? Kind of? Because yeah, I mean

596
00:30:15,960 --> 00:30:17,640
Speaker 1: not not as much as it could have been. It

597
00:30:17,640 --> 00:30:20,840
Speaker 1: could have been really hurtful, but it ended up where

598
00:30:21,920 --> 00:30:25,040
Speaker 1: and not like crying every time a check comes in

599
00:30:25,120 --> 00:30:27,720
Speaker 1: because they have most of it or anything like that.

600
00:30:27,880 --> 00:30:32,320
Speaker 1: You know, it's weird. And in Nashville the riding for

601
00:30:32,320 --> 00:30:34,520
Speaker 1: the most part is different than in Los Angeles. Yeah,

602
00:30:34,520 --> 00:30:38,760
Speaker 1: because they can get down and if it's three people,

603
00:30:38,760 --> 00:30:42,040
Speaker 1: it's I don't know how they do that. That makes

604
00:30:42,080 --> 00:30:44,960
Speaker 1: me so like, that makes me nervous for people, because

605
00:30:45,360 --> 00:30:47,040
Speaker 1: I don't know how you decide, like do you have

606
00:30:47,080 --> 00:30:51,760
Speaker 1: to have like a class monitor that's like like, no,

607
00:30:51,960 --> 00:30:55,520
Speaker 1: you you have five words and he has seven. That

608
00:30:55,640 --> 00:30:57,920
Speaker 1: is a weird thing, right, I would be terrible that

609
00:30:57,960 --> 00:30:59,480
Speaker 1: that if three people are sitting in a room and

610
00:30:59,520 --> 00:31:02,440
Speaker 1: two of them do all the work, and I know

611
00:31:02,720 --> 00:31:05,280
Speaker 1: stories that people are like in the room and really

612
00:31:05,280 --> 00:31:08,560
Speaker 1: did didn't do much. I know somebody told me once

613
00:31:08,760 --> 00:31:11,480
Speaker 1: and I totally I thought about that too. But I'm like,

614
00:31:11,560 --> 00:31:14,320
Speaker 1: you know what, if that combination was there that day,

615
00:31:14,760 --> 00:31:16,760
Speaker 1: something could have been different. Somebody could have said, like,

616
00:31:16,800 --> 00:31:17,920
Speaker 1: if it had been somebody else, you might have a

617
00:31:17,960 --> 00:31:21,680
Speaker 1: different song. Well there is always that, but it's like,

618
00:31:21,680 --> 00:31:24,000
Speaker 1: well that's the song that showed up and they were there.

619
00:31:24,320 --> 00:31:26,239
Speaker 1: I have a friend and I don't want to say

620
00:31:26,280 --> 00:31:28,200
Speaker 1: what it is. But he wrote a song and they

621
00:31:28,200 --> 00:31:30,880
Speaker 1: did it right. And I'll just say for the fact,

622
00:31:31,160 --> 00:31:33,040
Speaker 1: for the messing, I'll mess with the facts a little bit,

623
00:31:33,400 --> 00:31:34,560
Speaker 1: but it is him and a buddy. They wrote a

624
00:31:34,600 --> 00:31:41,520
Speaker 1: song and another artist was yeah, the other artist changed

625
00:31:41,560 --> 00:31:44,200
Speaker 1: one word, and then the artist did and I said,

626
00:31:44,200 --> 00:31:46,360
Speaker 1: I'm taking it third of the ride. That makes me

627
00:31:46,400 --> 00:31:51,040
Speaker 1: nervous too. Yeah. See that. That's where maybe l A

628
00:31:51,160 --> 00:31:54,640
Speaker 1: needs to kick in, because it didn't because it's Nashville

629
00:31:54,720 --> 00:31:58,400
Speaker 1: and those they wrote it fifty each. The artists cut

630
00:31:58,400 --> 00:32:02,000
Speaker 1: it changed one word. I hate that for them. And

631
00:32:02,040 --> 00:32:05,400
Speaker 1: then they were like, what are we gonna do because

632
00:32:05,440 --> 00:32:09,480
Speaker 1: it's a big artist. Yeah, I mean it's a major

633
00:32:09,680 --> 00:32:12,240
Speaker 1: art And that's such a that's such a crazy situation

634
00:32:12,280 --> 00:32:14,440
Speaker 1: because it's in You're like, then what do you do?

635
00:32:14,440 --> 00:32:15,920
Speaker 1: Do you not want them on? You don't want Yeah?

636
00:32:16,000 --> 00:32:18,960
Speaker 1: Where's the trade off? Like that you get your song back?

637
00:32:20,120 --> 00:32:23,520
Speaker 1: Then you don't get that. The craziest thing is is

638
00:32:23,560 --> 00:32:25,480
Speaker 1: that again I got to mess the facts up a

639
00:32:25,520 --> 00:32:29,360
Speaker 1: little bit. But the word that the artist change was

640
00:32:29,440 --> 00:32:33,120
Speaker 1: not a curse word. He changed it to a curse word. Okay,

641
00:32:33,120 --> 00:32:35,280
Speaker 1: But then for radio edit they had to change the

642
00:32:35,320 --> 00:32:41,800
Speaker 1: curse word back that gus so no change on the

643
00:32:41,880 --> 00:32:46,360
Speaker 1: radio at all. But in the original version that sounds

644
00:32:46,360 --> 00:32:52,240
Speaker 1: like a lot of paperwork. It also sucks, that's it's

645
00:32:52,280 --> 00:32:56,200
Speaker 1: that's such a like dozy situation that that's it's like

646
00:32:56,240 --> 00:32:59,320
Speaker 1: the greatest thing. And then like, oh, but that is

647
00:32:59,320 --> 00:33:01,800
Speaker 1: there thinking no names. Have you written to people before?

648
00:33:01,800 --> 00:33:04,000
Speaker 1: You're like, I'll never write with them again. Oh yeah,

649
00:33:04,040 --> 00:33:06,000
Speaker 1: and you you put it on the list, like because

650
00:33:06,000 --> 00:33:07,320
Speaker 1: there are people I won't bring on the show anmore

651
00:33:07,320 --> 00:33:10,400
Speaker 1: because its been miserable. I'm like, you know what, it's

652
00:33:10,400 --> 00:33:12,840
Speaker 1: a feeling. It's like I did not enjoy that. I

653
00:33:12,840 --> 00:33:15,160
Speaker 1: don't think it's good for my listeners, good for me,

654
00:33:15,320 --> 00:33:16,800
Speaker 1: So I'm not going to have them back on at

655
00:33:16,880 --> 00:33:19,640
Speaker 1: least for a while. Has that happened with you before.

656
00:33:19,640 --> 00:33:20,880
Speaker 1: When you get in the room, you're like, oh, I

657
00:33:20,960 --> 00:33:23,479
Speaker 1: just cant yeah, I think, yeah, I think that's one

658
00:33:23,480 --> 00:33:25,080
Speaker 1: of the things about doing it for a while is

659
00:33:25,120 --> 00:33:28,600
Speaker 1: that part of the well, hopefully the part of what

660
00:33:28,680 --> 00:33:30,480
Speaker 1: you get to do is write with people you love

661
00:33:30,960 --> 00:33:32,800
Speaker 1: and you want to you can't wait to get back

662
00:33:32,800 --> 00:33:34,400
Speaker 1: in the room with. So there I have been situations

663
00:33:34,400 --> 00:33:37,120
Speaker 1: where I was like, please don't like if we can

664
00:33:37,160 --> 00:33:39,200
Speaker 1: avoid you ever left to right early because you just

665
00:33:39,240 --> 00:33:41,760
Speaker 1: couldn't take it anymore. Yeah, really early on, Like no,

666
00:33:41,920 --> 00:33:43,800
Speaker 1: I don't even know. I couldn't even I couldn't even

667
00:33:43,800 --> 00:33:46,040
Speaker 1: literally tell you the person's name. But I do remember

668
00:33:46,400 --> 00:33:49,080
Speaker 1: going into the tape room of Winner Chapel. I mean,

669
00:33:49,160 --> 00:33:51,120
Speaker 1: like you have to call my phone and I have

670
00:33:51,520 --> 00:33:53,720
Speaker 1: like you gotta get me out of here, like this

671
00:33:53,800 --> 00:33:59,520
Speaker 1: is awful. No, not at all like Downy Club, the

672
00:33:59,560 --> 00:34:01,880
Speaker 1: letter tell me everything. It'd be like you're a John

673
00:34:01,920 --> 00:34:04,160
Speaker 1: Mayor interview. I'd be like nine hours long. You'd be like,

674
00:34:04,160 --> 00:34:07,640
Speaker 1: are we writing a song? What's the deal? Did they call? Yeah,

675
00:34:07,680 --> 00:34:09,319
Speaker 1: they totally did. I was like, I just can't do it.

676
00:34:09,520 --> 00:34:13,600
Speaker 1: I think I couldn't do it. Still another and that.

677
00:34:13,719 --> 00:34:16,640
Speaker 1: I mean I was such a baby writer, but even

678
00:34:16,719 --> 00:34:19,399
Speaker 1: my my instincts were like this is this is bad,

679
00:34:19,480 --> 00:34:20,960
Speaker 1: just kidding me, don't put my name on it, Just

680
00:34:21,000 --> 00:34:23,120
Speaker 1: get me out of here. If you see an artist

681
00:34:23,239 --> 00:34:27,200
Speaker 1: rike come up like and you know they're writing for themselves,

682
00:34:28,760 --> 00:34:32,000
Speaker 1: is that a different preparation than if you and a

683
00:34:32,000 --> 00:34:36,000
Speaker 1: couple of your normal song writing together. Yeah, Like I

684
00:34:36,080 --> 00:34:38,880
Speaker 1: used to get really nervous about artist writes, not not

685
00:34:38,960 --> 00:34:41,600
Speaker 1: in a bad way, just like they need to accomplish

686
00:34:41,680 --> 00:34:44,759
Speaker 1: something and I hope I can help them get to

687
00:34:44,840 --> 00:34:47,960
Speaker 1: what they need to find song wise. And and there's

688
00:34:48,000 --> 00:34:50,040
Speaker 1: also you know, there's like this team of people that

689
00:34:50,080 --> 00:34:53,319
Speaker 1: are telling them five different things or maybe one thing

690
00:34:53,760 --> 00:34:57,000
Speaker 1: as a team, like you need you're opening for this

691
00:34:57,040 --> 00:34:58,960
Speaker 1: person and you're gonna be playing this kind of venue,

692
00:34:59,040 --> 00:35:01,120
Speaker 1: and you really need a part a song three songs

693
00:35:01,120 --> 00:35:02,560
Speaker 1: in or something like that, and we don't have it,

694
00:35:02,640 --> 00:35:05,600
Speaker 1: and you need to write that, and so hoping that

695
00:35:06,440 --> 00:35:09,640
Speaker 1: whatever my brain does that day can bring it to them.

696
00:35:09,640 --> 00:35:12,960
Speaker 1: But sometimes all just bringing a bunch of ideas and

697
00:35:13,400 --> 00:35:16,479
Speaker 1: if I'm with the track person, like try to there's

698
00:35:16,520 --> 00:35:17,840
Speaker 1: been a balance. I feel like I've grown up a

699
00:35:17,840 --> 00:35:20,799
Speaker 1: little bit as a songwriter with artists where if they

700
00:35:20,800 --> 00:35:22,879
Speaker 1: want if they like something I do, I just want

701
00:35:22,880 --> 00:35:26,040
Speaker 1: to give that to them, like be the best version

702
00:35:26,080 --> 00:35:28,120
Speaker 1: of that writer for them. I hope that makes sense.

703
00:35:28,280 --> 00:35:30,320
Speaker 1: But like there's a phrasing thing that I do that

704
00:35:30,360 --> 00:35:32,720
Speaker 1: I just figured out that I've some of my friends

705
00:35:32,719 --> 00:35:35,440
Speaker 1: when they were listening to the New Brett album, They're like,

706
00:35:35,480 --> 00:35:37,959
Speaker 1: I can find your songs before looking them up, which

707
00:35:38,000 --> 00:35:41,799
Speaker 1: was cool to have that happen, how like they just

708
00:35:41,840 --> 00:35:44,160
Speaker 1: hadn't They were like, I feel like that's you, like

709
00:35:45,120 --> 00:35:48,120
Speaker 1: on like haven't met yet one that we have on

710
00:35:48,160 --> 00:35:49,799
Speaker 1: many record and one of my friends was like, oh,

711
00:35:49,840 --> 00:35:51,080
Speaker 1: I knew you wrote that. I don't have to look

712
00:35:51,120 --> 00:35:54,160
Speaker 1: it up. And I do that with my friends, like

713
00:35:54,360 --> 00:35:56,120
Speaker 1: I can tell when Ross has something on the radio

714
00:35:56,200 --> 00:35:59,520
Speaker 1: or actually Girly has something on the radio, or Nicole,

715
00:35:59,719 --> 00:36:03,120
Speaker 1: Like I just start to know. There's one Jared had

716
00:36:03,280 --> 00:36:06,560
Speaker 1: with like Frankie Ballard that was Sunshine and Whiskey Reme.

717
00:36:06,680 --> 00:36:09,359
Speaker 1: I mean, like that's Jared. Dared definitely wrote that. Which

718
00:36:09,400 --> 00:36:11,320
Speaker 1: one did you write? What we talked about? I haven't

719
00:36:11,400 --> 00:36:14,120
Speaker 1: haven't met you yet. Let's see, by the way, I

720
00:36:14,120 --> 00:36:15,920
Speaker 1: love someones from the new record. Did we just play

721
00:36:16,200 --> 00:36:30,600
Speaker 1: Let's see haven't met you? Yeah, this is half a

722
00:36:30,719 --> 00:36:35,840
Speaker 1: million sunsets. I haven't got to show you. Don't ask

723
00:36:35,880 --> 00:36:39,520
Speaker 1: me how I know, but I know they're still your

724
00:36:39,760 --> 00:36:44,400
Speaker 1: bread and I can almost feel the feeling that's you're

725
00:36:44,480 --> 00:36:49,520
Speaker 1: gonna give me, especially when you kiss me like no

726
00:36:49,600 --> 00:36:53,840
Speaker 1: one never had. You're so read I can't explain it.

727
00:36:54,040 --> 00:37:02,479
Speaker 1: Don't keep me. You could be in Dead Story A

728
00:37:02,560 --> 00:37:11,600
Speaker 1: thousand feet up plan you could be a drinkways change

729
00:37:12,160 --> 00:37:18,080
Speaker 1: every second, every please always looking for your face and

730
00:37:18,200 --> 00:37:33,880
Speaker 1: I'm knowing which one I'll never yea in a corner

731
00:37:33,960 --> 00:37:36,239
Speaker 1: booth cap. Where'd you guys write that one? We wrote

732
00:37:36,280 --> 00:37:40,719
Speaker 1: that one actually in a cabin riding your cabin rid

733
00:37:41,280 --> 00:37:45,000
Speaker 1: like cab song ideas we'll travel. Um. Yeah, we wrote

734
00:37:45,040 --> 00:37:47,640
Speaker 1: that one out on this porch of this cabin that

735
00:37:47,920 --> 00:37:52,520
Speaker 1: um Brett's manager head. We had like no WiFi whatsoever.

736
00:37:53,080 --> 00:37:54,759
Speaker 1: And that was the first sound of like five we

737
00:37:54,760 --> 00:37:57,120
Speaker 1: wrote on that trip. And we really hold it like

738
00:37:57,200 --> 00:37:59,640
Speaker 1: we brought food and did not leave for like three days.

739
00:38:00,000 --> 00:38:01,680
Speaker 1: Remember we did take a boat out into the water

740
00:38:01,719 --> 00:38:03,840
Speaker 1: and we lost like the manager's anchor and like we

741
00:38:03,880 --> 00:38:06,400
Speaker 1: got stuck with it. Was started reading with our guitars

742
00:38:06,400 --> 00:38:11,840
Speaker 1: out there, but my anchor. It needs to be a

743
00:38:11,880 --> 00:38:14,520
Speaker 1: song like sorry for losing your like hairloom anchor into

744
00:38:14,520 --> 00:38:17,480
Speaker 1: the river that we couldn't even get out. We tried,

745
00:38:17,960 --> 00:38:20,680
Speaker 1: um but we had some adventures. But that was the

746
00:38:20,719 --> 00:38:22,480
Speaker 1: first time we wrote from that trip. And actually we

747
00:38:22,520 --> 00:38:25,440
Speaker 1: wrote that like kind of around the time of the

748
00:38:25,560 --> 00:38:29,680
Speaker 1: last record and then it just didn't fit the track

749
00:38:29,719 --> 00:38:31,440
Speaker 1: list scene for that and so he kept saying it's

750
00:38:31,440 --> 00:38:34,880
Speaker 1: going to be on the next one that I heard sometimes,

751
00:38:34,880 --> 00:38:37,720
Speaker 1: but this is like the first time it's actually happened.

752
00:38:38,080 --> 00:38:39,440
Speaker 1: Do you hear that, Hey, it's going to be the

753
00:38:39,440 --> 00:38:42,080
Speaker 1: single and it's not a lot. Yeah, that does happen.

754
00:38:42,719 --> 00:38:44,960
Speaker 1: That can be like, you know, I don't know if

755
00:38:44,960 --> 00:38:47,040
Speaker 1: somebody joked there like don't go bad a boat yet,

756
00:38:47,440 --> 00:38:50,480
Speaker 1: because so do you become deaf to it? Or it's like, Okay,

757
00:38:50,680 --> 00:38:53,240
Speaker 1: it's the single. How do you know when it's the single?

758
00:38:53,920 --> 00:38:57,040
Speaker 1: Oh gosh um when you hear it on the radio

759
00:38:57,760 --> 00:39:03,000
Speaker 1: or literally like I try not to get to into it.

760
00:39:03,040 --> 00:39:04,920
Speaker 1: I mean sometimes if I'm at Sony and nobody's at

761
00:39:04,920 --> 00:39:06,439
Speaker 1: their desk, I'll kind of like pick at their notes.

762
00:39:06,840 --> 00:39:11,160
Speaker 1: I'm bad about that what's on the notes? But we'll

763
00:39:11,200 --> 00:39:15,920
Speaker 1: be on the note at Sony like like sometimes from

764
00:39:15,960 --> 00:39:18,120
Speaker 1: their morning means it will be like single coming out

765
00:39:18,840 --> 00:39:22,080
Speaker 1: on I don't pick Katie hasn't you know or Keith

766
00:39:22,160 --> 00:39:23,560
Speaker 1: Urbin or something like that. They'll have it like in

767
00:39:23,600 --> 00:39:26,920
Speaker 1: their own handwriting. Sometimes now I'm just gonna hide their

768
00:39:26,920 --> 00:39:31,560
Speaker 1: notes from me at the office, Like don't my Heather

769
00:39:31,640 --> 00:39:46,720
Speaker 1: any any though? How about Yeah, Josh Osborne and Ross,

770
00:39:47,719 --> 00:39:53,279
Speaker 1: and that was funny. I was, Um, I was at

771
00:39:53,280 --> 00:39:57,040
Speaker 1: a birthday party at a Bully and Alley and I

772
00:39:57,120 --> 00:39:59,680
Speaker 1: know Josh everfortten was Josh before, but I was like,

773
00:39:59,719 --> 00:40:01,200
Speaker 1: I'm is kind of text him and see if he

774
00:40:01,200 --> 00:40:05,359
Speaker 1: can jump in with Ross for all right the next day,

775
00:40:05,360 --> 00:40:07,200
Speaker 1: and so I texted him and I was like, Hey,

776
00:40:07,239 --> 00:40:10,080
Speaker 1: I'm riding with Ross. Is there anyway like you can

777
00:40:10,160 --> 00:40:12,239
Speaker 1: jump in and join us? And he was like, man,

778
00:40:12,280 --> 00:40:14,799
Speaker 1: I don't think I can. And then he texted me

779
00:40:14,840 --> 00:40:16,960
Speaker 1: back like thirty minutes later and he was like, actually,

780
00:40:17,000 --> 00:40:19,399
Speaker 1: everything on my schedule just got flip flopped. I'm gonna

781
00:40:19,440 --> 00:40:23,160
Speaker 1: be there. And so I had this idea, but I

782
00:40:23,160 --> 00:40:25,280
Speaker 1: had a different idea that was from the Super Bowl commercials,

783
00:40:26,000 --> 00:40:30,480
Speaker 1: and then um, we ended up like kind of that

784
00:40:30,520 --> 00:40:32,000
Speaker 1: got thrown out, but we kind of went on a

785
00:40:32,040 --> 00:40:35,600
Speaker 1: tangent to where he had. Josh had a lot about

786
00:40:35,719 --> 00:40:38,040
Speaker 1: looking for the Hollywood side and trying to find the interstate,

787
00:40:38,360 --> 00:40:39,799
Speaker 1: and then we had we were like, let's write a

788
00:40:39,840 --> 00:40:43,960
Speaker 1: beachy vibe, but let's not have beach lyrics to it.

789
00:40:44,600 --> 00:40:46,640
Speaker 1: And so the fun thing about that one, this is

790
00:40:46,680 --> 00:40:49,280
Speaker 1: the first time this has ever happened for me where

791
00:40:49,760 --> 00:40:53,000
Speaker 1: when we finished the song like one day. Let's say

792
00:40:53,040 --> 00:40:55,440
Speaker 1: we finished it like four o'clock. By nine am the

793
00:40:55,480 --> 00:40:58,399
Speaker 1: next morning, Kenny was like, I wanted its mind, Please

794
00:40:58,440 --> 00:41:00,640
Speaker 1: don't send it to anybody else. Got it to Kenny

795
00:41:00,640 --> 00:41:03,879
Speaker 1: that quick, So Troy Tomlinson did from Sony. So people

796
00:41:03,880 --> 00:41:05,120
Speaker 1: would just hear a song and go, I think this

797
00:41:05,200 --> 00:41:08,680
Speaker 1: fits first so and so right immediately. Yeah. So in

798
00:41:08,719 --> 00:41:12,719
Speaker 1: some instances like that was I feel like that was

799
00:41:12,840 --> 00:41:16,319
Speaker 1: a you hear about it, but I had never experienced it,

800
00:41:17,239 --> 00:41:19,520
Speaker 1: like this song is so great first so so and

801
00:41:19,560 --> 00:41:21,560
Speaker 1: then you and then somebody tells a story about how

802
00:41:21,600 --> 00:41:23,640
Speaker 1: all the stars just lined up but it ended up

803
00:41:23,640 --> 00:41:26,600
Speaker 1: being number one and something crazy like that happened for this.

804
00:41:26,800 --> 00:41:31,040
Speaker 1: It was um kind of early on his song searching process,

805
00:41:31,040 --> 00:41:34,280
Speaker 1: I should say, so my when I was like reading

806
00:41:34,280 --> 00:41:36,200
Speaker 1: the notes orever when I was sneaking, I'm still I

807
00:41:36,320 --> 00:41:39,440
Speaker 1: speaking every his office. I don't but um, but it's

808
00:41:39,520 --> 00:41:41,040
Speaker 1: just a matter of like is it still going to

809
00:41:41,080 --> 00:41:42,759
Speaker 1: be on there? I went to see him. I was

810
00:41:42,760 --> 00:41:45,719
Speaker 1: writing with Laura McKinnon in Boston, and so we went

811
00:41:45,760 --> 00:41:49,799
Speaker 1: to his tour at Gillette Stadium and I had the

812
00:41:49,840 --> 00:41:53,960
Speaker 1: cut and then backstage um met some of the people

813
00:41:53,960 --> 00:41:56,719
Speaker 1: just on his team, where I like when Laurie is

814
00:41:56,719 --> 00:41:58,480
Speaker 1: so sweet. She was like, she has a song of

815
00:41:58,520 --> 00:42:00,960
Speaker 1: the new record it's called sometimes Somewhere, and they'd be like, oh,

816
00:42:01,200 --> 00:42:04,040
Speaker 1: we're thinking about naming the tour that, and then the

817
00:42:04,080 --> 00:42:05,720
Speaker 1: album was going to be called that for a second.

818
00:42:06,040 --> 00:42:08,239
Speaker 1: So if you get those little nuggets of like information

819
00:42:08,280 --> 00:42:10,439
Speaker 1: where you're like, what does that mean? It is that bad?

820
00:42:10,440 --> 00:42:13,480
Speaker 1: If its album is that good? Like who it's going

821
00:42:13,480 --> 00:42:15,280
Speaker 1: to the album title on the tour title that eventually

822
00:42:15,280 --> 00:42:17,600
Speaker 1: it's going to be a single? Yeah, are you hope so?

823
00:42:20,360 --> 00:42:23,160
Speaker 1: But then it wasn't. But it wasn't. But the fun

824
00:42:23,440 --> 00:42:26,040
Speaker 1: fun part for me is early on before I moved here,

825
00:42:26,280 --> 00:42:29,719
Speaker 1: I remember being in college and misseeing a class to

826
00:42:29,800 --> 00:42:32,759
Speaker 1: go down to like San Antonio or something like that

827
00:42:32,840 --> 00:42:35,920
Speaker 1: and play like the Levi side stage opening for him.

828
00:42:35,920 --> 00:42:38,279
Speaker 1: And I remember parking my jeep Grand Cherokee like next

829
00:42:38,320 --> 00:42:40,480
Speaker 1: to the bus and they gave me like my parking

830
00:42:40,840 --> 00:42:44,440
Speaker 1: ticket and I played probably like four o'clock that day,

831
00:42:44,480 --> 00:42:46,560
Speaker 1: and then he played that night and I remember like,

832
00:42:47,320 --> 00:42:49,560
Speaker 1: you know, the guy selling pretzels on the side of

833
00:42:49,640 --> 00:42:53,239
Speaker 1: the like you know, not arena but outside amphitheater, being

834
00:42:53,280 --> 00:42:55,399
Speaker 1: like you're really good like some kids playing hacky Sack,

835
00:42:55,520 --> 00:42:58,800
Speaker 1: and like my dad been like this, this trip costs

836
00:42:58,880 --> 00:43:00,880
Speaker 1: us a lot of money to pay the band and

837
00:43:00,880 --> 00:43:03,680
Speaker 1: food and Hotell and all that stuff. But and then

838
00:43:03,760 --> 00:43:06,799
Speaker 1: this past November, I took my mom and I read

839
00:43:06,880 --> 00:43:10,000
Speaker 1: a party where Kenny was there, like Kenny like, I mean,

840
00:43:10,000 --> 00:43:12,560
Speaker 1: my mom like pulls out pictures from the opening and

841
00:43:12,760 --> 00:43:14,640
Speaker 1: it's like, she has a song on your record. Now

842
00:43:14,680 --> 00:43:17,399
Speaker 1: it's a very you know, full circle moment for her

843
00:43:17,480 --> 00:43:20,000
Speaker 1: that you cut that song. And then I'm like kind

844
00:43:20,040 --> 00:43:22,839
Speaker 1: of embarrassed, but kind of not because she's like doing

845
00:43:22,840 --> 00:43:25,600
Speaker 1: a good job on the story better than I would.

846
00:43:26,560 --> 00:43:29,040
Speaker 1: But but it's cool. I mean, of course you hope

847
00:43:29,040 --> 00:43:31,200
Speaker 1: any songs are single, but that when I was just

848
00:43:31,200 --> 00:43:34,520
Speaker 1: super pumped to get to Heaven, that's just I don't know.

849
00:43:34,600 --> 00:43:36,239
Speaker 1: I guess you hear those people growing up, and then

850
00:43:36,239 --> 00:43:40,240
Speaker 1: when they're singing your songs and their voices on your song, yeah,

851
00:43:40,520 --> 00:43:42,800
Speaker 1: like you wanted. I understand you wanted to single because

852
00:43:42,840 --> 00:43:44,200
Speaker 1: you want it to be big and you want to

853
00:43:44,200 --> 00:43:46,279
Speaker 1: make money, but there's still something to somebody that you

854
00:43:46,320 --> 00:43:50,560
Speaker 1: admire voice being on something that you wrote and created, Yeah,

855
00:43:50,600 --> 00:43:53,480
Speaker 1: and then create and like is why you love music

856
00:43:53,560 --> 00:43:56,080
Speaker 1: or why you have had these life experiences where you

857
00:43:57,040 --> 00:44:00,600
Speaker 1: experienced it before any of this And that is definitely

858
00:44:00,680 --> 00:44:04,520
Speaker 1: him for me. So everyone talked about singles, and it's

859
00:44:04,520 --> 00:44:07,719
Speaker 1: a very singles culture because you want a single and

860
00:44:07,760 --> 00:44:09,200
Speaker 1: you wanted to move fast, you want to get the

861
00:44:09,200 --> 00:44:14,680
Speaker 1: next one. Yeah, spend, there's yes, and that's how you

862
00:44:14,719 --> 00:44:18,160
Speaker 1: make your money for the most part. But let's just

863
00:44:18,160 --> 00:44:21,640
Speaker 1: say you get five album cuts because their money in

864
00:44:21,680 --> 00:44:24,560
Speaker 1: five six album cuts. Yeah. Well but and that's what

865
00:44:24,640 --> 00:44:26,800
Speaker 1: I have one, but there's five on there that I

866
00:44:26,880 --> 00:44:28,399
Speaker 1: that I wrote with him. But if let's say none

867
00:44:28,440 --> 00:44:30,919
Speaker 1: of them become a single, yeah, well that just pay

868
00:44:31,000 --> 00:44:36,200
Speaker 1: back your my draw for Sony, right, yeah, because because

869
00:44:36,200 --> 00:44:37,960
Speaker 1: your draw is what they pay you per year to

870
00:44:38,080 --> 00:44:40,319
Speaker 1: just write for them. Yeah, it's it's almost like an

871
00:44:40,800 --> 00:44:44,080
Speaker 1: I guess an interest freelanm But but then again, if

872
00:44:44,080 --> 00:44:46,560
Speaker 1: they fire, you pay them back. Yeah, that's the I'm trying.

873
00:44:46,560 --> 00:44:48,440
Speaker 1: I've tried to explain it to friends there, like when

874
00:44:48,480 --> 00:44:50,520
Speaker 1: you my dad's had a hard time with that one.

875
00:44:50,600 --> 00:44:52,600
Speaker 1: He's like, but you gotta pay him back, and like, no,

876
00:44:52,680 --> 00:44:54,920
Speaker 1: it's not really like it's more like they're investing in you,

877
00:44:55,560 --> 00:44:57,360
Speaker 1: and you have to pay them back their investment in

878
00:44:57,400 --> 00:44:59,839
Speaker 1: anything extra. You know, then it gets into the whole

879
00:45:00,000 --> 00:45:02,560
Speaker 1: who keeps what? But so if you do, if you

880
00:45:02,600 --> 00:45:04,840
Speaker 1: have five or six album cuts that never make it

881
00:45:04,880 --> 00:45:08,600
Speaker 1: as singles, that's they can add up enough for them

882
00:45:08,600 --> 00:45:11,239
Speaker 1: to want to keep you, right, Oh gosh, yeah, yeah,

883
00:45:11,280 --> 00:45:12,959
Speaker 1: I wouldn't. May not, I hope. So I know there's

884
00:45:13,200 --> 00:45:15,800
Speaker 1: you know, I'm with somebody's really big, and there people

885
00:45:15,840 --> 00:45:17,879
Speaker 1: in New York that I've been up there a couple

886
00:45:17,880 --> 00:45:19,640
Speaker 1: of times, but I doubt I'm sure they're still like

887
00:45:19,719 --> 00:45:22,680
Speaker 1: who are who are you? Maybe hopefully they wouldn't be

888
00:45:22,760 --> 00:45:25,880
Speaker 1: by now, but um, but when it's all on paper,

889
00:45:26,719 --> 00:45:28,399
Speaker 1: I would hope somebody would go to that for me.

890
00:45:28,600 --> 00:45:33,279
Speaker 1: In Nashville, you ever say stopped writing girls songs for sure?

891
00:45:33,920 --> 00:45:37,480
Speaker 1: Back I remember the moment like, um, I had a

892
00:45:37,760 --> 00:45:39,480
Speaker 1: I was working somebody else at Sonny but still so

893
00:45:39,640 --> 00:45:43,080
Speaker 1: same publisher, and I remember having a meeting and it

894
00:45:43,160 --> 00:45:46,480
Speaker 1: was like, don't turn anymore girls sogs in? And I

895
00:45:46,520 --> 00:45:51,840
Speaker 1: remember feeling like, okay, okay, I'll do that, but somebody

896
00:45:51,880 --> 00:45:55,799
Speaker 1: explained this, like why but I was writing a bit

897
00:45:55,880 --> 00:46:00,560
Speaker 1: with um as writing time with Roston and and still

898
00:46:00,560 --> 00:46:04,920
Speaker 1: do now. But I remember just switching my focus and

899
00:46:05,239 --> 00:46:09,319
Speaker 1: um getting a Keith Urban cut and then Elien cut

900
00:46:09,320 --> 00:46:11,359
Speaker 1: like kind of some stuff that kind of as soon

901
00:46:11,400 --> 00:46:15,120
Speaker 1: as that shift happened. Also, you can kind of be like, oh,

902
00:46:15,160 --> 00:46:16,960
Speaker 1: well that I did that then, and then now I

903
00:46:17,000 --> 00:46:20,600
Speaker 1: have these songs that albums, so that must be true.

904
00:46:21,960 --> 00:46:26,440
Speaker 1: Your your success was coming from songs that weren't girls songs. Yeah,

905
00:46:26,840 --> 00:46:31,080
Speaker 1: so it's like, well, do I continue chasing what the

906
00:46:31,120 --> 00:46:33,520
Speaker 1: few spots that I've landed, But did you stop writing

907
00:46:33,520 --> 00:46:36,880
Speaker 1: girls songs? Not altogether? No, I mean, and then I

908
00:46:36,960 --> 00:46:39,680
Speaker 1: always have a tendency too. I call it night writing,

909
00:46:39,880 --> 00:46:41,759
Speaker 1: Like I'll go write my own song, like my own

910
00:46:41,760 --> 00:46:44,279
Speaker 1: songs at night. Sometimes at Friday nights, I'll just like

911
00:46:44,360 --> 00:46:46,799
Speaker 1: walk myself in my house and play INTI like three

912
00:46:46,840 --> 00:46:48,680
Speaker 1: in the morning. And I've done that ever since I've

913
00:46:48,680 --> 00:46:51,520
Speaker 1: had a guitar. So um, so I never like the

914
00:46:51,520 --> 00:46:55,160
Speaker 1: girl songs never went away, and that to me and

915
00:46:55,239 --> 00:46:58,840
Speaker 1: I and one of the fighters and advocates of females.

916
00:46:59,160 --> 00:47:01,799
Speaker 1: But I think it's been from the writing to the

917
00:47:01,840 --> 00:47:05,680
Speaker 1: labels to radio. It's a that's a perfect example of

918
00:47:06,520 --> 00:47:10,640
Speaker 1: where it starts. It's the minor leagues of the development

919
00:47:11,120 --> 00:47:13,960
Speaker 1: of female artists. If you have people saying, hey, don't

920
00:47:14,000 --> 00:47:16,319
Speaker 1: want a girls songs because well, then there are girls

921
00:47:16,400 --> 00:47:20,319
Speaker 1: without as many songs. And then if there are girls

922
00:47:20,360 --> 00:47:23,640
Speaker 1: without songs to choose from labels don't have girls with

923
00:47:23,680 --> 00:47:27,799
Speaker 1: good songs, then radio they don't get girls with good

924
00:47:27,800 --> 00:47:32,480
Speaker 1: songs from labels, and so it all goes back. And

925
00:47:32,520 --> 00:47:36,040
Speaker 1: I did an interview with um Billboard. They do this

926
00:47:36,360 --> 00:47:40,319
Speaker 1: list where it's like power. They put everybody on it.

927
00:47:40,360 --> 00:47:42,120
Speaker 1: So I'm just one of the people, right, like, let's

928
00:47:42,160 --> 00:47:44,920
Speaker 1: do It's still They're like, are you a national? I

929
00:47:44,920 --> 00:47:46,760
Speaker 1: do you have a job? You're on the list. So

930
00:47:46,760 --> 00:47:48,680
Speaker 1: so they interview me. They're like, what's the bigger struggle?

931
00:47:48,680 --> 00:47:50,080
Speaker 1: And I was like, well, a couple of things. One,

932
00:47:50,480 --> 00:47:53,719
Speaker 1: songwriters are not getting paid where they ship way with.

933
00:47:54,160 --> 00:47:56,600
Speaker 1: One of my friends goes to Capitol Hill and testifies

934
00:47:56,640 --> 00:48:00,239
Speaker 1: for songwriters. Lee Miller with him this week, so him

935
00:48:00,560 --> 00:48:03,160
Speaker 1: he um, you know. And so I talked to him

936
00:48:03,239 --> 00:48:06,719
Speaker 1: a bit about it, and especially with streaming, because there

937
00:48:06,760 --> 00:48:08,880
Speaker 1: are no laws yet and it's not the streaming is

938
00:48:08,880 --> 00:48:12,880
Speaker 1: screwing people over. There just are no laws to stay over. Yeah,

939
00:48:13,120 --> 00:48:16,400
Speaker 1: and it's hard to get people to pay attention and

940
00:48:16,440 --> 00:48:21,080
Speaker 1: create if you're not lobbying people in DC they don't care. Yeah,

941
00:48:21,200 --> 00:48:24,080
Speaker 1: I've been up there twice now and lobby and costs money.

942
00:48:24,280 --> 00:48:26,960
Speaker 1: It does. This is not cheap and money's donations and

943
00:48:27,040 --> 00:48:30,759
Speaker 1: it's all it's a whole thing. And so they're they're

944
00:48:30,800 --> 00:48:32,279
Speaker 1: asking me, what's the problem is so well, I think

945
00:48:32,280 --> 00:48:34,840
Speaker 1: one of the issues is its songwriters being paid fairly.

946
00:48:35,320 --> 00:48:37,120
Speaker 1: And you know, you can have ten million streams on

947
00:48:37,160 --> 00:48:42,000
Speaker 1: a song and yes, it's crazy, like crazy is the music?

948
00:48:42,320 --> 00:48:45,560
Speaker 1: What I have? The number there's one quarter that it

949
00:48:45,680 --> 00:48:49,480
Speaker 1: was like stream like eleven almost twelve million times, and

950
00:48:49,480 --> 00:48:55,160
Speaker 1: I'm pretty sure my check was one which is crazy.

951
00:48:55,400 --> 00:48:56,920
Speaker 1: And when you think about it all going to that,

952
00:48:57,080 --> 00:48:59,319
Speaker 1: it does like give me a panic attack because I'm like,

953
00:48:59,400 --> 00:49:02,400
Speaker 1: how am I gonna like keep doing this? That's the problem.

954
00:49:02,520 --> 00:49:05,200
Speaker 1: People aren't It's going to take the people that are

955
00:49:05,280 --> 00:49:09,560
Speaker 1: on the edge already, and it's the product isn't going

956
00:49:09,600 --> 00:49:11,239
Speaker 1: to be as good because you're not gonna have any

957
00:49:11,280 --> 00:49:13,480
Speaker 1: people doing it. People are gonna go I can't make

958
00:49:13,760 --> 00:49:16,080
Speaker 1: what I want to make, so I'm gonna go to this.

959
00:49:16,320 --> 00:49:19,200
Speaker 1: So I said songwriters. Um, that's the problem. Songwriters have

960
00:49:19,200 --> 00:49:21,400
Speaker 1: to get paid. And I said the development of female artists.

961
00:49:21,520 --> 00:49:24,160
Speaker 1: But again that also goes back into the songwriter. If

962
00:49:24,200 --> 00:49:27,560
Speaker 1: songwriters aren't writing great songs, and an artists right as well.

963
00:49:27,719 --> 00:49:30,160
Speaker 1: But if songs aren't writing great songs, great songs are

964
00:49:30,200 --> 00:49:33,080
Speaker 1: being cut. Great songs are being cut, aren't being picked

965
00:49:33,120 --> 00:49:35,160
Speaker 1: up by leols and pushed to radio. So it's all

966
00:49:35,160 --> 00:49:37,879
Speaker 1: I one to three four process. You're yeah, you're so

967
00:49:37,920 --> 00:49:40,440
Speaker 1: connecting the right dots about how that. But everybody just

968
00:49:40,440 --> 00:49:43,000
Speaker 1: wants to scream at radio and I'm like, listen, I

969
00:49:43,040 --> 00:49:46,600
Speaker 1: will play anything that nobody in the world looks. I

970
00:49:46,600 --> 00:49:48,400
Speaker 1: don't care if it's a guy or a girl, or

971
00:49:48,400 --> 00:49:52,040
Speaker 1: a band, a duo, attend some a thirtiesong. If it's

972
00:49:52,040 --> 00:49:55,160
Speaker 1: a good song, people on the radio just want to

973
00:49:55,160 --> 00:49:58,240
Speaker 1: play it because everybody wants keep your job. And ratings

974
00:49:58,280 --> 00:50:00,080
Speaker 1: are how people on the radio keep their job. So

975
00:50:00,120 --> 00:50:03,240
Speaker 1: does matter what song is. No one's trying to hold

976
00:50:03,800 --> 00:50:09,800
Speaker 1: trio's females. Yeah, nobody is, Like, there's no diabolical meeting

977
00:50:09,880 --> 00:50:11,960
Speaker 1: in a room where a bunch of radio people go

978
00:50:13,320 --> 00:50:16,200
Speaker 1: women off the radio. I do think that there are

979
00:50:16,200 --> 00:50:19,960
Speaker 1: a lot of country radio people because it's basically older

980
00:50:20,000 --> 00:50:22,920
Speaker 1: white men who are running country radio and they've been

981
00:50:22,920 --> 00:50:25,920
Speaker 1: doing it for so long and there and I understand

982
00:50:25,960 --> 00:50:28,480
Speaker 1: how scared you can be to lose your job because

983
00:50:29,160 --> 00:50:33,120
Speaker 1: everything on the TV radio at all is starting to condense,

984
00:50:33,200 --> 00:50:35,600
Speaker 1: and it's all even what the writers. There are less

985
00:50:35,600 --> 00:50:38,920
Speaker 1: writers every yeah, all of it. So everybody's like, I

986
00:50:38,920 --> 00:50:40,760
Speaker 1: gotta keep my jobs. I don't wanna take any risks.

987
00:50:41,440 --> 00:50:43,719
Speaker 1: And what's the least risky thing to do is to

988
00:50:43,760 --> 00:50:46,319
Speaker 1: continue the same exact thing. And what's the same thing

989
00:50:46,360 --> 00:50:49,600
Speaker 1: to continue putting on the same kind of songs. Yeah,

990
00:50:50,120 --> 00:50:54,040
Speaker 1: until it's a problem and it's almost unfixable. And I

991
00:50:54,080 --> 00:50:56,319
Speaker 1: think now over the past year there's been a lot

992
00:50:56,320 --> 00:50:59,160
Speaker 1: of development, there has been a lot of breakthrough. Yet

993
00:51:00,040 --> 00:51:05,319
Speaker 1: maybe there finally starting to be there because I I

994
00:51:05,440 --> 00:51:07,560
Speaker 1: ran into, well you you were talking to Billboard thing,

995
00:51:07,960 --> 00:51:10,080
Speaker 1: Um I ran, I don't know Cam, so I'm not like,

996
00:51:10,120 --> 00:51:13,400
Speaker 1: I don't want to speak as if. Yeah, she's just

997
00:51:13,440 --> 00:51:17,200
Speaker 1: somebody I really admire, and um she had done a

998
00:51:17,239 --> 00:51:19,920
Speaker 1: Ted Talks. I think I was just like, hey, that

999
00:51:20,000 --> 00:51:22,040
Speaker 1: was so cool of you. But briefly I just sent

1000
00:51:22,080 --> 00:51:24,120
Speaker 1: her like, you know, for a minute, it was like

1001
00:51:24,160 --> 00:51:25,600
Speaker 1: where are the girls? Were the girls? And then you

1002
00:51:25,640 --> 00:51:28,759
Speaker 1: have like Marin and Cam come out and these like

1003
00:51:29,719 --> 00:51:31,600
Speaker 1: I just think the girls that are are getting some

1004
00:51:31,640 --> 00:51:34,560
Speaker 1: time in Coursetion, Miranda and Carrie. I do feel like

1005
00:51:34,719 --> 00:51:38,520
Speaker 1: they're so well spoken and they represent girls so well

1006
00:51:38,560 --> 00:51:42,080
Speaker 1: that I'm just hoping like that keeps. I don't. I

1007
00:51:42,120 --> 00:51:45,400
Speaker 1: just like a sophisticated thing, that's the right word, is

1008
00:51:45,400 --> 00:51:49,200
Speaker 1: happening in the girl like where, um, some really cool

1009
00:51:49,600 --> 00:51:52,800
Speaker 1: girls are coming out and I feel like I'm hearing

1010
00:51:52,800 --> 00:51:55,600
Speaker 1: more about about them, and I feel like my calendars

1011
00:51:55,719 --> 00:51:59,880
Speaker 1: reflected it again. The roots are starting to take hold,

1012
00:52:00,280 --> 00:52:02,920
Speaker 1: but a tree doesn't grow in a week. You're right, yeah,

1013
00:52:03,120 --> 00:52:05,600
Speaker 1: And I'm getting screamed at and I'm like, yuys, I

1014
00:52:05,600 --> 00:52:09,640
Speaker 1: don't think you understand. Like four years I've been doing

1015
00:52:09,800 --> 00:52:14,719
Speaker 1: entire weeks and having entire CMA festival all girls, and like,

1016
00:52:15,000 --> 00:52:16,680
Speaker 1: if you don't pay attention to this, now is going

1017
00:52:16,719 --> 00:52:19,800
Speaker 1: to be a problem. Well now it's the problem. Yeah. Yeah,

1018
00:52:19,960 --> 00:52:23,160
Speaker 1: But as you you're seeing it on level one and

1019
00:52:23,200 --> 00:52:26,960
Speaker 1: your level one, you're you're creating the songs which get

1020
00:52:26,960 --> 00:52:29,479
Speaker 1: to the artists. The artists cut them there then picked

1021
00:52:29,480 --> 00:52:32,440
Speaker 1: the label to take some services them to radio. So

1022
00:52:32,680 --> 00:52:36,000
Speaker 1: it's crazy I have Actually this is happening on Wednesday nights.

1023
00:52:36,040 --> 00:52:40,120
Speaker 1: It's Monday. But um, but your buddies with Caitlin Smith.

1024
00:52:40,960 --> 00:52:44,080
Speaker 1: I love we are doing Girls Nashville Wednesday. But that's

1025
00:52:44,160 --> 00:52:46,839
Speaker 1: kind of it's not where it originated from. It wasn't

1026
00:52:46,880 --> 00:52:49,640
Speaker 1: a place of like there's no girls being heard. We

1027
00:52:49,719 --> 00:52:52,000
Speaker 1: need to be heard. But it's a show in Nashville.

1028
00:52:52,000 --> 00:52:54,480
Speaker 1: It's only it's four times a year, so we do

1029
00:52:54,600 --> 00:52:57,840
Speaker 1: like Girls this summer is happening this week. But I

1030
00:52:57,920 --> 00:53:01,440
Speaker 1: remember us like the first show we had having fourteen

1031
00:53:01,480 --> 00:53:04,200
Speaker 1: girls on the stage and it was like Lucy Sylvius

1032
00:53:04,200 --> 00:53:07,200
Speaker 1: was there and Marrin. It was this crazy thing that happened.

1033
00:53:07,239 --> 00:53:10,600
Speaker 1: But I just remember being there thinking we have to

1034
00:53:10,600 --> 00:53:13,680
Speaker 1: do this again. But part of it was like even

1035
00:53:13,719 --> 00:53:17,640
Speaker 1: within each other, every show has a difference. Never feels

1036
00:53:17,680 --> 00:53:19,680
Speaker 1: business he to us to us being on it never

1037
00:53:19,719 --> 00:53:22,480
Speaker 1: feels that way. But I think it just like recharges

1038
00:53:22,840 --> 00:53:26,120
Speaker 1: our hearts, which says she's us. That sounds um like

1039
00:53:26,480 --> 00:53:28,799
Speaker 1: just please do what you do best, like sarabucks didn't

1040
00:53:28,800 --> 00:53:31,280
Speaker 1: get up here and saying whatever you want to Nicole

1041
00:53:31,440 --> 00:53:35,000
Speaker 1: come saying like just take two songs to take the spotlight,

1042
00:53:35,000 --> 00:53:38,279
Speaker 1: put it all on you, because it's the talents here.

1043
00:53:38,320 --> 00:53:41,279
Speaker 1: It's not like there's a lack of talent um. But

1044
00:53:41,800 --> 00:53:43,160
Speaker 1: it's been fun to be a part of that for

1045
00:53:43,280 --> 00:53:47,040
Speaker 1: me because it's made me, I think, just believing what's

1046
00:53:47,080 --> 00:53:50,000
Speaker 1: coming up in this town. And like I've watched Caitlin

1047
00:53:50,040 --> 00:53:53,799
Speaker 1: Smith unleash her artistry in that moment of like just

1048
00:53:54,160 --> 00:53:56,640
Speaker 1: you can tell there's no thought. No, it's not that

1049
00:53:56,640 --> 00:53:58,560
Speaker 1: she didn't care. She was just getting to fully like

1050
00:53:59,239 --> 00:54:03,040
Speaker 1: being her song and let her talent just like explode

1051
00:54:03,080 --> 00:54:05,480
Speaker 1: in that moment and saying with Lucy and I don't know,

1052
00:54:05,960 --> 00:54:08,560
Speaker 1: there's just so much out there that the bummer is

1053
00:54:08,600 --> 00:54:11,360
Speaker 1: that people are missing out on it. Because I remember

1054
00:54:11,400 --> 00:54:16,920
Speaker 1: listening to Martina and Faith and again, everything is cyclical.

1055
00:54:17,480 --> 00:54:19,600
Speaker 1: The one thing that I've now been around long enough

1056
00:54:19,640 --> 00:54:21,919
Speaker 1: on my thirties, I've been around long enough to see

1057
00:54:21,920 --> 00:54:26,040
Speaker 1: everything comes in cycles. Yeah, and what happens is they're

1058
00:54:26,080 --> 00:54:31,279
Speaker 1: screw ups. Yeah, and this is a This is how

1059
00:54:31,320 --> 00:54:33,239
Speaker 1: a problem, a problem in my mind works. So you

1060
00:54:33,280 --> 00:54:36,799
Speaker 1: have a problem, yeah, you fix it. It's fixed, so

1061
00:54:36,840 --> 00:54:38,799
Speaker 1: then you don't worry about it anymore. And then why

1062
00:54:38,880 --> 00:54:40,800
Speaker 1: you're not worrying about it, it it becomes a problem again

1063
00:54:41,600 --> 00:54:45,880
Speaker 1: and just it's just a constant thing. Anyway, I'm actually

1064
00:54:45,960 --> 00:54:48,640
Speaker 1: doing I'm not going to be there, but I'm doing so.

1065
00:54:48,680 --> 00:54:51,399
Speaker 1: I have a line of girl Power line of work. Yes,

1066
00:54:51,440 --> 00:54:53,120
Speaker 1: you guys are going to have your stuff there, and

1067
00:54:53,200 --> 00:54:55,959
Speaker 1: so we're working with a charity together. Thanks for doing

1068
00:54:56,040 --> 00:54:59,520
Speaker 1: letting us put yourself out there with us because we

1069
00:54:59,520 --> 00:55:01,719
Speaker 1: have so many people they come to the show and

1070
00:55:01,760 --> 00:55:04,640
Speaker 1: it's for a great cause. Like all the stuff that

1071
00:55:04,680 --> 00:55:08,120
Speaker 1: I do like that or is all attached to a charity.

1072
00:55:08,160 --> 00:55:10,520
Speaker 1: And so I'm glad you guys are whendn't talk about

1073
00:55:10,520 --> 00:55:12,200
Speaker 1: that before you came in, But yeah, yeah, that's what

1074
00:55:12,440 --> 00:55:15,000
Speaker 1: there's already have like my tank tops picked out, and

1075
00:55:15,040 --> 00:55:17,440
Speaker 1: I'm hoping that I remind myself to go get them

1076
00:55:17,440 --> 00:55:19,839
Speaker 1: before the show starts, otherwise I might have to track

1077
00:55:19,840 --> 00:55:25,279
Speaker 1: you down later and be like whatever. You might never

1078
00:55:25,600 --> 00:55:28,200
Speaker 1: they happen. I know the bag and everything that's I've

1079
00:55:28,200 --> 00:55:30,439
Speaker 1: been seeing them out like Whole Food and the turnup truck.

1080
00:55:30,600 --> 00:55:34,160
Speaker 1: People have their bags with the four favorite things on them.

1081
00:55:34,239 --> 00:55:39,760
Speaker 1: Oh yeah, yeah, yeah, well that's so cool. Thank you, Um, congratulations.

1082
00:55:39,840 --> 00:55:42,280
Speaker 1: I think I'll play you singing a little bit? Oh? Thanks,

1083
00:55:46,880 --> 00:55:51,000
Speaker 1: that's like my I put that on the record because

1084
00:55:51,800 --> 00:55:54,120
Speaker 1: whenever I go home to Texas and play people, are

1085
00:55:54,160 --> 00:55:56,640
Speaker 1: you going to play speckled bird? Or they'll call me that, like, hey,

1086
00:55:56,640 --> 00:56:10,080
Speaker 1: speckled birds. Oh you know what, I should lean back

1087
00:56:10,120 --> 00:56:12,640
Speaker 1: into the computer for a second, because by the way,

1088
00:56:12,760 --> 00:56:15,520
Speaker 1: I totally lean back and checked out of my spot.

1089
00:56:15,520 --> 00:56:19,000
Speaker 1: It was betting comfortable there. So this and I didn't

1090
00:56:19,000 --> 00:56:24,480
Speaker 1: put this on the wall here, but Lindsay comes out Friday.

1091
00:56:24,560 --> 00:56:29,880
Speaker 1: That's right, And so hold that minute, Mike, Why do

1092
00:56:29,960 --> 00:56:34,080
Speaker 1: I suck at this? Dude? Hold on? Here we go.

1093
00:56:34,760 --> 00:56:37,960
Speaker 1: So what happened was so there are twelve songs on

1094
00:56:38,000 --> 00:56:41,839
Speaker 1: Lindsay's record, and nine of them she wrote, and three

1095
00:56:41,920 --> 00:56:46,000
Speaker 1: of them or outside or outside and like female, she's

1096
00:56:46,040 --> 00:56:49,960
Speaker 1: like heavy female female female. So space is a song

1097
00:56:50,040 --> 00:56:53,600
Speaker 1: that you wrote and Caitlyn, Yeah, and my friend Maggie Chapman,

1098
00:56:54,360 --> 00:56:56,800
Speaker 1: and so it's on the record. We wrote in Austin,

1099
00:56:58,719 --> 00:57:06,520
Speaker 1: running out of it. It's the fun out of your atmosphere, Membo.

1100
00:57:06,680 --> 00:57:10,440
Speaker 1: When you were right here, right here and we Burla

1101
00:57:10,680 --> 00:57:12,799
Speaker 1: the sun, she said, tell you how by the way

1102
00:57:12,840 --> 00:57:16,320
Speaker 1: she loves you baby. We was so good. I didn't

1103
00:57:16,320 --> 00:57:17,800
Speaker 1: tell that she's on the road because it recus the

1104
00:57:17,840 --> 00:57:19,880
Speaker 1: next weekend, so I know we tried to get her

1105
00:57:19,880 --> 00:57:21,680
Speaker 1: for a Wednesday, but I know she's a crazy and

1106
00:57:21,720 --> 00:57:25,760
Speaker 1: she was like, oh my, you know we wrote space.

1107
00:57:28,280 --> 00:57:32,880
Speaker 1: Are you out there with the stars? All the sue

1108
00:57:33,000 --> 00:57:37,040
Speaker 1: in your eyes? I don't know. You said there you

1109
00:57:37,200 --> 00:57:40,760
Speaker 1: need it. I said that I don't wait, baby, I

1110
00:57:40,960 --> 00:57:47,280
Speaker 1: hate this space when you guys write this because I

1111
00:57:47,320 --> 00:57:49,280
Speaker 1: heard the work tape and I think Caitlin sang the

1112
00:57:49,360 --> 00:57:52,520
Speaker 1: de Caitlin sang it, and she but she sang it

1113
00:57:52,600 --> 00:57:55,120
Speaker 1: the day after the c m as, so I'm sure

1114
00:57:55,160 --> 00:57:58,680
Speaker 1: her voice was like, well, it's fantastic, Caitlin. Fun fact,

1115
00:57:58,760 --> 00:58:03,800
Speaker 1: we started this podcast partially because Caitlin, because I'm friends

1116
00:58:03,800 --> 00:58:05,960
Speaker 1: with Caitlin, and Caitlin did the Million Dollar Show last year.

1117
00:58:06,160 --> 00:58:07,960
Speaker 1: Brought her out and you know, it was like Garth

1118
00:58:08,000 --> 00:58:09,600
Speaker 1: and I was like, Caitlin, come sing a song, just

1119
00:58:09,680 --> 00:58:11,760
Speaker 1: come sing, and I know the crowd's gonna and Caitlyn

1120
00:58:11,840 --> 00:58:15,160
Speaker 1: is awesome, like as a person, Scammon opened some shows.

1121
00:58:15,200 --> 00:58:17,200
Speaker 1: Force on the Road is way too good to do that.

1122
00:58:17,520 --> 00:58:20,440
Speaker 1: But she's awesome, And I was like, Caitlin, I texted

1123
00:58:20,480 --> 00:58:23,280
Speaker 1: her like, Hey, I'm gonna start this podcast about like

1124
00:58:23,440 --> 00:58:25,520
Speaker 1: behind the scenes in Nashville songwriting. I was like, we

1125
00:58:25,680 --> 00:58:27,440
Speaker 1: come up and be like one of the first guests,

1126
00:58:27,480 --> 00:58:31,840
Speaker 1: and it was like her and Ryan heard Ryan had

1127
00:58:31,920 --> 00:58:36,760
Speaker 1: his thing, and so yeah, she's postically responsible for this

1128
00:58:37,040 --> 00:58:41,720
Speaker 1: seventy can episodes. That's so awesome. So well, thanks for

1129
00:58:42,280 --> 00:58:45,040
Speaker 1: thanks for coming by, thanks for letting me up in

1130
00:58:45,080 --> 00:58:47,440
Speaker 1: your comfany chairs. Yeah, I appreciate it. What is there

1131
00:58:47,480 --> 00:58:50,720
Speaker 1: anything like? So what do you do tomorrow? Tomorrow? I

1132
00:58:50,800 --> 00:58:55,160
Speaker 1: am writing twice, um, and I'm playing the Bluebird Cafe. Okay,

1133
00:58:55,200 --> 00:58:57,640
Speaker 1: let me ask you this. That's three things. That's a

1134
00:58:57,680 --> 00:58:59,680
Speaker 1: busy day. If you're writing twice, do you save your

1135
00:58:59,680 --> 00:59:02,080
Speaker 1: better ideas for the right that you think could be better? Well,

1136
00:59:02,600 --> 00:59:05,760
Speaker 1: I've already half written the Morning Song, so I'm just

1137
00:59:05,800 --> 00:59:09,200
Speaker 1: finishing that song. But actually the Morning Song I got

1138
00:59:09,360 --> 00:59:13,400
Speaker 1: from as somebody's hashtag on We're already a song called

1139
00:59:13,440 --> 00:59:16,439
Speaker 1: old Truck New Love. We're finishing Jordan Mitten and Aaron

1140
00:59:16,480 --> 00:59:20,000
Speaker 1: ass and I are finishing that song. And then I've

1141
00:59:20,040 --> 00:59:23,240
Speaker 1: been screenshotting a lot from Instagram when people people will

1142
00:59:23,280 --> 00:59:26,320
Speaker 1: like say the coolest things, and then I'm like, oh,

1143
00:59:26,360 --> 00:59:28,440
Speaker 1: that's a song. That's a song, that's a song used

1144
00:59:28,440 --> 00:59:31,680
Speaker 1: to be picturest or I like dive into pictures. But um,

1145
00:59:31,720 --> 00:59:33,520
Speaker 1: so I do need to find an idea from Matt.

1146
00:59:33,560 --> 00:59:35,080
Speaker 1: I kind of think I know what I'm going to

1147
00:59:35,160 --> 00:59:36,920
Speaker 1: take for the second right for the second right, and

1148
00:59:36,920 --> 00:59:39,880
Speaker 1: who you're writing with secondly, Matt Dragstrum, and then I

1149
00:59:39,880 --> 00:59:42,000
Speaker 1: think his name the other guy. He's a Tree Vibes writer,

1150
00:59:42,280 --> 00:59:44,440
Speaker 1: Andy Albert. I think he's a Tree Vibes. That might

1151
00:59:44,520 --> 00:59:49,440
Speaker 1: be wrong on that, yeah, but he's he's new to me,

1152
00:59:50,080 --> 00:59:52,360
Speaker 1: um and I'm new him. But Matt and I have

1153
00:59:52,400 --> 00:59:55,760
Speaker 1: written a bunch. And then I'm doing the nine o'clock

1154
00:59:55,760 --> 00:59:58,680
Speaker 1: Show over at while John Mayor's playing on with the

1155
00:59:58,680 --> 01:00:01,560
Speaker 1: blue word you know what's and it doesn't suck but yet,

1156
01:00:01,600 --> 01:00:03,760
Speaker 1: so you're doing that. I want to watch Sean may

1157
01:00:03,760 --> 01:00:06,880
Speaker 1: in Minneapolis. I'm such a Yeah, I love John, but

1158
01:00:06,920 --> 01:00:08,560
Speaker 1: I can't go tomorrow. What can I'm doing stand up

1159
01:00:08,560 --> 01:00:10,840
Speaker 1: at the Opery. They haven't had a comedian forever, and

1160
01:00:10,880 --> 01:00:13,400
Speaker 1: they were like coming, yeah, so I'm doing stand up

1161
01:00:13,400 --> 01:00:16,760
Speaker 1: at the Operator during May and I picked. They were like, okay,

1162
01:00:16,880 --> 01:00:18,320
Speaker 1: if you want to go to mega, we understand, And

1163
01:00:18,320 --> 01:00:22,640
Speaker 1: I was like, no, because I've played the Opery but yes,

1164
01:00:22,680 --> 01:00:24,280
Speaker 1: but I've never done stand up at the opera and

1165
01:00:24,280 --> 01:00:25,720
Speaker 1: it was such a big deal to bring comedy back,

1166
01:00:25,760 --> 01:00:27,040
Speaker 1: and I was like, that is cool. It used to

1167
01:00:27,080 --> 01:00:29,800
Speaker 1: be like Grandpa Jones did that. I know, I know,

1168
01:00:29,960 --> 01:00:31,360
Speaker 1: and so there's a lot of pressure for me, like

1169
01:00:32,120 --> 01:00:36,000
Speaker 1: Jerry Clower and like my grandma and I would. So

1170
01:00:36,360 --> 01:00:38,520
Speaker 1: I was like, I can go watch John in another

1171
01:00:38,520 --> 01:00:41,160
Speaker 1: city at a time. So I'm gonna go to the

1172
01:00:41,160 --> 01:00:43,720
Speaker 1: Opery and you're doing the Blue Bird. See we're being

1173
01:00:43,760 --> 01:00:47,480
Speaker 1: like very Nashurvill to Worrow. We are where. Yeah, well, thanks,

1174
01:00:47,760 --> 01:00:50,800
Speaker 1: thank you for coming by, Thanks for having me. I was,

1175
01:00:51,240 --> 01:00:53,800
Speaker 1: I'm telling you, I was just brag. In my brain,

1176
01:00:53,840 --> 01:00:56,600
Speaker 1: I was like why did I stop her and say

1177
01:00:56,640 --> 01:01:00,720
Speaker 1: I And I couldn't remember what it was stuff like

1178
01:01:01,000 --> 01:01:02,320
Speaker 1: I don't even know if it was around then, but

1179
01:01:02,360 --> 01:01:04,320
Speaker 1: the rest doesn't resonate in my heart, like right of

1180
01:01:04,360 --> 01:01:06,640
Speaker 1: this thing to me, that like the cocaine Jesus thing

1181
01:01:06,720 --> 01:01:10,080
Speaker 1: is like you remind me of like, um, how I

1182
01:01:10,120 --> 01:01:12,480
Speaker 1: feel about well because I wrote it. I don't mean

1183
01:01:12,640 --> 01:01:14,880
Speaker 1: like Tumann Horne or anything like that, but I used

1184
01:01:14,880 --> 01:01:16,640
Speaker 1: to be obsessed, and I still am because I saw

1185
01:01:16,680 --> 01:01:19,040
Speaker 1: it the other day Heartbreaker with Ryan Adams. Do you

1186
01:01:19,040 --> 01:01:21,840
Speaker 1: ever get into Ryanodoms? I got into Ryan Adams like

1187
01:01:22,000 --> 01:01:25,520
Speaker 1: when New York, New York. I'm not super Ryan Adams cool,

1188
01:01:25,800 --> 01:01:27,760
Speaker 1: but I'm kind of Ryan Adams cool. That might be

1189
01:01:27,800 --> 01:01:30,120
Speaker 1: my level too, Okay, like I can I'm not like

1190
01:01:30,400 --> 01:01:33,000
Speaker 1: versing everything. When he started writing albums in the studio,

1191
01:01:33,040 --> 01:01:35,400
Speaker 1: I wasn't like, oh, I'm gonna know everything about it.

1192
01:01:35,480 --> 01:01:38,840
Speaker 1: But there's something, there's that feeling I need some songs

1193
01:01:39,000 --> 01:01:41,080
Speaker 1: in that one. I'm glad you played it because I

1194
01:01:41,080 --> 01:01:43,880
Speaker 1: hadn't heard it on really pretty speakers, just on my phone.

1195
01:01:44,160 --> 01:01:46,320
Speaker 1: I'm like, I'm like Ryan Adams guy, when you're when

1196
01:01:46,320 --> 01:01:49,040
Speaker 1: you ask ty swept record, that's the kind of yeah, yeah,

1197
01:01:51,680 --> 01:01:55,840
Speaker 1: I can get into That's awesome. But let me see um.

1198
01:01:55,960 --> 01:01:59,560
Speaker 1: Do you know Jillian Jacqueline Yes, I love her. So

1199
01:02:00,120 --> 01:02:02,440
Speaker 1: she's been doing some shows with Ryan Adams. Oh I

1200
01:02:02,520 --> 01:02:05,200
Speaker 1: saw that. And the weird thing is she's going to

1201
01:02:05,280 --> 01:02:07,600
Speaker 1: come out and open because Carly Pearson is a few

1202
01:02:07,600 --> 01:02:09,200
Speaker 1: more shows. She's opening U my stand up, but Jillian's

1203
01:02:09,200 --> 01:02:11,160
Speaker 1: coming out and opening it for me for the fourth

1204
01:02:11,240 --> 01:02:14,320
Speaker 1: quarter and I'm like, man from the coolest to the

1205
01:02:14,360 --> 01:02:20,120
Speaker 1: absolute dorkiest. I mean it is like her world, like

1206
01:02:20,280 --> 01:02:23,560
Speaker 1: because she sent me an into story opening for Ryan

1207
01:02:23,560 --> 01:02:26,680
Speaker 1: Adams and St. Louis and she Ryan Adams was playing

1208
01:02:26,680 --> 01:02:29,760
Speaker 1: like three days before us and there was a raging idiot.

1209
01:02:29,840 --> 01:02:32,160
Speaker 1: Things had sold out and I was like, oh, you're

1210
01:02:32,200 --> 01:02:34,520
Speaker 1: not for a tree. Let me tell you. The Ryan

1211
01:02:34,520 --> 01:02:36,360
Speaker 1: Adams crowd of the Raging Indians crowd are not the

1212
01:02:36,400 --> 01:02:39,520
Speaker 1: same crowd. Sometimes the crowd is a vibe, and then

1213
01:02:39,680 --> 01:02:42,400
Speaker 1: I guess I have a different experience. Do you know

1214
01:02:42,440 --> 01:02:45,280
Speaker 1: what Ryan adams most stream song is. You'll never guess.

1215
01:02:46,760 --> 01:02:50,240
Speaker 1: It's wonder Wold. Really, I wouldn't have guessed that one.

1216
01:02:50,720 --> 01:02:52,640
Speaker 1: I would have guessed the one about the F bomb

1217
01:02:52,720 --> 01:02:56,120
Speaker 1: in the middle of it. It's crazy. This is his

1218
01:02:56,200 --> 01:02:58,959
Speaker 1: most streame song. It's not even his song. I guess

1219
01:02:59,280 --> 01:03:02,200
Speaker 1: Ryan Adams is so cool that the mainstream doesn't. Isn't

1220
01:03:02,600 --> 01:03:13,040
Speaker 1: Ryan that I'm saying yeah to the day. You know?

1221
01:03:13,160 --> 01:03:19,200
Speaker 1: He also when the Stars Go Blue? Yes, his version

1222
01:03:19,280 --> 01:03:27,000
Speaker 1: is so good. Evening like this is a jam one

1223
01:03:29,600 --> 01:03:40,000
Speaker 1: yeah where death seventh Streets like that makes me feel

1224
01:03:40,040 --> 01:03:45,560
Speaker 1: like warm in my heart, doesn't saved. I gotta save this.

1225
01:03:45,600 --> 01:03:49,680
Speaker 1: It's been a while been Yeah, you're gonna wormholes of

1226
01:03:49,760 --> 01:03:51,400
Speaker 1: music and you're like, oh, I don't forget about this.

1227
01:03:51,840 --> 01:03:54,320
Speaker 1: I know, I wish you know. It's so funny when

1228
01:03:54,400 --> 01:03:56,560
Speaker 1: Rols and I were first starting to write, like and

1229
01:03:56,600 --> 01:03:59,400
Speaker 1: nobody cared what we did. We're like, we thought everybody,

1230
01:03:59,800 --> 01:04:02,280
Speaker 1: when they like the Big Riders, would sit around and

1231
01:04:02,320 --> 01:04:05,680
Speaker 1: like get inspired, like listen to these records and then

1232
01:04:05,680 --> 01:04:07,520
Speaker 1: go right, wouldn't realize like they don't have time to

1233
01:04:07,560 --> 01:04:10,440
Speaker 1: like brush their teeth munch less, you know. Like, but

1234
01:04:10,520 --> 01:04:12,880
Speaker 1: we had this, I think, just a romantic sized idea

1235
01:04:12,920 --> 01:04:15,000
Speaker 1: of what was happening. So I remember once I went

1236
01:04:15,040 --> 01:04:18,160
Speaker 1: over to housing he was living over in Bellevue, and

1237
01:04:18,240 --> 01:04:20,760
Speaker 1: we listened to like the Whole White Album from the Beatles,

1238
01:04:20,800 --> 01:04:22,280
Speaker 1: and I think I went I think it was like,

1239
01:04:22,480 --> 01:04:24,120
Speaker 1: we're not going to talk. We're just closed to the record,

1240
01:04:24,120 --> 01:04:26,720
Speaker 1: and then I'll go home and absorb everything we just

1241
01:04:27,320 --> 01:04:30,360
Speaker 1: heard in the Little Retta song. How did that work out?

1242
01:04:30,560 --> 01:04:33,080
Speaker 1: I think we're done great. Yeah, I think I think

1243
01:04:33,120 --> 01:04:36,280
Speaker 1: we're like we this is what all the legends are doing.

1244
01:04:36,400 --> 01:04:38,760
Speaker 1: And then you get in that world and they're like, oh,

1245
01:04:38,800 --> 01:04:40,760
Speaker 1: my gosh, somebody wore a pizza. Nobody wants to go

1246
01:04:40,840 --> 01:04:43,880
Speaker 1: to store for down days. Like every slaying guitar man

1247
01:04:44,200 --> 01:04:48,640
Speaker 1: has so much it might need to drop into that

1248
01:04:48,680 --> 01:04:51,240
Speaker 1: rabbit And I went into this when Kip came by.

1249
01:04:51,240 --> 01:04:54,360
Speaker 1: I went into the Springsteening rabbit hole, like the old

1250
01:04:54,600 --> 01:04:58,520
Speaker 1: you know, old Springsteen stuff and just sometimes it's just

1251
01:04:58,560 --> 01:05:01,640
Speaker 1: good to find that old, awesome music that makes you know.

1252
01:05:02,160 --> 01:05:05,480
Speaker 1: Have you seen the on HBO, the one of the

1253
01:05:05,520 --> 01:05:08,040
Speaker 1: documentary that everybody's been watching. I haven't yet, but I've

1254
01:05:08,040 --> 01:05:11,360
Speaker 1: talked to somebody'll love it. You cannot like Dr Dre

1255
01:05:11,560 --> 01:05:14,040
Speaker 1: or Jimmy Ivan. You will love it. Be so inspired

1256
01:05:14,040 --> 01:05:18,280
Speaker 1: by the whole thing. That's what I keep hearing. Defiant ones. Yeah,

1257
01:05:18,320 --> 01:05:20,680
Speaker 1: Brett watched it and we had a dinner for like

1258
01:05:20,760 --> 01:05:23,840
Speaker 1: the people. Tom Douglas was there, like Ross and Tom

1259
01:05:23,840 --> 01:05:25,919
Speaker 1: just came by here a couple weeks ago. Yeah, we're

1260
01:05:25,920 --> 01:05:30,080
Speaker 1: all talking about like just that came up and it

1261
01:05:30,160 --> 01:05:36,000
Speaker 1: was like that was the conversation to see this. It's

1262
01:05:36,040 --> 01:05:39,800
Speaker 1: like two people that come from two different places with

1263
01:05:39,840 --> 01:05:41,600
Speaker 1: no real advantages in life and now they are bell

1264
01:05:41,680 --> 01:05:43,960
Speaker 1: gionaires and it and it doesn't go from a to

1265
01:05:44,040 --> 01:05:46,440
Speaker 1: B but it goes from ABC, D, E F G

1266
01:05:46,640 --> 01:05:49,240
Speaker 1: all the way. I mean it's and that's a difference.

1267
01:05:49,240 --> 01:05:53,080
Speaker 1: That was like, where's the meat of the timeline of that?

1268
01:05:53,200 --> 01:05:57,320
Speaker 1: Is that like early? Well it's started. Yeah. So Jimmy

1269
01:05:57,360 --> 01:06:02,160
Speaker 1: Ivan was basically Bruce Springsteen tape guy like he would.

1270
01:06:02,240 --> 01:06:04,120
Speaker 1: He was just running tape. Okay, that's what they were

1271
01:06:04,160 --> 01:06:05,960
Speaker 1: talking about because that was the big and he would

1272
01:06:06,000 --> 01:06:10,640
Speaker 1: be there before and after, but at night he was producing,

1273
01:06:11,960 --> 01:06:17,320
Speaker 1: Uh Patty Patty Smith secretly, Oh, listen to the story.

1274
01:06:17,360 --> 01:06:18,600
Speaker 1: I want to tell you a story for the I

1275
01:06:18,600 --> 01:06:22,000
Speaker 1: won't run it from the first episode and something something

1276
01:06:22,600 --> 01:06:27,240
Speaker 1: I was blown away by. Right, So he's running tape

1277
01:06:27,240 --> 01:06:29,680
Speaker 1: for Bruce Springsteen. He meets Patti Smith and Patty Smith

1278
01:06:29,840 --> 01:06:33,280
Speaker 1: punk you know, and so he starts talking about the song,

1279
01:06:33,560 --> 01:06:36,440
Speaker 1: the song that Bruce had written, and he's like, Patty,

1280
01:06:36,760 --> 01:06:38,120
Speaker 1: listen to the tape, need to cut it. She wouldn't

1281
01:06:38,120 --> 01:06:40,439
Speaker 1: listen to tape. She's like, only cut my own songs.

1282
01:06:40,800 --> 01:06:42,800
Speaker 1: She's like, I only cut on songs. Only cut on songs, right,

1283
01:06:43,080 --> 01:06:45,360
Speaker 1: And so she wouldn't listen to the tape. She wouldn't

1284
01:06:45,360 --> 01:06:48,600
Speaker 1: listen to the tape. And I'm just like what I

1285
01:06:48,600 --> 01:06:50,440
Speaker 1: wonder what this song is? You know that that she

1286
01:06:50,480 --> 01:06:52,120
Speaker 1: won't listen to because I know what's going to come

1287
01:06:52,160 --> 01:06:56,120
Speaker 1: to a head eventually. And usually I'm pretty good with music,

1288
01:06:56,160 --> 01:07:00,360
Speaker 1: like I have a pretty good not even just tape,

1289
01:07:00,360 --> 01:07:05,720
Speaker 1: but I'm just like a encyclopedia of music. And so

1290
01:07:06,080 --> 01:07:09,439
Speaker 1: there's this song by ten thousand Maniacs and I'm gonna,

1291
01:07:09,680 --> 01:07:14,040
Speaker 1: let's gonna play it here, and I've heard it a

1292
01:07:14,080 --> 01:07:16,320
Speaker 1: million times a whole on a second, why can I

1293
01:07:16,360 --> 01:07:21,720
Speaker 1: not find this ten one to three? Here? We go

1294
01:07:21,800 --> 01:07:24,360
Speaker 1: to that there song by ten Maniacs, right, and from

1295
01:07:24,480 --> 01:07:26,840
Speaker 1: m plugged. I don't know if you ever watched mptving

1296
01:07:26,920 --> 01:07:28,880
Speaker 1: m plugged back in the day, but I remember this

1297
01:07:28,920 --> 01:07:33,120
Speaker 1: song like crazy, and I, you know, because to Night

1298
01:07:33,360 --> 01:07:38,400
Speaker 1: from Yeah, and so this ended up being their version

1299
01:07:38,520 --> 01:07:44,080
Speaker 1: of it. So I knew this from tens Manias and

1300
01:07:44,080 --> 01:07:48,080
Speaker 1: that's all I knew it from. Now what Jimmy Happeen

1301
01:07:48,160 --> 01:07:52,240
Speaker 1: did is this was the song that Bruce Springsteen wrote,

1302
01:07:53,040 --> 01:07:55,560
Speaker 1: put it on a tape, gave it to Patti Smith,

1303
01:07:56,040 --> 01:07:59,000
Speaker 1: and this is what the original version was. I had

1304
01:07:59,040 --> 01:08:01,800
Speaker 1: no idea that it blows my mind. And this was

1305
01:08:01,840 --> 01:08:13,479
Speaker 1: her biggest hit me. Bruce wrote it and she wrote

1306
01:08:13,520 --> 01:08:17,200
Speaker 1: on it as well, but it was Bruce's. Yeah, he's

1307
01:08:17,240 --> 01:08:20,400
Speaker 1: the one that got it to turn a banquet on

1308
01:08:20,600 --> 01:08:26,639
Speaker 1: which we f that's like an iconic song. I didn't

1309
01:08:26,640 --> 01:08:29,640
Speaker 1: know it was a cover. I'm such an idiot. And

1310
01:08:29,640 --> 01:08:32,120
Speaker 1: then I did you know that might? I didn't know

1311
01:08:32,280 --> 01:08:36,760
Speaker 1: that wasn't watching that show. Did you know anyway? You'll like,

1312
01:08:36,840 --> 01:08:40,439
Speaker 1: you'll love it? Okay, now I have, like definitely had to.

1313
01:08:40,840 --> 01:08:42,320
Speaker 1: But that was for me. I was like, damn, I'm

1314
01:08:42,360 --> 01:08:44,479
Speaker 1: so blown away that I didn't know that. Such an idiot.

1315
01:08:44,560 --> 01:08:46,360
Speaker 1: But then to hear the story of him running tape

1316
01:08:46,920 --> 01:08:48,320
Speaker 1: when he was at there sixteen hours a day with

1317
01:08:48,320 --> 01:08:52,760
Speaker 1: Bruce producing her Yeah, so cool. Listen the song. Listen

1318
01:08:52,760 --> 01:08:54,880
Speaker 1: to song asking Bruce for permission to give it away

1319
01:08:54,960 --> 01:08:56,720
Speaker 1: because he wasn't going to use it. Can we make

1320
01:08:56,760 --> 01:09:00,280
Speaker 1: your song legendary? Yes, it's pretty awesome. I'm me think

1321
01:09:00,280 --> 01:09:03,519
Speaker 1: about it. Well, thank you for coming, bye, thank you? Yeah? Sorry?

1322
01:09:03,680 --> 01:09:08,360
Speaker 1: We go down many more more like what Episodes, Episode

1323
01:09:08,400 --> 01:09:13,880
Speaker 1: seventy four, Heather Morgan, what's your name? On Instagram? Heather

1324
01:09:13,960 --> 01:09:17,639
Speaker 1: eleven and eleven is spelled out head their eleven? Why

1325
01:09:17,720 --> 01:09:20,679
Speaker 1: is it that well, because it was my lucky number

1326
01:09:20,840 --> 01:09:22,880
Speaker 1: when you were eleven. You set it up. I just

1327
01:09:22,920 --> 01:09:25,120
Speaker 1: like the number eleven. I see eleven eleven on the clock.

1328
01:09:25,160 --> 01:09:27,880
Speaker 1: It's so weird to say that, but um my album

1329
01:09:27,960 --> 01:09:30,680
Speaker 1: had eleven songs on it, but now I'm adding one

1330
01:09:30,800 --> 01:09:32,240
Speaker 1: to make it twelve, and I wanna call it eleven

1331
01:09:32,280 --> 01:09:35,439
Speaker 1: plus one. I don't want to mess up. Let me

1332
01:09:35,560 --> 01:09:37,280
Speaker 1: know when that record is ready. I want to hear

1333
01:09:37,280 --> 01:09:39,800
Speaker 1: it for sure. It's good to see you, Thank you.

1334
01:09:39,960 --> 01:09:41,439
Speaker 1: We're gonna go. We'll see you next time. By