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Speaker 1: Welcome to Episode one sixty two with Lori mckenneff. You

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Speaker 1: just so you comment with my little big town sign

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Speaker 1: that I haven't here and I only have I like

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Speaker 1: them all, but well one sticks out to me for

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Speaker 1: some reason because he has right you are. You are

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Speaker 1: the writer of Girl Crush. I only have um signs

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Speaker 1: in this room that I because I don't doing my job. People.

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Speaker 1: We'll go, Here's a plaque for everything. Song songs I've

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Speaker 1: never heard, Here's black. Yeah, you know, people just want

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Speaker 1: to give you some No, it's not about that. People

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Speaker 1: will like, hey, if I give you something now, maybe

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Speaker 1: you'll do me a favor later. That kind of thing, right,

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Speaker 1: you know, you get sometimes I think that happens, but

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Speaker 1: sometimes people just like you. I don't know that. My

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Speaker 1: point is, there's only like six in here, six or seven,

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Speaker 1: and the Girl Crush was one because I love that

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Speaker 1: song and that in my story of being in Nashville.

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Speaker 1: That's the first like song that I got in trouble

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Speaker 1: for me and it was a real like uh like

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Speaker 1: I had to pop the film of because we just

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Speaker 1: went through different in different ways. You mean you wrote

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Speaker 1: the freaking song? Yeah, I don't know, you know, what.

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Speaker 1: I am not educated on the how any of this

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Speaker 1: works still, and I didn't know you got in trouble

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Speaker 1: until I think I heard you talking about it on

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Speaker 1: one of these podcasts, like maybe with Karen or something,

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Speaker 1: you know what I mean, Like I think like there

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Speaker 1: was mentioned it, But I just I don't know how

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Speaker 1: radio works. It's so confusing to me. I don't tell

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Speaker 1: me that I don't. I don't know really how it

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Speaker 1: works either. I just kind of do it my own way.

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Speaker 1: That's why I get in trouble so much. Well, people

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Speaker 1: love it. I mean that's good for all of us

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Speaker 1: if you get in trouble, because if you get in trouble,

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Speaker 1: then you're you're playing songs that you know people wouldn't

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Speaker 1: hear otherwise than right, Isn't that the point? Yeah? You

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Speaker 1: know they're like they're super quick. Version is before the

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Speaker 1: record came out, the whole album. I think they were

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Speaker 1: on Uh Day Drinking was was the first single from

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Speaker 1: that record, if I'm if I'm recalling. And I was

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Speaker 1: with Kimberly the night before we were in New York,

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Speaker 1: and she said, Uh, You're gonna love this girl crushed

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Speaker 1: songs for the record, hadn't even come out. So the

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Speaker 1: record of that day and I play it and everybody

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Speaker 1: gets so upset because it was the lesbian song. And

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Speaker 1: so one I also like people get upset because it

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Speaker 1: means it's reacting, not as long as it's not like

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Speaker 1: homophobic or racist, and that that that the ever kind

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Speaker 1: of upset. But if people are upset because of an emotion,

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Speaker 1: I'm like, Okay, there's something here, like I've scratched something yea.

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Speaker 1: And so people were upset, and I thought, well, first

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Speaker 1: of all, it's a great song. I I didn't even

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Speaker 1: know you. Then it's fun, you know um. And then

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Speaker 1: my company goes, WHOA, everybody's pissed. We have to test

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Speaker 1: the song. We've never done this in research. We have

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Speaker 1: tested just for your sake. And so they did all

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Speaker 1: this research on me and the song and it came

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Speaker 1: back mostly positive. And then that's kind of where the

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Speaker 1: will started out. Then I became just belligerent and then

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Speaker 1: and then it all happened, and then I sat back,

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Speaker 1: and then then you know, Karen Kimberly, Jimmy Philip took

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Speaker 1: over and the rest is history. But that's why it's

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Speaker 1: in here, because that to me, it's set a precedent

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Speaker 1: in my company that it was this guy's nutty and

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Speaker 1: if he has a song that he loves, he's just

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Speaker 1: gonna play. Because it wasn't a single when I start

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Speaker 1: of playing it. No, I mean maybe they weren't even

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Speaker 1: ready for a single yet. I don't know, and who knows.

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Speaker 1: You know, it's all relvisionist history at this point, because

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Speaker 1: this song has lived a wonderful life. But I learned

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Speaker 1: about that song is everybody has a has like they'll

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Speaker 1: attached there with they're most passionate about, too, a story

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Speaker 1: when it when it is a story that applies to

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Speaker 1: lots of different people, and that song too, I think

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Speaker 1: us as writers, our thing was people aren't listening, Like

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Speaker 1: you don't listen to the whole song anymore, you know

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Speaker 1: what I mean? Like are we only giving a song

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Speaker 1: a verse and a chorus? You know? And in some songs,

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Speaker 1: you know, you have to you know, I know you

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Speaker 1: love songs like that, you know what I mean that

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Speaker 1: you have to like unwind and sort of listen to

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Speaker 1: the whole thing before you know what's going on. And

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Speaker 1: I think the judgments that that song got were from

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Speaker 1: people that weren't giving it of true listen to say, oh,

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Speaker 1: wait a minute, they trying to. I think even there

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Speaker 1: was no listen. I think it was title even oh

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Speaker 1: maybe so maybe so because you hear a girl crush

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Speaker 1: and then a female voice singing it, and you go, oh,

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Speaker 1: we're talking about it's gonna be a lesbian song. I

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Speaker 1: never even thought of that, where if Jimmy comes on

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Speaker 1: or Phillip comes on and start to sing it and

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Speaker 1: it's oh god, I think it's a whole different ballgame.

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Speaker 1: So and again this is also the environment when things

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Speaker 1: started to shift where just in my landscape of you know,

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Speaker 1: I just wanted to play good songs and I was

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Speaker 1: playing songs that weren't singles, and that was weird for everybody,

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Speaker 1: for all for all things. Anyway, we were talking about

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Speaker 1: that be four it came it's so good to see you,

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Speaker 1: like one of my favorite people in the whole world.

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Speaker 1: You're so good to me, and I appreciate that I'm

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Speaker 1: good to you. I just really, do you listen to

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Speaker 1: what I do? I also I love your music as

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Speaker 1: an artist. You know, every time you come to town,

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Speaker 1: I'm like, if you have something, come play on my show.

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Speaker 1: It's amazing. I mean, Luke Layard was just talking to

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Speaker 1: me about that the other day. We did a writer's

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Speaker 1: around and he said, you should do I want Crazy

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Speaker 1: because remember when you did it on Bobby I did

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Speaker 1: like the housewive version of like the Course, Mike, I

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Speaker 1: can't play that song, and he's like, you did it

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Speaker 1: on Bobby Show. Is so cool. You're one of the

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Speaker 1: only people who because a lot everybody comes through my

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Speaker 1: show right to play it. And so but whenever I

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Speaker 1: say that you're coming through, I have friends that reach

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Speaker 1: out and go, hey, no, I haven't talking four months,

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Speaker 1: but can I come send the studio? And the last

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Speaker 1: time you were in there was there were two on

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Speaker 1: the couch and I was so and everyone else is like,

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Speaker 1: who you are the artists? Artists? Good? That's not I mean.

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Speaker 1: I'm the luckiest person you've ever met, is what I am.

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Speaker 1: I don't really get lucky that many times in a row. Well,

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Speaker 1: now that I know so many um great writers. So

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Speaker 1: back to girl Crush for one minute, all I did

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Speaker 1: was said that I said that title to Liz Rose

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Speaker 1: and Hillary Lindsay, and Hillary Lindsay sang the first four

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Speaker 1: line into that song and just as they are exactly

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Speaker 1: how they and she said, you mean like that, and

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Speaker 1: to listen, I looked at each other like that was

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Speaker 1: that was like that was had nothing to do with

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Speaker 1: me other than me saying I want to write a

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Speaker 1: song called girl crust. But had you not said the

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Speaker 1: words girl crushed, the inspiration wouldn't have fallen over to Hillary.

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Speaker 1: So you're saying you're lucky, You're just bouncing it off. Well,

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Speaker 1: I think what's happened is I've put in the work

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Speaker 1: and I and um and then and so now when

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Speaker 1: I come to Nashville, because I write, you know, alone

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Speaker 1: at home a lot. But when I come to Nashville,

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Speaker 1: I'm in the I get to be in the room

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Speaker 1: with great writers and this so many obviously in this town.

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Speaker 1: But I get to be with great writers then understand

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Speaker 1: what I like and you know what I mean. And

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Speaker 1: so so I find myself a little bit more in

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Speaker 1: those moments where I can be lucky like that, so humble,

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Speaker 1: so humble. You know, I guess right before, because I

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Speaker 1: would say we if you and I see each other,

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Speaker 1: we definitely stop and talk like I I'd say, we

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Speaker 1: have a pretty good professional friendship, even more so the

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Speaker 1: professional like we will actually have a conversation, a good talk.

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Speaker 1: But before that happened, I remember Tim McGraw going, Bobby,

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Speaker 1: you're gonna hear this song from Lauren McKenna on my record,

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Speaker 1: and I was like, all right, everybody says it, right, everybody.

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Speaker 1: Everybody has something that they're like, it's the next thing.

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Speaker 1: And he's like, no, I'm not kidding. And I'm like,

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Speaker 1: because Tim doesn't say that often, he won't go, you know,

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Speaker 1: this is the thing. And he was like, He's like,

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Speaker 1: I promise. He goes, it's not even a single right now,

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Speaker 1: because he had another single. He goes, this is the

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Speaker 1: song that's gonna change it for me. And I'm like, okay, okay, Tim,

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Speaker 1: and then freaking humble and kind it changed the whole thing.

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Speaker 1: I mean, another perfect example of me being lucky, though,

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Speaker 1: I mean because faith. The reason I have a job

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Speaker 1: in this town is because of faith, and because I

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Speaker 1: put a record out and she heard it through Missy

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Speaker 1: Gallimore and and Melanie Howard um Well. Actually my friend

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Speaker 1: Mary Gauche, who I grew up in the Boston community

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Speaker 1: playing shows with, and we would I didn't leave my

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Speaker 1: house with music until I was like or something like that.

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Speaker 1: And Mary's just a little bit older than me, and

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Speaker 1: I would chew up an open mic and Mary would

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Speaker 1: be there and we'd be like ten years older than

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Speaker 1: everybody else in the room, and I'm like this, like

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Speaker 1: How's wife and and uh and everyone else is like

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Speaker 1: in college. You know. Mary and I would be like

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Speaker 1: two old ladies there and we kind of came out together. Yeah,

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Speaker 1: but you know when everyone else is like fifteen, it

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Speaker 1: seems that way. And so um, Mary played you know,

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Speaker 1: my stuff for Melanie Howard. Melanie Howard played it for

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Speaker 1: Missy Galamore, and then Missy played it for Faith. And

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Speaker 1: that's why, you know how I got a publishing deal.

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Speaker 1: It's like the looking back now that I know a

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Speaker 1: little bit how it works. It was like I won

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Speaker 1: the lottery, you know what I mean, And so you know,

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Speaker 1: the songwriting lottery that I had an inn like that

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Speaker 1: right away in this town and then but Faith and

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Speaker 1: Tim have just been like champions for me ever since.

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Speaker 1: That's wild the Faith thing. Your first cut was a

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Speaker 1: Faith cut, right, Yeah, first ever cut was well, she

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Speaker 1: cut for Firefly. She cut four songs, and um, three

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Speaker 1: of them made the record. Woman was like a bonus track,

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Speaker 1: but it was Fireflies and Stealing Kisses, which I think

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Speaker 1: it was a single, and then if you ask, and

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Speaker 1: then she cut a song called Lone Star that was

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Speaker 1: like a bonus track. I've had a lot of buster

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Speaker 1: when you get the target exclusive rights, talking about that

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Speaker 1: like we made the Target exclusive which and this is it,

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Speaker 1: this is to have all of them. I've got the

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Speaker 1: whole library. Pull Sometimes I'm just leading you into things

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Speaker 1: because I got it ready for it. So so this

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Speaker 1: gets introduced to Faith and she says, hey, I love

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Speaker 1: your song, Like, how does that first conversation happen? So

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Speaker 1: what happened was I, Um, I put out this record

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Speaker 1: called Bitter Town. And the reason I know these dates

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Speaker 1: is rare because I never know dates, but my son

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Speaker 1: David was born May two thousand four, so I know

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Speaker 1: it's two thousand and four. And I put this record

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Speaker 1: called Bitter Time out and it had most of those

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Speaker 1: songs on it, and Mary over the summer, I think

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Speaker 1: at some point played it for Melanie Howard. Melanie called

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Speaker 1: me like August and said, I want to pitch your

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Speaker 1: songs around town? Is that cool? And I had been

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Speaker 1: here once. I did a round at the Bluebird and

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Speaker 1: it was probably like two years earlier, like two thousand

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Speaker 1: and three maybe, and never listen to country music. I

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Speaker 1: didn't grow up listening to country music. I didn't know

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Speaker 1: much about it. And my husband and I came home

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Speaker 1: and like a month after that first trip, I was like, hey, man,

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Speaker 1: are you listening to like the country radio station? And

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Speaker 1: he's like, like it just it's like got us. Both

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Speaker 1: of us were like hooked from kind of that moment

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Speaker 1: on and M and she called, She's like, you know,

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Speaker 1: I'd love to put your songs around town, and I

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Speaker 1: was like, that would be brilliant. I don't know what

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Speaker 1: that means, you know, pitch your away. And then by Thanksgiving,

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Speaker 1: Faith had cut the songs. So I don't know, I

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Speaker 1: think Faith the story I heard. By that point, Faith

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Speaker 1: had cut a bunch of songs for that record. UM.

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Speaker 1: That record came out the following UM August, so body,

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Speaker 1: you know, two thousand five, and you know it was

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Speaker 1: called Firefu Eyes and all you know for those songs

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Speaker 1: to be on there. It was the first song I heard,

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Speaker 1: you know, coming out of face mouth was Fireflies. I

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Speaker 1: went to Missy's house and she played you know, I

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Speaker 1: sat down and she played it for me. And I didn't.

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Speaker 1: I was not emotionally prepared for what it did to me.

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Speaker 1: It literally and looking back now that I kind of

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Speaker 1: understand where I was at that point. You know, my husband,

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Speaker 1: I had five kids, and I'm just like, still I

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Speaker 1: still do this. I'm doing little shows, making records, and

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Speaker 1: you know, he's a plumber, he works for the gas company,

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Speaker 1: and we get all these kids. And I swear when

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Speaker 1: I heard her, I heard her sing fireflies, I just

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Speaker 1: broke open. And it was really my first experience of

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Speaker 1: of just like tears of joy. But it seems so sad,

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Speaker 1: like it looks sad, I think on the on the surface,

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Speaker 1: but it was just like this weight had been lifted

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Speaker 1: off my shoulder. And I knew, like I could keep

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Speaker 1: making music. So you're making music and they hear your

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Speaker 1: record a bit, did you want to be an artists

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Speaker 1: and moved to town. I didn't want. I did have

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Speaker 1: a record deal because that because because of faith. You know,

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Speaker 1: I did end up making a record on Warner Brothers.

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Speaker 1: But I kind of always knew that I wasn't probably

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Speaker 1: gonna move here and my kids were all in school.

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Speaker 1: You know, my husband's job, my family. I'm super tight

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Speaker 1: with my family, and so I didn't think I would

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Speaker 1: ever move here. And I knew I didn't want to

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Speaker 1: be in the road the way you know these artists

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Speaker 1: they you know, you know, I mean, it is a

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Speaker 1: hard life and and I just, you know, I just didn't.

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Speaker 1: I knew I couldn't do that. When when Tim and

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Speaker 1: Faith did Solda Soul in two thousand seven, I went

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Speaker 1: out with them for about five weeks and I had

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Speaker 1: three of the kids with me, and I loved that.

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Speaker 1: You know, I knew I could do it in little,

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Speaker 1: tiny little pockets, but I couldn't. I couldn't put in

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Speaker 1: with these artists, you know, give every night to to

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Speaker 1: to their to their art. You know. I just the

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Speaker 1: songwriting part of it is like I'll be doing that

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Speaker 1: until you know, they peel me feel the guitar away

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Speaker 1: from me. A lot of my friends were all right

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Speaker 1: with you. They'll and they'll go up to near Boston

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Speaker 1: where you love. They're I gonna go all right with

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Speaker 1: Laurie and so and you just stay go to your house. Yeah,

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Speaker 1: we just sit in the basement. So walk me through that.

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Speaker 1: So you can knock on the door, can you answer?

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Speaker 1: And we have guitar on you're already writing. Well, how

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Speaker 1: how does that work? Just have a g corp playing

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Speaker 1: as the door opens? Um, no, yeah, we we you know,

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Speaker 1: as long as you like children and guitars and dogs.

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Speaker 1: Basically we have so many dogs right now. But um,

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Speaker 1: we just sit in the basement and write. I don't

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Speaker 1: write when I'm by myself. I don't write in the basement.

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Speaker 1: But I have a little writing room in the basement.

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Speaker 1: And what I found was people. I think, if you

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Speaker 1: write in Nashville every day and you're such a part

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Speaker 1: of this community, which you know, I come once or

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Speaker 1: twice a month, and I love it, love it, love it,

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Speaker 1: love it. But if you did, if I did that

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Speaker 1: every day, I think I would, you know, want to

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Speaker 1: take a trip somewhere else and sit in a different

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Speaker 1: room too. But um, I think people up there playing

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Speaker 1: up in my neck of the woods will come by,

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Speaker 1: or if sometimes I'm really lucky and I'll just have

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Speaker 1: someone that will come up for two or three days

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Speaker 1: and just you know, we write, literally, um you know,

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Speaker 1: write songs, panera bread, go to dinner, drop them out

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Speaker 1: with their hotel next day, write songs. It's like all

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Speaker 1: we have. So it's like we just write and write

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Speaker 1: until they have to take a plane home. Anytime that

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Speaker 1: either my group or I do comedy, it's some we'll

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Speaker 1: be opening and we'd go up to into the Northeast

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Speaker 1: or even to Boston a couple of more. Come Lorie,

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Speaker 1: I'll see you tonight. We're back from the show. I

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Speaker 1: was like, all right, good luck. That's awesome. And you

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Speaker 1: know you talk about writing alone, which you and I

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Speaker 1: think that maybe you've said this. People said, it's like

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Speaker 1: you started like writing a little prayer, like like alone

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Speaker 1: in the kitchen. Is that what it is? When the

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Speaker 1: kids were little, I would just like pick while they

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Speaker 1: were you know, putting them in a bed. I would

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Speaker 1: for years I sat a strange want to think about.

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Speaker 1: I would just sit in their rooms. We the for

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Speaker 1: the first house we lived in, the three oldest boys

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Speaker 1: all slept in the same bedroom. It was just like

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Speaker 1: there was. It was a two bedroom house, but one

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Speaker 1: of the bedrooms was really big, so all the boys

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Speaker 1: were in there and I would just sit and play

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Speaker 1: guitar until they all fell asleep. I don't know how

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Speaker 1: they ever did it, to be honest, I don't think

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Speaker 1: about it. And then you know, it's like your life changes,

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Speaker 1: like my pattern of writing changes for a while when

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Speaker 1: they were all in school, Like I'd have better, easier

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Speaker 1: time in the morning, like start off right after I

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Speaker 1: dropped them up at school and then sort of work

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Speaker 1: through the day when I still do that sometimes to

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Speaker 1: my two younger at homeschooling right now. So it's a

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Speaker 1: little different, but Humbling Kind for example, it was like

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Speaker 1: I just sat in the same chair from like eight

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Speaker 1: in the morning until you know, probably eight at night,

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Speaker 1: and I just pick away. When I'm writing by myself,

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Speaker 1: it's best for me to like work on it, like

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Speaker 1: do a load of laundry, come back on it. My

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Speaker 1: husband's coming out, like sing it, dude, you know, and

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Speaker 1: then make dinner and and my brain works kind of

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Speaker 1: well that way. I love your version of humble and kind.

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Speaker 1: Love it so much. My gram made that song so

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Speaker 1: much better. He really did his. It's funny because he

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Speaker 1: always credits me for the phrasing. And we did this

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Speaker 1: talk together, the two of us, in front of an audience,

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Speaker 1: and they played the work tape, which neither one of

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Speaker 1: us had listened to it a lot time, and he

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Speaker 1: had just gotten through like saying, I just copy the

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Speaker 1: work tape and then we listened to it. I'm looking

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Speaker 1: at him like, no, you did it. This is I

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Speaker 1: copy him? Now it's funny. Can you play some of

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Speaker 1: her so good? You don't see it? Don't she? And

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Speaker 1: don't you got always stay? Did you record this version

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Speaker 1: that I'm hearing right now before after tim after after,

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Speaker 1: because that was on The Bird and the Rifle, which

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Speaker 1: is a great record, by the way, thank you, thank you,

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Speaker 1: And but I the version McGraw has is just my

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Speaker 1: iPhone is just and I had just written it, and

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Speaker 1: it takes me a minute sometimes to get phrasing and

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Speaker 1: to sing into the song and to sort of like

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Speaker 1: I actually changed the line. His version of the last

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Speaker 1: line says, you know, when you get where you're going,

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Speaker 1: don't forget turned back around. And by the time I

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Speaker 1: got to it, I realized I couldn't fit all those words.

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Speaker 1: Some mine just says turned right back around. Um, but

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Speaker 1: small little detail. But that's for a long time. When

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Speaker 1: I wrote a song, I would even have to play

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Speaker 1: it to an audience a lot before I really I

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Speaker 1: don't know it's for I really knew the song, or

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Speaker 1: sometimes it still happens where I'll play if it's a

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Speaker 1: new song, I'll have to play it for an audience

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Speaker 1: and then sort of find out if I like it

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Speaker 1: or not. Sometimes you need to play it to them

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Speaker 1: to see if you like it. Sometimes some what are

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Speaker 1: you looking for the when when you're playing something for

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Speaker 1: you to see if you like it? I think it's

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Speaker 1: like I actually, when I thought about this, like years ago,

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Speaker 1: I think if I was to describe that, I was like, oh,

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Speaker 1: i'ld sort of be looking for their approval, And now

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Speaker 1: I think what it is is, I'm just sort of

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Speaker 1: looking for my comfort level in the song. Like it,

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Speaker 1: am I comfortable singing every word of this song to

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Speaker 1: these you know, in front of somebody versus just by yourself.

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Speaker 1: It's a very different thing. So it takes me a

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Speaker 1: little bit to wrap my head around them. Sometimes with art,

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Speaker 1: obviously impossible to predict any sort of success or failure.

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Speaker 1: I think it's a beauty and art you never know

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Speaker 1: with humble and kind and with Tim cutting it, did

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Speaker 1: you feel like that there was something special to his

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Speaker 1: version and what he was saying about the song, Because

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Speaker 1: again he comes to me before the records even out,

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Speaker 1: and it's like, Bobby, this song is gonna be a massive.

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Speaker 1: Did you feel like I could do that? It's funny

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Speaker 1: because I didn't know exactly. I didn't know that he

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Speaker 1: was going to cut it, to be honest, for a

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Speaker 1: little bit. And it's funny because I think he had

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Speaker 1: it for like a month. And then I don't know

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Speaker 1: if I saw him or I don't know exactly what happened,

393
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Speaker 1: but he was like, yeah, I'm coming that song. It's like, oh, thanks,

394
00:19:05,119 --> 00:19:07,600
Speaker 1: I didn't know, you know, nobody told me. And then

395
00:19:07,760 --> 00:19:10,840
Speaker 1: then once it was cut, Um there he was going

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Speaker 1: to make the video, And when the video came out,

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Speaker 1: they sent me like a rough of the video, and

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Speaker 1: I thought, what is going on? Like how how did

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Speaker 1: he How can this possibly be the video? You know,

400
00:19:22,320 --> 00:19:25,720
Speaker 1: because it's so worldly and so and that's you know.

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Speaker 1: I always tease and say I should give him some

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Speaker 1: some co writing credit on that song, because he really

403
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Speaker 1: sees it and brought it to a way different place

404
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Speaker 1: than I. I still see it as such a simple

405
00:19:39,240 --> 00:19:42,359
Speaker 1: little It's a very simple song. Everywhere every line has

406
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Speaker 1: to run with Kant. It's like the easiest rhyme. It's

407
00:19:44,720 --> 00:19:48,240
Speaker 1: a very simple form. You know, each verse ends in

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Speaker 1: the same line, and um, I still see it as

409
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Speaker 1: like this tiny little thing, you know, that that I

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Speaker 1: wrote for the kids. And I do remember when I

411
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Speaker 1: was writing it at one point questioning myself like, oh

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Speaker 1: is this preachy? And then I thought, well, well, who

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Speaker 1: cares if it's preachy. I'm writing it for five children,

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Speaker 1: So if anybody thinks it's preachy, I'm just gonna say, well,

415
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Speaker 1: I wasn't talking to you asking of my kids. Um.

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Speaker 1: But he just saw it in such a bigger way.

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Speaker 1: And when the video, when they showed me the video,

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Speaker 1: I was like, I don't know if this is gonna work.

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Speaker 1: Like there he's you know, this is a real far

420
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Speaker 1: reach for the song, and he he just did it.

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Speaker 1: It was amazing to me. It's amazing to me what

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00:20:31,640 --> 00:20:33,600
Speaker 1: I really feel like, it's almost two different songs when

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00:20:33,600 --> 00:20:36,439
Speaker 1: we sing it. Do you and are you able to see,

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00:20:36,960 --> 00:20:38,720
Speaker 1: as they would say, the force from the trees? Because

425
00:20:38,720 --> 00:20:41,000
Speaker 1: you're so close to it. You wrote it, You've been

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00:20:41,119 --> 00:20:43,840
Speaker 1: in the process watching Tim grow with it. But have

427
00:20:43,920 --> 00:20:47,600
Speaker 1: you been able to see it affects like a massive

428
00:20:47,560 --> 00:20:51,720
Speaker 1: amount of people as just a message. Yeah? But I

429
00:20:51,720 --> 00:20:54,679
Speaker 1: mean that's the thing about music is and again that

430
00:20:54,760 --> 00:20:57,400
Speaker 1: whole luck thing that I'm talking about It's like I

431
00:20:57,440 --> 00:21:01,159
Speaker 1: feel like any sort of creates hivity probably people of

432
00:21:01,240 --> 00:21:04,160
Speaker 1: all like you said, all kinds of art, all kinds

433
00:21:04,160 --> 00:21:07,200
Speaker 1: of art if you are if you keep yourself plugged

434
00:21:07,200 --> 00:21:11,119
Speaker 1: into it and you like believe that you can do

435
00:21:11,160 --> 00:21:13,600
Speaker 1: the work if it lands on you. Whenever I look

436
00:21:13,600 --> 00:21:17,200
Speaker 1: at like all your songs, like my favorite, I think

437
00:21:17,200 --> 00:21:18,720
Speaker 1: one of my favorite songs you've ever written is the

438
00:21:18,720 --> 00:21:23,639
Speaker 1: Brandy Clark song three Kids Love It. This is like,

439
00:21:25,200 --> 00:21:27,280
Speaker 1: you know why? And I was thinking about this, like

440
00:21:27,320 --> 00:21:30,120
Speaker 1: why certain songs hit me. I think because like my

441
00:21:30,160 --> 00:21:33,199
Speaker 1: mom raised me alone for a long part of her

442
00:21:33,240 --> 00:21:37,879
Speaker 1: life and she had two kids, and that's it. And

443
00:21:37,960 --> 00:21:40,080
Speaker 1: I hear this song from Brandy Clark and I know

444
00:21:40,160 --> 00:21:42,199
Speaker 1: you wrote it with I was just like this this

445
00:21:42,240 --> 00:21:46,200
Speaker 1: song like at my core, you can just almost grab

446
00:21:46,280 --> 00:21:48,879
Speaker 1: your foundation and just shake it a little bit. This

447
00:21:48,920 --> 00:21:51,920
Speaker 1: one does that, Lorie, Oh well, I love this song.

448
00:21:51,960 --> 00:21:56,520
Speaker 1: I'm so proud of this song because what happened was, Um,

449
00:21:56,840 --> 00:21:59,199
Speaker 1: we were writing at Universal that day and I was

450
00:21:59,240 --> 00:22:01,120
Speaker 1: in the middle of this room and I got there

451
00:22:01,160 --> 00:22:05,359
Speaker 1: early and I was waiting for Brandy and I hadn't

452
00:22:05,400 --> 00:22:07,560
Speaker 1: seen her in a while, so I was just like

453
00:22:07,680 --> 00:22:10,199
Speaker 1: totally stalking her online. And I just like opened up

454
00:22:10,240 --> 00:22:13,560
Speaker 1: YouTube or something and was just watching Brandy Clark videos,

455
00:22:13,640 --> 00:22:16,000
Speaker 1: you know, from people in the audience, film and things

456
00:22:16,000 --> 00:22:18,560
Speaker 1: and um. And she was in. She was in a

457
00:22:18,640 --> 00:22:21,080
Speaker 1: writer's round and she was introducing one of her songs.

458
00:22:21,280 --> 00:22:24,240
Speaker 1: I forget what song it was, and she was describing

459
00:22:24,440 --> 00:22:26,320
Speaker 1: the woman that she wrote a song about. And she's like,

460
00:22:26,359 --> 00:22:29,159
Speaker 1: you know, She's like, you know, like I think it

461
00:22:29,240 --> 00:22:32,200
Speaker 1: was funny because whoever it was, strangely enough, had five kids.

462
00:22:32,200 --> 00:22:33,919
Speaker 1: Because because what she said was, you know, I like

463
00:22:33,960 --> 00:22:36,320
Speaker 1: the da da da dad, this girl five kids, no husband,

464
00:22:36,600 --> 00:22:38,840
Speaker 1: and she went on and I was like, oh my god.

465
00:22:39,440 --> 00:22:41,119
Speaker 1: And so she walked in. I was like, Hi, we

466
00:22:41,280 --> 00:22:43,600
Speaker 1: have to write a song called five kids, no husband.

467
00:22:43,840 --> 00:22:46,280
Speaker 1: But it can't be five kids because I have five kids,

468
00:22:46,480 --> 00:22:49,359
Speaker 1: and then everyone would think I divorced my husband, so

469
00:22:49,440 --> 00:22:51,879
Speaker 1: it has to be like a different number. Um. And

470
00:22:51,920 --> 00:22:54,520
Speaker 1: then we didn't realize that both we both had really

471
00:22:54,560 --> 00:22:57,879
Speaker 1: close friends that had three kids and no husband. UM.

472
00:22:57,960 --> 00:23:02,119
Speaker 1: So I love that character though, Like that that's another

473
00:23:02,240 --> 00:23:04,960
Speaker 1: gift of music. Like you write a song all day,

474
00:23:05,760 --> 00:23:08,160
Speaker 1: you know, with your friend like that, and you developed

475
00:23:08,160 --> 00:23:11,080
Speaker 1: that character, right, like she's not exactly a specific person,

476
00:23:12,119 --> 00:23:14,199
Speaker 1: but we both loved her by the end of it,

477
00:23:14,240 --> 00:23:15,879
Speaker 1: you know what I mean. And I felt like I

478
00:23:15,960 --> 00:23:18,520
Speaker 1: knew her, yeah, from listening to the song and also

479
00:23:18,560 --> 00:23:21,840
Speaker 1: from knowing like, that's that's my people, that's who I

480
00:23:21,880 --> 00:23:24,639
Speaker 1: grew up with. Yeah, and there there's so many people.

481
00:23:24,640 --> 00:23:29,000
Speaker 1: And Brandy is so smart because she's the one that said, um,

482
00:23:29,880 --> 00:23:33,000
Speaker 1: I forget the very ending of it. Um, I'll sing

483
00:23:33,040 --> 00:23:37,520
Speaker 1: the whole thing back and one when she said, you know, like,

484
00:23:37,600 --> 00:23:40,359
Speaker 1: how like these people, what's the very end of it?

485
00:23:40,960 --> 00:23:42,879
Speaker 1: She's a she's a mom and a daddy and a

486
00:23:42,920 --> 00:23:47,439
Speaker 1: taxi driver. How's it go? The end? Mine is just

487
00:23:47,680 --> 00:23:49,840
Speaker 1: it's all Brandy. And it was like at first when

488
00:23:49,840 --> 00:23:51,000
Speaker 1: she said it, I was like, oh my god, I

489
00:23:51,000 --> 00:23:54,600
Speaker 1: wouldn't have thought that. And it's but those women get

490
00:23:54,920 --> 00:23:58,359
Speaker 1: so many people to this world and it's so and

491
00:23:58,359 --> 00:24:00,920
Speaker 1: and dad's too. You know, I grew up a single dad,

492
00:24:00,960 --> 00:24:02,680
Speaker 1: you know what I mean. But but it's like the

493
00:24:03,200 --> 00:24:06,000
Speaker 1: single parent thing is no joke. And I think we

494
00:24:06,119 --> 00:24:08,560
Speaker 1: both loved that character. By the end of it, you

495
00:24:08,640 --> 00:24:10,639
Speaker 1: find the line he's a mom and a dad and

496
00:24:10,680 --> 00:24:14,680
Speaker 1: a taxi driver. What's after that? When the baby six.

497
00:24:14,680 --> 00:24:16,840
Speaker 1: She's an up all nighter, a hand in his shoulder

498
00:24:16,880 --> 00:24:18,840
Speaker 1: in a referee, A real life hero if you ask me,

499
00:24:18,880 --> 00:24:21,640
Speaker 1: A real life hero if you ask thank you. And

500
00:24:21,640 --> 00:24:23,639
Speaker 1: Brandy said that, and I was like, oh, good Lord,

501
00:24:23,720 --> 00:24:26,480
Speaker 1: Like that's it, Like there's nothing better than that in

502
00:24:26,520 --> 00:24:28,679
Speaker 1: the whole world. Like you've just explained it, you know,

503
00:24:28,800 --> 00:24:31,240
Speaker 1: like you know, it's like, you guys wrote a song

504
00:24:31,280 --> 00:24:33,640
Speaker 1: about my mom for part of her life. And when

505
00:24:33,640 --> 00:24:35,359
Speaker 1: I heard it, I was like, I told Brandy too,

506
00:24:35,400 --> 00:24:37,280
Speaker 1: I like hugged her and I was like, this is

507
00:24:37,880 --> 00:24:40,960
Speaker 1: and I love Brandy too, So it's also loving Brandy

508
00:24:41,080 --> 00:24:45,440
Speaker 1: and how it's like pure Brandy is and then hearing

509
00:24:45,480 --> 00:24:49,440
Speaker 1: her sing such a pure song. Yeah that, And then

510
00:24:49,840 --> 00:24:54,400
Speaker 1: I'm a huge Jillian Jacqueline fan Man love her, lover

511
00:24:54,440 --> 00:24:58,560
Speaker 1: her again talking about someone who was as authentic as

512
00:24:58,600 --> 00:25:02,000
Speaker 1: can be. And two of my favorite songs, one of

513
00:25:02,000 --> 00:25:05,040
Speaker 1: her last songs on her last part sad Girls, you

514
00:25:06,160 --> 00:25:09,240
Speaker 1: guys wrote this, Yeah, that was a moment. You know.

515
00:25:09,320 --> 00:25:14,440
Speaker 1: We wrote that with Toe for Brown and um both

516
00:25:14,480 --> 00:25:17,400
Speaker 1: those songs God bless Us Mess and in that song

517
00:25:17,880 --> 00:25:20,240
Speaker 1: Uh for the like the first two songs the three

518
00:25:20,280 --> 00:25:25,080
Speaker 1: of us wrote together and she is, um, because what

519
00:25:25,119 --> 00:25:28,040
Speaker 1: happened with this song is, you know, I remember saying like,

520
00:25:28,080 --> 00:25:29,560
Speaker 1: you know, and you can't jump out of the car.

521
00:25:30,440 --> 00:25:32,679
Speaker 1: And it's like when someone just repeat, like, we'll just

522
00:25:32,720 --> 00:25:34,440
Speaker 1: say that you can't jump out of the car right now,

523
00:25:34,480 --> 00:25:35,879
Speaker 1: you know what I mean. It's like that's always the

524
00:25:35,920 --> 00:25:38,639
Speaker 1: best thing, rather than trying to fluff it up or

525
00:25:38,680 --> 00:25:40,680
Speaker 1: find a different way to say it. And I love

526
00:25:40,680 --> 00:25:43,000
Speaker 1: it when song is a conversational like that, and she

527
00:25:43,320 --> 00:25:48,760
Speaker 1: just she's very she's so honest, um. And and then

528
00:25:48,800 --> 00:25:52,959
Speaker 1: of course her voice is just amazing. Yeah. When I

529
00:25:53,000 --> 00:25:56,000
Speaker 1: look because I knew a lot of your massive hits,

530
00:25:56,600 --> 00:26:01,480
Speaker 1: massive hits like but when I started to look through,

531
00:26:01,520 --> 00:26:04,080
Speaker 1: I started to go all my favorite people have all

532
00:26:04,080 --> 00:26:06,440
Speaker 1: my favorite songs with Lori as well, that just weren't

533
00:26:06,440 --> 00:26:09,240
Speaker 1: like big radio songs, you know, songs that I would

534
00:26:09,280 --> 00:26:11,200
Speaker 1: listen to because for me, I hear things on the

535
00:26:11,280 --> 00:26:13,280
Speaker 1: radio all the time. You don't think, here's some the

536
00:26:13,280 --> 00:26:15,600
Speaker 1: ten thousand times, it just starts to be white noise

537
00:26:15,720 --> 00:26:17,440
Speaker 1: at a point. You know, a song that I love

538
00:26:17,520 --> 00:26:20,640
Speaker 1: that I felt kind of got robbed was when someone

539
00:26:20,680 --> 00:26:23,280
Speaker 1: Stops loving You. I don't know why that didn't work

540
00:26:23,840 --> 00:26:26,320
Speaker 1: I don't know either. It was Grammy nominated. It was

541
00:26:26,440 --> 00:26:30,840
Speaker 1: as you know, but um, yeah that um and just

542
00:26:30,960 --> 00:26:33,040
Speaker 1: being able to hear jim you know, Jimmy has one

543
00:26:33,080 --> 00:26:35,439
Speaker 1: of the best voices you know, in the in the

544
00:26:35,440 --> 00:26:40,080
Speaker 1: whole world. And obviously I love those people so much

545
00:26:40,200 --> 00:26:43,760
Speaker 1: and they are like real dear friends to all of

546
00:26:43,840 --> 00:26:46,960
Speaker 1: us now, and and to to just have I wrote

547
00:26:46,960 --> 00:26:49,359
Speaker 1: that song with Chase McGill and Hillary Lindsay and that

548
00:26:49,480 --> 00:26:51,639
Speaker 1: was like the second song of the day. I forget

549
00:26:51,680 --> 00:26:53,399
Speaker 1: what the first one was, but that was the second

550
00:26:53,440 --> 00:26:56,119
Speaker 1: song of the day. And again it was like I

551
00:26:56,160 --> 00:26:58,320
Speaker 1: said the title and it Chase was like, I hear,

552
00:26:58,520 --> 00:27:00,119
Speaker 1: I hear what that song is supposed to sound like.

553
00:27:00,920 --> 00:27:04,399
Speaker 1: And um, just to have them, you know, sing it

554
00:27:04,560 --> 00:27:07,080
Speaker 1: and have someone that you love so much sing that song.

555
00:27:07,119 --> 00:27:09,840
Speaker 1: And we were shocked, to be honest, that it was

556
00:27:09,880 --> 00:27:12,879
Speaker 1: nominated for a Grammy, but we were just we had

557
00:27:12,920 --> 00:27:15,520
Speaker 1: a ball going out there and and uh and it

558
00:27:15,600 --> 00:27:18,119
Speaker 1: was nice to be there knowing that you wouldn't have

559
00:27:18,200 --> 00:27:21,119
Speaker 1: to make a speech because we knew, you know that

560
00:27:21,160 --> 00:27:26,480
Speaker 1: there Casey space cowboy, you know what's so great? No,

561
00:27:26,600 --> 00:27:28,760
Speaker 1: we knew we would like I also, I actually felt

562
00:27:28,760 --> 00:27:30,560
Speaker 1: like it would be a little bit of of of

563
00:27:31,200 --> 00:27:33,600
Speaker 1: a shock if if we did. But we were so

564
00:27:33,680 --> 00:27:36,040
Speaker 1: thankful to be there and um spend time with a

565
00:27:36,040 --> 00:27:39,200
Speaker 1: little big town and um and Chase was there for

566
00:27:39,359 --> 00:27:42,600
Speaker 1: um break up in the end as well. But you know,

567
00:27:43,080 --> 00:27:46,600
Speaker 1: so great about going to the Grammys with your Nashville

568
00:27:46,680 --> 00:27:49,760
Speaker 1: community is the pre telent cash. You know, there's no seating,

569
00:27:50,359 --> 00:27:53,520
Speaker 1: there's no sign seating, and they all sit together. It's

570
00:27:53,560 --> 00:27:56,200
Speaker 1: the best thing, Like the Americana and the Country people

571
00:27:56,280 --> 00:28:00,440
Speaker 1: like all sit together and like and Shane and Luke

572
00:28:00,480 --> 00:28:02,720
Speaker 1: who won for Casey wasn't there because I think she

573
00:28:02,800 --> 00:28:06,160
Speaker 1: was in rehearsals. But that one for Space Cowboy, we're

574
00:28:06,200 --> 00:28:07,959
Speaker 1: like right in front of us, and then you know,

575
00:28:08,080 --> 00:28:10,320
Speaker 1: they run up and Luke makes his speech and we

576
00:28:10,400 --> 00:28:14,399
Speaker 1: all they both did a great speech and and Hillary

577
00:28:14,440 --> 00:28:18,520
Speaker 1: cried for like ten minutes after, like we're genuinely so

578
00:28:18,600 --> 00:28:22,040
Speaker 1: happy for for them, and everybody was. It's just that

579
00:28:22,200 --> 00:28:25,119
Speaker 1: there's something crazy special about this town. And I know

580
00:28:25,160 --> 00:28:28,080
Speaker 1: I don't live here, so I can't I can't be

581
00:28:28,119 --> 00:28:30,880
Speaker 1: a true judge of it because I'm an outsider. But

582
00:28:31,800 --> 00:28:34,320
Speaker 1: it's really I don't see it happening anywhere else, but

583
00:28:34,440 --> 00:28:37,159
Speaker 1: here the community here. When I go and work in

584
00:28:37,520 --> 00:28:41,560
Speaker 1: Los Angeles, if I'm doing some television projects, first of all,

585
00:28:41,800 --> 00:28:47,640
Speaker 1: like I think here, I'm normally nice, right, yeah, everybody's everybody.

586
00:28:47,800 --> 00:28:50,560
Speaker 1: You know, I'm not Mr Rogers, but nice guy. But

587
00:28:50,800 --> 00:28:52,440
Speaker 1: that would say, actually, get a nice guy award and

588
00:28:52,680 --> 00:28:56,680
Speaker 1: just a dude. I go to Los Angeles, I'm freaking Pope, Bobby.

589
00:28:56,720 --> 00:28:59,200
Speaker 1: They think I'm the nicest human ever. Oh my god.

590
00:28:59,240 --> 00:29:03,280
Speaker 1: So for of all, there's a sensibility that we are

591
00:29:03,440 --> 00:29:07,200
Speaker 1: taught and grow up with that is normal to us.

592
00:29:07,760 --> 00:29:11,520
Speaker 1: But I don't know if we appreciate how like gracious

593
00:29:11,520 --> 00:29:13,400
Speaker 1: and nice we really are until we get around people

594
00:29:13,440 --> 00:29:15,560
Speaker 1: that aren't right. And so this is the point one

595
00:29:15,600 --> 00:29:17,800
Speaker 1: of this is when I would go out to Los Angeles,

596
00:29:17,840 --> 00:29:20,000
Speaker 1: would be like, everybody natural is so nice. Everybody from

597
00:29:20,560 --> 00:29:23,120
Speaker 1: that comes from. And we had a country music night

598
00:29:23,120 --> 00:29:25,640
Speaker 1: on the dance show that I did, and Lauren Atlanta

599
00:29:25,680 --> 00:29:28,560
Speaker 1: and Cole at Lanco and like all of us just

600
00:29:28,680 --> 00:29:31,400
Speaker 1: hung out together the whole time, and they're like, you

601
00:29:31,440 --> 00:29:34,040
Speaker 1: guys all know each other, you're you all hang out

602
00:29:34,240 --> 00:29:37,000
Speaker 1: And I'm like, you guys don't understand, Like we're like

603
00:29:37,040 --> 00:29:39,720
Speaker 1: this group it's kind of like us against the world,

604
00:29:39,880 --> 00:29:41,600
Speaker 1: we feel like but in a in a great way,

605
00:29:41,960 --> 00:29:43,280
Speaker 1: but we kind of feel like we're all in this

606
00:29:43,360 --> 00:29:46,000
Speaker 1: thing together. Is that what the feeling? I don't know

607
00:29:46,040 --> 00:29:48,120
Speaker 1: where how it developed. I don't know how you all

608
00:29:48,160 --> 00:29:51,800
Speaker 1: got like I don't know that's just but but it's all.

609
00:29:52,000 --> 00:29:53,520
Speaker 1: I've been part of that too, where you go out

610
00:29:53,560 --> 00:29:55,960
Speaker 1: and it's just like, oh, well, we're a little different

611
00:29:55,960 --> 00:30:00,320
Speaker 1: than everybody else, but we like that about us, and

612
00:30:00,320 --> 00:30:03,320
Speaker 1: and here we are, you know. So yeah, when when

613
00:30:03,320 --> 00:30:05,680
Speaker 1: I go out, especially West, they're like, what's wrong with you?

614
00:30:05,720 --> 00:30:07,200
Speaker 1: Why are you so nice? And I'm like, back home,

615
00:30:07,240 --> 00:30:09,200
Speaker 1: I'm just a normal dude. Yeah, I know. I'm the

616
00:30:09,240 --> 00:30:13,160
Speaker 1: nicest guy though. That's good, you know. And so was Blake,

617
00:30:13,200 --> 00:30:17,160
Speaker 1: like the second nicest guy out there, probably the one

618
00:30:17,160 --> 00:30:19,800
Speaker 1: of the biggest, the biggest. And you know what when

619
00:30:19,800 --> 00:30:21,160
Speaker 1: I used to do pop and hip hop, cause I

620
00:30:21,200 --> 00:30:23,840
Speaker 1: did that before I came over the country. You did, Oh,

621
00:30:23,840 --> 00:30:25,960
Speaker 1: that's right. Yeah, that's how I started. I built a

622
00:30:25,960 --> 00:30:29,080
Speaker 1: syndication company inside of doing pop and hip hop and

623
00:30:29,120 --> 00:30:32,000
Speaker 1: what happened hip hop? But I didn't know, okay, and

624
00:30:32,240 --> 00:30:34,920
Speaker 1: so and I, you know, found this technology that would

625
00:30:34,920 --> 00:30:36,720
Speaker 1: allow me to work on multiple stations at one time.

626
00:30:36,760 --> 00:30:38,560
Speaker 1: And it's kind of a science experiment, right that that

627
00:30:38,680 --> 00:30:41,520
Speaker 1: went right, and I invested any money that I had

628
00:30:41,560 --> 00:30:44,280
Speaker 1: it all into this and kept building it. But what

629
00:30:44,360 --> 00:30:46,840
Speaker 1: had happened was I would stick Dirk's on the air

630
00:30:46,960 --> 00:30:49,000
Speaker 1: and imagine Dirk smtly on like a pop and hip

631
00:30:49,040 --> 00:30:52,480
Speaker 1: hop station. Right, Everyone'll be like, what's happening. Willie would

632
00:30:52,480 --> 00:30:54,760
Speaker 1: come through, I'll put Eli Young band on. They would

633
00:30:54,800 --> 00:30:57,360
Speaker 1: come and people will go, what are you Well, Now,

634
00:30:57,800 --> 00:31:02,280
Speaker 1: I'm here doing country and at Sharon comes by or

635
00:31:02,600 --> 00:31:06,120
Speaker 1: Pharrell comes by, and it's the same thing, but people

636
00:31:06,120 --> 00:31:07,480
Speaker 1: are like, what what are you doing? That's so different?

637
00:31:07,520 --> 00:31:09,800
Speaker 1: But it's always the same thing. Like, I've never been

638
00:31:09,920 --> 00:31:13,960
Speaker 1: someone who is so inclusive to just thinking of format

639
00:31:14,520 --> 00:31:17,560
Speaker 1: exists for the sake of a format, you know where

640
00:31:18,480 --> 00:31:20,479
Speaker 1: you know, with me, it's been always about just let

641
00:31:20,480 --> 00:31:22,760
Speaker 1: me just get on good music. And that's kind of

642
00:31:22,760 --> 00:31:24,480
Speaker 1: how I ended here. And you talk about you didn't

643
00:31:24,480 --> 00:31:26,200
Speaker 1: come from country, but you were doing the same thing

644
00:31:27,040 --> 00:31:29,680
Speaker 1: you're making. You're making vulnerable, authentic music. Well, to you,

645
00:31:29,720 --> 00:31:32,080
Speaker 1: it's all about the song. To me, it's all about yes,

646
00:31:32,120 --> 00:31:34,320
Speaker 1: this is what I mean that's the best thing, you know.

647
00:31:34,400 --> 00:31:38,280
Speaker 1: I think um songs are just one of those things

648
00:31:38,360 --> 00:31:40,960
Speaker 1: where you can you can be a person that loves

649
00:31:41,040 --> 00:31:43,720
Speaker 1: this genre of music and hear a song from another

650
00:31:44,240 --> 00:31:46,400
Speaker 1: genre and it just blows you away. Still. I mean,

651
00:31:46,440 --> 00:31:48,920
Speaker 1: it's just a song as a song genres. I don't

652
00:31:48,920 --> 00:31:51,520
Speaker 1: know what that means anymore. Nobody wants them, nobody wants

653
00:31:51,560 --> 00:31:56,840
Speaker 1: to but you know, for classification purposes only. I think

654
00:31:56,920 --> 00:32:01,120
Speaker 1: that's the only reason. Now, even the instrumentation, Like I

655
00:32:01,160 --> 00:32:04,800
Speaker 1: look back, because I would consider myself a novice historian

656
00:32:04,960 --> 00:32:08,200
Speaker 1: of even country music. My grandmother man raised me on

657
00:32:08,320 --> 00:32:11,840
Speaker 1: like old Andy Good with gospel records, like the old

658
00:32:11,880 --> 00:32:14,320
Speaker 1: old school stuff. And for me, I'm from Arkansas, and

659
00:32:14,520 --> 00:32:16,720
Speaker 1: Johnny Cash was big, not because he was Johnny Cash,

660
00:32:16,720 --> 00:32:18,480
Speaker 1: but because he was in our Kansan and there weren't

661
00:32:18,480 --> 00:32:21,360
Speaker 1: a lot of people from Arkansas who launched on a

662
00:32:21,480 --> 00:32:26,000
Speaker 1: national scene. So to her, he was everything. And she

663
00:32:26,000 --> 00:32:28,640
Speaker 1: would tell me stories about how he would play nearby

664
00:32:28,760 --> 00:32:31,600
Speaker 1: and people would pick at the shows because that wasn't

665
00:32:31,600 --> 00:32:35,000
Speaker 1: country music, because that was rock and roll. That's not

666
00:32:35,040 --> 00:32:37,240
Speaker 1: country music. And then you look and I would have

667
00:32:37,240 --> 00:32:40,400
Speaker 1: a conversation with someone like um My Garth, and he

668
00:32:40,440 --> 00:32:42,240
Speaker 1: would go, people, you should tell me all the time,

669
00:32:42,320 --> 00:32:44,640
Speaker 1: I'm not country music. Like I came to town, he

670
00:32:44,640 --> 00:32:46,040
Speaker 1: would say. They they would tell me what I was

671
00:32:46,040 --> 00:32:50,240
Speaker 1: doing wasn't country music because instrumentation, vocal style, it wasn't

672
00:32:50,240 --> 00:32:52,400
Speaker 1: the same as it was before. And it happens again

673
00:32:52,440 --> 00:32:55,240
Speaker 1: now it's happening now. People are saying, you know, in

674
00:32:55,320 --> 00:32:58,120
Speaker 1: so whomever X y Z is not country music. And

675
00:32:58,160 --> 00:33:00,280
Speaker 1: as much as you want to feel that way, my

676
00:33:00,360 --> 00:33:03,760
Speaker 1: thing is, okay, let's just in a small bubble. You

677
00:33:03,800 --> 00:33:05,440
Speaker 1: may feel that way now, but look at every single

678
00:33:05,480 --> 00:33:08,840
Speaker 1: bubble over the past six seven decades, when it's all

679
00:33:08,880 --> 00:33:11,080
Speaker 1: exactly the same and the same people have the same argument.

680
00:33:11,680 --> 00:33:14,240
Speaker 1: Here's the thing in common is that country music always changing,

681
00:33:14,920 --> 00:33:17,200
Speaker 1: and no one's ever and if anyone ever becomes satisfied

682
00:33:17,240 --> 00:33:20,600
Speaker 1: with it, then it's probably done. Yeah, that's true. That's true. Well,

683
00:33:20,880 --> 00:33:23,960
Speaker 1: I mean, I guess that's what music does, is is it.

684
00:33:24,160 --> 00:33:26,240
Speaker 1: I think there's less of you know, an artist makes

685
00:33:26,240 --> 00:33:28,959
Speaker 1: a different kind of sounding record and people freak out.

686
00:33:29,000 --> 00:33:31,120
Speaker 1: I think there's less of that. People sort of expect

687
00:33:31,160 --> 00:33:34,440
Speaker 1: it more. I feel like think because again we're not

688
00:33:34,520 --> 00:33:38,480
Speaker 1: based regionally anymore. You know, once Napster kind of hit,

689
00:33:38,960 --> 00:33:41,400
Speaker 1: the world changed. Yeah, because we can just hit a

690
00:33:41,440 --> 00:33:43,600
Speaker 1: button and have all the music we wanted, and I

691
00:33:43,640 --> 00:33:45,280
Speaker 1: mean not good for people like you whould write songs

692
00:33:45,360 --> 00:33:47,120
Speaker 1: and you wouldn't get paid for those songs because Naster

693
00:33:47,240 --> 00:33:50,239
Speaker 1: was amazing and free. But um, you know, once Napster hit,

694
00:33:50,560 --> 00:33:52,680
Speaker 1: we kind of had everything at our fingertips. Where if

695
00:33:52,720 --> 00:33:55,040
Speaker 1: you grew up like me in Arkansas, all the music

696
00:33:55,080 --> 00:33:58,040
Speaker 1: stores had eight percent country and then just the biggest

697
00:33:58,040 --> 00:34:00,400
Speaker 1: and the biggest of the other formats where limited your

698
00:34:00,400 --> 00:34:02,760
Speaker 1: scope as to what you could actually consume. Yeah, now

699
00:34:02,800 --> 00:34:06,440
Speaker 1: there's no limited scope. Yeah, and country music now is

700
00:34:06,480 --> 00:34:08,719
Speaker 1: I think I think you talk about the songs more

701
00:34:08,760 --> 00:34:14,680
Speaker 1: about the message. Yeah, it's more about stories in language

702
00:34:14,719 --> 00:34:17,319
Speaker 1: that um you know, I love pop music too, but

703
00:34:17,400 --> 00:34:20,600
Speaker 1: sometimes those if you just read those words, it would

704
00:34:20,600 --> 00:34:23,440
Speaker 1: be very different than reading you know, most of the

705
00:34:23,440 --> 00:34:25,560
Speaker 1: writers I know, like we just did this today, Like

706
00:34:25,640 --> 00:34:28,200
Speaker 1: you you read the lyric down and does it tell

707
00:34:28,239 --> 00:34:29,920
Speaker 1: the story? You know what I mean? And when you

708
00:34:29,920 --> 00:34:32,239
Speaker 1: get in the room with like Barry Dean or Tom

709
00:34:32,239 --> 00:34:34,400
Speaker 1: Douglas or somebody that has one of those great voices

710
00:34:34,400 --> 00:34:36,839
Speaker 1: and they read the lyric like that's when you got it. Like,

711
00:34:37,120 --> 00:34:39,359
Speaker 1: don't play or sing anything from it. Let's just read

712
00:34:39,360 --> 00:34:41,839
Speaker 1: the lyric and see if it what it says to us.

713
00:34:41,960 --> 00:34:44,480
Speaker 1: And I think country music still has a lot of

714
00:34:44,800 --> 00:34:47,920
Speaker 1: I mean, it's almost all that way. I thought a

715
00:34:47,920 --> 00:34:50,560
Speaker 1: commercial real quick. It's a situation no one wants to

716
00:34:50,600 --> 00:34:53,239
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717
00:34:53,280 --> 00:34:56,120
Speaker 1: the last couple of years, your information may already be exposed,

718
00:34:56,280 --> 00:34:58,839
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719
00:34:58,920 --> 00:35:01,520
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720
00:35:01,640 --> 00:35:05,000
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721
00:35:05,120 --> 00:35:07,920
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722
00:35:07,960 --> 00:35:10,000
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723
00:35:10,000 --> 00:35:12,640
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724
00:35:13,200 --> 00:35:15,960
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726
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727
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728
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729
00:35:29,120 --> 00:35:32,960
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730
00:35:33,239 --> 00:35:35,000
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731
00:35:35,080 --> 00:35:37,719
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732
00:35:37,719 --> 00:35:40,560
Speaker 1: It's helped me out before many times. Actually, just head

733
00:35:40,560 --> 00:35:43,759
Speaker 1: to life flog dot com or called one LifeLock, enter

734
00:35:43,800 --> 00:35:47,719
Speaker 1: the promo code bones. That's bones for ten percent off

735
00:35:47,800 --> 00:35:50,880
Speaker 1: your first year. Okay, So all of that when we're

736
00:35:50,880 --> 00:35:53,600
Speaker 1: talking about format and music and not really having a

737
00:35:54,800 --> 00:35:56,880
Speaker 1: doesn't music doesn't have to have a home, right I

738
00:35:57,280 --> 00:35:59,920
Speaker 1: say all that because your song right now as a

739
00:36:00,080 --> 00:36:04,800
Speaker 1: like number two from the Stars Born soundtrack, that's crazy, right, No,

740
00:36:05,080 --> 00:36:08,480
Speaker 1: it's not crazy. It's not crazy at all. Oh, I go,

741
00:36:08,680 --> 00:36:11,759
Speaker 1: this is such a crazy week. If he saw the

742
00:36:11,840 --> 00:36:13,840
Speaker 1: way we wrote, if you would know it was crazy.

743
00:36:13,840 --> 00:36:16,799
Speaker 1: It was. It was crazy that I actually ended up

744
00:36:16,800 --> 00:36:19,359
Speaker 1: on anything on that, To be honest, it was so hard.

745
00:36:19,480 --> 00:36:22,440
Speaker 1: It was so hard and so different and not what

746
00:36:22,600 --> 00:36:26,560
Speaker 1: I do that. Um, it was such a blessing. So

747
00:36:26,640 --> 00:36:28,520
Speaker 1: what happened I don't I don't understand what what was

748
00:36:28,560 --> 00:36:32,360
Speaker 1: so different about it? Well I've never so what happened was, Um,

749
00:36:32,680 --> 00:36:35,160
Speaker 1: Dave Cobb was working on that wreck, on that movie

750
00:36:35,440 --> 00:36:39,280
Speaker 1: with I think Bradley Cooper had reached out to him,

751
00:36:39,320 --> 00:36:43,280
Speaker 1: and I remember I was we were making the Tree, uh,

752
00:36:43,400 --> 00:36:46,040
Speaker 1: and which Dave Cobb produced my last two records, and

753
00:36:46,560 --> 00:36:48,480
Speaker 1: he was out in his track and like the in

754
00:36:48,520 --> 00:36:50,840
Speaker 1: the parking lot at r C A like talking to

755
00:36:50,880 --> 00:36:54,399
Speaker 1: Bradley Cooper on the in his car, you know, and uh.

756
00:36:54,560 --> 00:36:57,279
Speaker 1: And I remember like teasing him about something being late

757
00:36:57,360 --> 00:36:58,840
Speaker 1: or something kidding around and he's like, well, I had

758
00:36:58,880 --> 00:37:01,560
Speaker 1: to talk to Bradley Cooper about this thing. And then

759
00:37:01,600 --> 00:37:03,319
Speaker 1: a couple of months go by and he calls and

760
00:37:03,360 --> 00:37:06,520
Speaker 1: he's like, I'm gonna go out and do this this film,

761
00:37:06,600 --> 00:37:09,719
Speaker 1: and um, you know you should come and help write

762
00:37:09,719 --> 00:37:13,200
Speaker 1: the songs, which I had never done before. I've like,

763
00:37:13,320 --> 00:37:16,720
Speaker 1: I've read scripts before, but and I think I've always

764
00:37:16,840 --> 00:37:19,320
Speaker 1: sort of been rejected when I try to write something

765
00:37:19,360 --> 00:37:22,160
Speaker 1: for something I'm not that good at it. But um,

766
00:37:22,239 --> 00:37:26,239
Speaker 1: but this was a writing camp in a studio with

767
00:37:26,280 --> 00:37:29,600
Speaker 1: Bradley Cooper, Lady Gaga in a full band, you know

768
00:37:29,600 --> 00:37:32,399
Speaker 1: what I mean. And it's like, write the song. This

769
00:37:32,440 --> 00:37:34,960
Speaker 1: is how this happened. So you knew what the movie

770
00:37:34,960 --> 00:37:37,920
Speaker 1: in mind, what you were writing for. Well, they were

771
00:37:38,000 --> 00:37:41,800
Speaker 1: changing the script like this. The script changed so many times,

772
00:37:41,840 --> 00:37:45,360
Speaker 1: just even from when I left that writing camp the ending,

773
00:37:46,120 --> 00:37:48,160
Speaker 1: I mean it's pretty much the same, but it's very

774
00:37:48,160 --> 00:37:50,880
Speaker 1: different than where it was going when we were in

775
00:37:50,880 --> 00:37:52,960
Speaker 1: the room. But but what happened was Dave called me

776
00:37:53,160 --> 00:37:56,360
Speaker 1: and Hillary, Lindsay, Natalie Hemby and Aaron ray Tier and

777
00:37:56,400 --> 00:37:59,440
Speaker 1: we went out there, um to write, you know, for

778
00:37:59,640 --> 00:38:02,520
Speaker 1: the movie. For the movie was with Bradley, and I

779
00:38:02,560 --> 00:38:04,880
Speaker 1: didn't write with Bradley, but I think Aaron did, and

780
00:38:05,040 --> 00:38:07,840
Speaker 1: UM and Lady Gaga and Hillary had had worked with

781
00:38:07,880 --> 00:38:11,359
Speaker 1: Lady Gaga on her on the Joan record and um,

782
00:38:11,400 --> 00:38:13,520
Speaker 1: you know, saying with her a bunch, and so Hillary

783
00:38:13,680 --> 00:38:16,440
Speaker 1: was was familiar with the way she works. But to

784
00:38:16,520 --> 00:38:18,239
Speaker 1: what the rest of us was like this, you know,

785
00:38:18,280 --> 00:38:21,200
Speaker 1: we had never met her and and Um, and it

786
00:38:21,239 --> 00:38:25,360
Speaker 1: was just for me, it's hard to once you start

787
00:38:25,400 --> 00:38:27,080
Speaker 1: a song, it's hard for me not to stop it

788
00:38:27,200 --> 00:38:31,640
Speaker 1: until it's almost complete or I feel like, oh, I've

789
00:38:31,680 --> 00:38:33,680
Speaker 1: done everything I know how to do with this. And

790
00:38:34,480 --> 00:38:37,240
Speaker 1: this was more like write an idea and then somebody,

791
00:38:37,440 --> 00:38:39,960
Speaker 1: you know, because she's going from room to room and

792
00:38:40,040 --> 00:38:42,480
Speaker 1: the bands there and it was just kind of wild.

793
00:38:42,800 --> 00:38:44,600
Speaker 1: It's a different way to be creative. But I hadn't

794
00:38:44,840 --> 00:38:48,799
Speaker 1: had much experience doing that before, so I didn't know

795
00:38:48,960 --> 00:38:51,680
Speaker 1: when I left, I didn't know that I had, you know,

796
00:38:51,760 --> 00:38:54,920
Speaker 1: anything that would that actually make the you know, the

797
00:38:54,960 --> 00:38:57,000
Speaker 1: film at that point, because there was so much still

798
00:38:57,040 --> 00:38:59,640
Speaker 1: more to do, the script that changed so many times,

799
00:38:59,680 --> 00:39:03,520
Speaker 1: the band had changed, the they everyone I left before

800
00:39:03,560 --> 00:39:07,240
Speaker 1: everybody else. Um, but it was just such a blessing

801
00:39:07,280 --> 00:39:10,719
Speaker 1: and the song came out so good. It's funny because

802
00:39:10,719 --> 00:39:13,000
Speaker 1: I remember writing that song and um, We're in this

803
00:39:13,120 --> 00:39:15,680
Speaker 1: famous studio and the Food Fighters were there. We were

804
00:39:15,719 --> 00:39:17,600
Speaker 1: totally friends with the Food Fighters for like a whole week.

805
00:39:17,840 --> 00:39:21,279
Speaker 1: Oh they were there. They were in the lounge beside us,

806
00:39:21,440 --> 00:39:23,440
Speaker 1: and they would like come over and see if we

807
00:39:23,480 --> 00:39:27,120
Speaker 1: had better cookies, and they did, like literally, like I

808
00:39:27,120 --> 00:39:29,960
Speaker 1: don't think like they knew any of our names, but

809
00:39:30,000 --> 00:39:34,000
Speaker 1: we totally were friends for like so like the nicest

810
00:39:34,040 --> 00:39:37,080
Speaker 1: I'm a massive fan like Pat Smir, Taylor Hawkins, Dave Girl.

811
00:39:37,200 --> 00:39:40,280
Speaker 1: They were the nicest people you ever. The only problem

812
00:39:40,280 --> 00:39:42,279
Speaker 1: I have a Dave Girl is he because I say

813
00:39:42,320 --> 00:39:45,600
Speaker 1: my name is Laurie because I'm from Boston, and he

814
00:39:45,760 --> 00:39:48,080
Speaker 1: was like, what is your name? So he thinks my

815
00:39:48,160 --> 00:39:52,719
Speaker 1: name is Larry. But um, but literally we were like

816
00:39:52,800 --> 00:39:54,919
Speaker 1: best friends with the Food Fighters for a little while

817
00:39:55,000 --> 00:39:57,399
Speaker 1: and and we were just write and write all day long,

818
00:39:57,480 --> 00:39:59,600
Speaker 1: and then they would bring in food and um, and

819
00:39:59,640 --> 00:40:04,120
Speaker 1: when you wrote the you know, always remember us this way.

820
00:40:04,360 --> 00:40:07,759
Speaker 1: There was like crying involved. There was like, you know,

821
00:40:07,800 --> 00:40:10,080
Speaker 1: she got a lady guy who got so emotional with

822
00:40:10,120 --> 00:40:12,160
Speaker 1: the lyrics of that song, and she was so in

823
00:40:12,239 --> 00:40:14,319
Speaker 1: it that it was one of those moments where I left.

824
00:40:14,360 --> 00:40:15,680
Speaker 1: I didn't know if it was going to make it,

825
00:40:15,760 --> 00:40:17,799
Speaker 1: but I like just prayed to God that they would

826
00:40:17,840 --> 00:40:21,719
Speaker 1: let something that vulnerable in because she had been she

827
00:40:21,840 --> 00:40:23,480
Speaker 1: sort of just laid it all out, you know what

828
00:40:23,520 --> 00:40:25,760
Speaker 1: I mean, Like she had put herself into that character

829
00:40:25,880 --> 00:40:27,920
Speaker 1: so much, and it was clear even then, and they

830
00:40:27,920 --> 00:40:30,719
Speaker 1: hadn't even started filming it, so it was kind of amazing.

831
00:40:32,360 --> 00:40:34,920
Speaker 1: You sing background vocals on this song. No, you're not

832
00:40:34,920 --> 00:40:39,359
Speaker 1: on the song at don't know who does. Yeah. When

833
00:40:39,400 --> 00:40:41,759
Speaker 1: you hear the song the first time, is it during

834
00:40:41,760 --> 00:40:44,719
Speaker 1: the movie or do you get a track first? It's

835
00:40:44,760 --> 00:40:48,400
Speaker 1: been during the movie when she performs by herself the

836
00:40:48,480 --> 00:40:52,000
Speaker 1: first time on stage. Um, but there isn't anything. I

837
00:40:52,040 --> 00:40:54,040
Speaker 1: don't think there's any hints of it before that in

838
00:40:54,080 --> 00:40:56,680
Speaker 1: the film. What do you think about it? I thought

839
00:40:56,719 --> 00:40:59,120
Speaker 1: it was amazing. I mean, but it was like one

840
00:40:59,160 --> 00:41:02,920
Speaker 1: of those things where like my kids and my husband,

841
00:41:03,440 --> 00:41:05,000
Speaker 1: you know, to the movie when it came because I

842
00:41:05,040 --> 00:41:07,520
Speaker 1: didn't missed the premiere. Um I was out in l

843
00:41:07,560 --> 00:41:09,520
Speaker 1: A when the premiere here happened, so I missed it.

844
00:41:09,600 --> 00:41:14,480
Speaker 1: But so I made the kids, um, I'll come and

845
00:41:14,480 --> 00:41:18,400
Speaker 1: and we all sat there and uh and watched it together.

846
00:41:18,440 --> 00:41:20,000
Speaker 1: It was it was great, you know what I mean.

847
00:41:20,200 --> 00:41:22,440
Speaker 1: I thought the film was amazing. I thought, like, I

848
00:41:22,480 --> 00:41:24,960
Speaker 1: just loved everything about it. Do your kids think you're cool?

849
00:41:25,239 --> 00:41:28,640
Speaker 1: Hell no, they don't. Even you're writing songs a Lady Gaga,

850
00:41:29,440 --> 00:41:35,120
Speaker 1: You're I cannot impress these children, Like I literally the

851
00:41:35,520 --> 00:41:38,000
Speaker 1: you know when when Tim mcgrass saying something that I've

852
00:41:38,480 --> 00:41:40,760
Speaker 1: you know, been part of, that's the only way they'll

853
00:41:41,200 --> 00:41:46,279
Speaker 1: listen to it more than Yeah. They just all grew

854
00:41:46,360 --> 00:41:49,120
Speaker 1: up with me, like somewhere in the background, like you know,

855
00:41:49,320 --> 00:41:50,560
Speaker 1: you know how it is writing a song. You have

856
00:41:50,680 --> 00:41:53,040
Speaker 1: to sing the same part over and over and over again,

857
00:41:53,120 --> 00:41:55,960
Speaker 1: and they're just like over it. They're like when did

858
00:41:56,000 --> 00:42:00,000
Speaker 1: she gonna cook us? Do you get to take them

859
00:42:00,000 --> 00:42:01,840
Speaker 1: old places that're like okay, mom. Sometimes I'll be like

860
00:42:01,880 --> 00:42:05,480
Speaker 1: this is cool, mom, Yeah, they definitely you know, um,

861
00:42:05,520 --> 00:42:11,040
Speaker 1: they've definitely benefited from the you know, the blessings of

862
00:42:11,040 --> 00:42:14,759
Speaker 1: of the music industry and um. And and two of

863
00:42:14,800 --> 00:42:18,440
Speaker 1: my kids are songwriters. You know, really how old are

864
00:42:18,520 --> 00:42:21,840
Speaker 1: the older ones? My oldest is twenty nine and um,

865
00:42:21,920 --> 00:42:26,680
Speaker 1: he's a songwriter. And my third, Christopher is um he

866
00:42:26,719 --> 00:42:30,080
Speaker 1: just moved to town like days ago. Is there pressure

867
00:42:30,160 --> 00:42:32,719
Speaker 1: that they put on themselves? No, I don't think so.

868
00:42:32,880 --> 00:42:34,760
Speaker 1: I don't think so. What they do is very different.

869
00:42:34,840 --> 00:42:38,279
Speaker 1: It's not really you know, it's more pop and um,

870
00:42:38,360 --> 00:42:40,960
Speaker 1: and they're in a band together and um, and what

871
00:42:41,000 --> 00:42:45,200
Speaker 1: they do is very I think that they've they've I

872
00:42:45,239 --> 00:42:48,520
Speaker 1: think what they learned from watching my husband, whose name's Jean,

873
00:42:48,760 --> 00:42:52,240
Speaker 1: you know, Geen and me, is that because my husband

874
00:42:52,239 --> 00:42:54,000
Speaker 1: moves always like, look at what you've done. You've ruined

875
00:42:54,000 --> 00:42:56,879
Speaker 1: these kids, and it's gonna they're never gonna make any money.

876
00:42:56,920 --> 00:42:59,879
Speaker 1: They're just gonna you know, chase their dreams. But when

877
00:43:00,040 --> 00:43:03,000
Speaker 1: you see someone come home every day and have a

878
00:43:03,120 --> 00:43:04,920
Speaker 1: hard day, you know, my husband has a you know,

879
00:43:04,960 --> 00:43:06,839
Speaker 1: he's a plumber. He works for the gas company, and

880
00:43:06,880 --> 00:43:09,200
Speaker 1: like you know, like anything else, some of those days

881
00:43:09,200 --> 00:43:12,279
Speaker 1: are going to be really hard. And when you see

882
00:43:12,320 --> 00:43:15,720
Speaker 1: someone else sits over there rhyming and like like answering

883
00:43:15,719 --> 00:43:18,040
Speaker 1: the door at the like you said, you know, it's

884
00:43:18,080 --> 00:43:21,240
Speaker 1: like they're like, it's not really me chasing my dreams

885
00:43:21,280 --> 00:43:24,479
Speaker 1: that made them follow me. It's more watching him and

886
00:43:24,719 --> 00:43:29,120
Speaker 1: being like, I don't want to do that. So I think, um,

887
00:43:29,160 --> 00:43:31,880
Speaker 1: you know, we'll see what the young the young ones

888
00:43:32,200 --> 00:43:34,880
Speaker 1: end up doing. But um, but I think, you know,

889
00:43:35,000 --> 00:43:37,720
Speaker 1: they've all grown up so much with music. Like sometimes

890
00:43:37,719 --> 00:43:39,640
Speaker 1: there's there'll be a writer in the basement and I'll

891
00:43:39,680 --> 00:43:42,640
Speaker 1: be like, dude, you know that, and they don't nothing,

892
00:43:42,680 --> 00:43:44,880
Speaker 1: they don't care. But it's just normal. Luke Laard's down there,

893
00:43:44,880 --> 00:43:48,319
Speaker 1: he said, twenty three number one songs, and they're like, yo,

894
00:43:48,440 --> 00:43:52,040
Speaker 1: what they can't be impressed. They can't. I've never ever

895
00:43:52,239 --> 00:43:56,000
Speaker 1: introduced I don't think my kids to you know. Once

896
00:43:56,000 --> 00:43:57,480
Speaker 1: in one year we were at the A C. M

897
00:43:57,560 --> 00:43:59,680
Speaker 1: S and we brought them to like the Luke Bryant party.

898
00:43:59,719 --> 00:44:03,000
Speaker 1: You know, me, nothing, what do they like? What? What?

899
00:44:03,000 --> 00:44:04,799
Speaker 1: What are your kids like? They like country music, they

900
00:44:04,800 --> 00:44:06,880
Speaker 1: really did, but they I just think they keep it

901
00:44:06,920 --> 00:44:09,160
Speaker 1: all in check. And plus they're a little sick of

902
00:44:09,360 --> 00:44:12,440
Speaker 1: listening to me, so it all goes together. You know

903
00:44:12,480 --> 00:44:15,000
Speaker 1: what song you have that I really like that you guys,

904
00:44:15,400 --> 00:44:16,600
Speaker 1: maybe you just didn't write if you just put it

905
00:44:16,640 --> 00:44:19,960
Speaker 1: out speaking of Luke was Gone and country music and

906
00:44:20,040 --> 00:44:23,200
Speaker 1: Luke you wrote that together, right? And yeah? And that

907
00:44:23,320 --> 00:44:27,640
Speaker 1: was that. This is emotional this one. So this, this

908
00:44:27,680 --> 00:44:31,279
Speaker 1: is a George Straight song. Now how does it get

909
00:44:31,320 --> 00:44:33,240
Speaker 1: to George? Do you know you're writing it for George?

910
00:44:33,880 --> 00:44:35,879
Speaker 1: I have so many questions about a George Straight song.

911
00:44:36,760 --> 00:44:38,520
Speaker 1: How does this start? Are you just in a room

912
00:44:38,520 --> 00:44:41,040
Speaker 1: and you to come up with the concept first? So

913
00:44:41,560 --> 00:44:44,680
Speaker 1: do you know George's looking? Um? I think that for

914
00:44:44,719 --> 00:44:47,359
Speaker 1: the most part, the publishers all in town know all

915
00:44:47,400 --> 00:44:50,800
Speaker 1: that stuff. And um, So I write for Creative Nation.

916
00:44:51,320 --> 00:44:54,520
Speaker 1: Luke Laird's wife, Beth Laird runs Creative Nation. So I

917
00:44:55,239 --> 00:44:57,960
Speaker 1: and Luke and Barry and I are dear friends. And

918
00:44:58,160 --> 00:45:02,280
Speaker 1: so I have a day with Barry and Luke and

919
00:45:02,280 --> 00:45:05,520
Speaker 1: and we're sitting up in Luke's office and I know

920
00:45:05,600 --> 00:45:08,960
Speaker 1: that probably Luke, you know, they send the lists, you know,

921
00:45:09,040 --> 00:45:11,400
Speaker 1: like these are the people that are looking, these are

922
00:45:11,480 --> 00:45:14,239
Speaker 1: the these are the producers, this is when they'll cut.

923
00:45:15,440 --> 00:45:18,160
Speaker 1: But George streets list of songs. Some my listeners know

924
00:45:18,160 --> 00:45:20,359
Speaker 1: this because I've seen I've seen it. But there's you're

925
00:45:20,440 --> 00:45:23,600
Speaker 1: telling me there's a list of people who are currently

926
00:45:23,640 --> 00:45:27,680
Speaker 1: looking for songs, and you can go, Okay, well we

927
00:45:27,719 --> 00:45:31,400
Speaker 1: can write something. Maybe sensibly this person would like a

928
00:45:31,440 --> 00:45:33,400
Speaker 1: song like this, So why don't we aim at this direction. Well,

929
00:45:33,400 --> 00:45:35,480
Speaker 1: it doesn't tell you what the song is like. It

930
00:45:35,560 --> 00:45:38,359
Speaker 1: just tells you what the artist like. Yeah, yeah, this

931
00:45:38,400 --> 00:45:40,640
Speaker 1: is the artist, this is a producer. This is when

932
00:45:40,719 --> 00:45:43,840
Speaker 1: they should be cutting UM. And then those have always

933
00:45:43,880 --> 00:45:47,720
Speaker 1: been around since, um, since I came to town. UM.

934
00:45:47,760 --> 00:45:50,839
Speaker 1: And sometimes they'll have more information, But for the most part,

935
00:45:50,880 --> 00:45:53,840
Speaker 1: I don't even open those emails because I'm not really

936
00:45:53,880 --> 00:45:58,520
Speaker 1: good at trying to go for an artist, especially if

937
00:45:58,520 --> 00:46:00,400
Speaker 1: it's someone like George Street that I've never met, Like,

938
00:46:00,440 --> 00:46:02,000
Speaker 1: I don't really know how to do it. I have

939
00:46:02,080 --> 00:46:04,800
Speaker 1: to kind of write UM from like a very self

940
00:46:04,880 --> 00:46:08,880
Speaker 1: centered I guess part. I wouldn't say self center. I

941
00:46:08,920 --> 00:46:13,120
Speaker 1: would say knowledge of self. Thank you. That's a way

942
00:46:13,200 --> 00:46:15,920
Speaker 1: better way to say that. Yeah, so we but the

943
00:46:15,960 --> 00:46:19,600
Speaker 1: three of us had a date and UM, and again

944
00:46:19,960 --> 00:46:22,680
Speaker 1: everybody all songwriters have a list of titles in their phone.

945
00:46:23,360 --> 00:46:26,719
Speaker 1: And I'm sitting there with Barry and Luke and um,

946
00:46:26,800 --> 00:46:29,520
Speaker 1: and I said, I have this title, but I have

947
00:46:29,560 --> 00:46:31,719
Speaker 1: no I know. I said, I don't know how to

948
00:46:31,800 --> 00:46:35,160
Speaker 1: do it or what it means. And I said, you know,

949
00:46:35,280 --> 00:46:38,520
Speaker 1: God and country music. And and Barry was sitting with

950
00:46:38,600 --> 00:46:40,680
Speaker 1: his computer on his lap, and Luke was at his

951
00:46:40,760 --> 00:46:45,640
Speaker 1: little rig with his guitar in his hand, and um,

952
00:46:45,680 --> 00:46:49,760
Speaker 1: and Barry does this thing sometimes he'll just start typing

953
00:46:49,800 --> 00:46:52,719
Speaker 1: away and he disappears for a moment, not a long time,

954
00:46:52,719 --> 00:46:54,640
Speaker 1: and you just sort of when Barry does that, we

955
00:46:54,680 --> 00:46:57,920
Speaker 1: all sort of know to wait a minute. And and

956
00:46:58,000 --> 00:47:00,360
Speaker 1: he said, well, you it could be. I'm like, I

957
00:47:00,400 --> 00:47:02,000
Speaker 1: don't know. I don't like, I don't even know why

958
00:47:02,000 --> 00:47:03,680
Speaker 1: I wrote it down. I don't know where, like what

959
00:47:03,680 --> 00:47:05,400
Speaker 1: it means and what to do with it. And He's like,

960
00:47:05,400 --> 00:47:07,600
Speaker 1: well it could be, you know, like you know, God

961
00:47:07,640 --> 00:47:11,960
Speaker 1: and country music, you know, like whiskey in a prayer. Again,

962
00:47:12,040 --> 00:47:14,040
Speaker 1: I swear to God, these crazy things happened to me.

963
00:47:14,640 --> 00:47:17,440
Speaker 1: And like Johnny Cash his arm around Billy Graham. So

964
00:47:17,520 --> 00:47:20,800
Speaker 1: in Barry's office at his house, he has that famous

965
00:47:20,800 --> 00:47:23,759
Speaker 1: picture of Johnny Cashed in with Billy Graham. And it's

966
00:47:23,800 --> 00:47:26,680
Speaker 1: one of you know, it's a. It's a very special

967
00:47:26,760 --> 00:47:29,960
Speaker 1: photograph for him. Um. And as soon as you said that,

968
00:47:30,040 --> 00:47:32,840
Speaker 1: Luke just swung around his chair and started playing chords

969
00:47:32,880 --> 00:47:35,600
Speaker 1: and and he said, just do it again, but sing it.

970
00:47:35,880 --> 00:47:39,640
Speaker 1: And he's saying saying the verse. At one point during

971
00:47:39,840 --> 00:47:44,440
Speaker 1: during the day, I'm pretty sure Luke said, God, you know,

972
00:47:44,480 --> 00:47:46,440
Speaker 1: it would be crazy, you know, it would be amazing

973
00:47:46,640 --> 00:47:49,520
Speaker 1: if we could get this to George straight. And so

974
00:47:49,760 --> 00:47:53,240
Speaker 1: I don't know how they all did it, but um,

975
00:47:53,280 --> 00:47:58,440
Speaker 1: that's all getting that cut and knowing how much everybody

976
00:47:58,480 --> 00:48:02,040
Speaker 1: loves George but a special my friend Barry Dean and

977
00:48:02,080 --> 00:48:05,000
Speaker 1: my friend Luc Lear and how important that that cut

978
00:48:05,000 --> 00:48:07,720
Speaker 1: is to them, and and because we love the song

979
00:48:08,080 --> 00:48:11,880
Speaker 1: and and we love each other. It's like when we

980
00:48:12,040 --> 00:48:15,719
Speaker 1: heard that voice sing those words, it was like, you know,

981
00:48:15,800 --> 00:48:17,799
Speaker 1: you can't, you can't. You just kind of like thank

982
00:48:17,840 --> 00:48:21,279
Speaker 1: your lucky stars for something like that to happen. You know,

983
00:48:21,840 --> 00:48:25,680
Speaker 1: that's so cool, especially because it's you appreciate it. God,

984
00:48:26,040 --> 00:48:28,320
Speaker 1: you know. I mean it's like I have to watch myself.

985
00:48:28,440 --> 00:48:29,880
Speaker 1: I'll just start balling all the time. I mean, I

986
00:48:29,880 --> 00:48:32,000
Speaker 1: just can't walk around balling all the time. I would

987
00:48:32,080 --> 00:48:36,239
Speaker 1: watch Luc Laard's it's a story. And you know, they

988
00:48:36,400 --> 00:48:38,360
Speaker 1: people playing this when they came out, and we were

989
00:48:38,400 --> 00:48:40,279
Speaker 1: playing it on my show too, And I knew it

990
00:48:40,280 --> 00:48:42,240
Speaker 1: was special to him because he posted it like three times,

991
00:48:42,239 --> 00:48:45,880
Speaker 1: three different and I was like, oh, Luke loves that

992
00:48:45,680 --> 00:48:47,919
Speaker 1: that George Straight. Who who wouldn't loved the George Straight

993
00:48:47,960 --> 00:48:49,520
Speaker 1: singing your song? You know what I mean? Yeah, well

994
00:48:49,520 --> 00:48:52,799
Speaker 1: who wouldn't. Absolutely? And but but for for that, for

995
00:48:52,840 --> 00:48:55,000
Speaker 1: the two of them, and they're besties, you know, they're

996
00:48:55,040 --> 00:48:58,400
Speaker 1: best friends, and for the two of them, um to

997
00:48:58,600 --> 00:49:01,640
Speaker 1: have that moment to you know, together, me sort of

998
00:49:01,680 --> 00:49:05,080
Speaker 1: be able to watch them, you know, be so thankful

999
00:49:05,120 --> 00:49:08,880
Speaker 1: for that song and and and where it landed is

1000
00:49:09,200 --> 00:49:10,960
Speaker 1: it's gonna I can tell it's just gonna be a

1001
00:49:10,960 --> 00:49:15,239
Speaker 1: fun ride. That's so cool. Yeah. When I like your

1002
00:49:15,360 --> 00:49:19,200
Speaker 1: music and I just listen to listen to your stuff. Um,

1003
00:49:19,239 --> 00:49:20,840
Speaker 1: if I had to pick a song because I was

1004
00:49:20,840 --> 00:49:24,440
Speaker 1: thinking about this, because I figure, because I'll post your

1005
00:49:24,440 --> 00:49:25,879
Speaker 1: songs on my answer story too and be like, did

1006
00:49:25,880 --> 00:49:27,759
Speaker 1: everybody should listen to this song? And I'll play on

1007
00:49:27,800 --> 00:49:30,759
Speaker 1: my shows. I like, well, people when people get get

1008
00:49:30,760 --> 00:49:34,520
Speaker 1: all came out, I thought I was such a I

1009
00:49:34,520 --> 00:49:37,279
Speaker 1: don't think it matters what age you are, like you

1010
00:49:37,360 --> 00:49:40,000
Speaker 1: feel this song. You could be sixteen and feel this

1011
00:49:40,040 --> 00:49:42,399
Speaker 1: song because there's a part of you that goes I'm

1012
00:49:42,400 --> 00:49:44,239
Speaker 1: watching all this stuff like I'm thirty eight right now

1013
00:49:45,000 --> 00:49:47,120
Speaker 1: and I'm going, oh, she's talking about me. In my age,

1014
00:49:47,360 --> 00:49:50,480
Speaker 1: people get old and it's just about how your life's

1015
00:49:50,480 --> 00:49:53,759
Speaker 1: all growing and changing and everything around to you. I

1016
00:49:53,800 --> 00:49:57,799
Speaker 1: love this song. I love wreck You. Oh cool. Yeah.

1017
00:49:57,920 --> 00:50:01,239
Speaker 1: I wrote that with Felix Motigue like and that song

1018
00:50:01,360 --> 00:50:05,920
Speaker 1: was cut a couple of times for me. Yeah. Heidi

1019
00:50:06,000 --> 00:50:09,160
Speaker 1: Newfield cut that song and David Now cut that song,

1020
00:50:09,719 --> 00:50:12,680
Speaker 1: and David didn't put it out because Heidi did. She

1021
00:50:12,719 --> 00:50:14,879
Speaker 1: put it on a record, so David didn't put it out.

1022
00:50:14,960 --> 00:50:16,879
Speaker 1: But god, I love his voice and I love both

1023
00:50:16,880 --> 00:50:20,240
Speaker 1: of them, but um, that song I ended up cutting it.

1024
00:50:20,239 --> 00:50:22,000
Speaker 1: It was like eight years old by the time I

1025
00:50:22,040 --> 00:50:24,680
Speaker 1: put it on The Burden the Rifle. But because it

1026
00:50:24,760 --> 00:50:26,239
Speaker 1: just it was just one of those songs that just

1027
00:50:26,320 --> 00:50:31,279
Speaker 1: always came up as um like people would ask me

1028
00:50:31,320 --> 00:50:33,200
Speaker 1: to sing it or something. It like just kind of

1029
00:50:33,200 --> 00:50:36,520
Speaker 1: wouldn't go away. It just wanted its own time, and

1030
00:50:36,800 --> 00:50:39,200
Speaker 1: I was happy to have it part of that record.

1031
00:50:40,120 --> 00:50:43,120
Speaker 1: The Humble and kind you wrote by yourself, right, yes,

1032
00:50:43,280 --> 00:50:46,200
Speaker 1: so you're sitting I think that it that's like one

1033
00:50:46,239 --> 00:50:49,160
Speaker 1: of the only songs in a lot. Maybe Taylor slowed

1034
00:50:49,160 --> 00:50:51,360
Speaker 1: her hours by herself, Like there's only a couple of

1035
00:50:51,400 --> 00:50:53,719
Speaker 1: songs and like the past ten or fifteen years that

1036
00:50:53,760 --> 00:50:56,600
Speaker 1: it won't number one that were written by a single person.

1037
00:50:57,440 --> 00:51:00,760
Speaker 1: That's pretty freaking cool. Well that that is cool and

1038
00:51:00,760 --> 00:51:03,760
Speaker 1: and it's funny because you would think it does happen

1039
00:51:03,960 --> 00:51:08,719
Speaker 1: more often. But I think, um, I think that the

1040
00:51:08,840 --> 00:51:11,319
Speaker 1: part of the reason I love this town and I've

1041
00:51:11,600 --> 00:51:14,759
Speaker 1: I don't explain this very well, but you know, I

1042
00:51:14,800 --> 00:51:18,759
Speaker 1: was I had maybe three three or four maybe more

1043
00:51:18,840 --> 00:51:22,920
Speaker 1: records out before I started coming I guess three records

1044
00:51:22,960 --> 00:51:25,560
Speaker 1: up before I started coming to Nashville to write songs.

1045
00:51:25,640 --> 00:51:27,440
Speaker 1: So I had never co written a song, Like I

1046
00:51:27,520 --> 00:51:30,759
Speaker 1: just came up writing songs by myself. And at that

1047
00:51:30,800 --> 00:51:32,759
Speaker 1: time in the Boston community, there wasn't a ton of

1048
00:51:32,800 --> 00:51:34,880
Speaker 1: people that co wrote, so I didn't know how to

1049
00:51:34,920 --> 00:51:37,440
Speaker 1: do it, and I didn't know like it just seems

1050
00:51:37,480 --> 00:51:39,759
Speaker 1: so weird to me, like how do you pour your

1051
00:51:39,800 --> 00:51:43,359
Speaker 1: heart out? And like with someone else sitting on the other,

1052
00:51:43,480 --> 00:51:45,200
Speaker 1: you know, side of the room just staring at you,

1053
00:51:45,280 --> 00:51:49,279
Speaker 1: like how does that work? It seems crazy, And but

1054
00:51:49,480 --> 00:51:52,040
Speaker 1: I will say that this that's how where I found

1055
00:51:52,080 --> 00:51:54,680
Speaker 1: my community. Like that's where I found like so I

1056
00:51:54,680 --> 00:51:58,040
Speaker 1: always explained it as some people are really great musicians,

1057
00:51:58,239 --> 00:52:01,320
Speaker 1: really great singers that can like playing anything, sing anything,

1058
00:52:01,440 --> 00:52:05,160
Speaker 1: know everybody's songs and and and they can like jump

1059
00:52:05,200 --> 00:52:08,160
Speaker 1: on stage and help you sing your song, help you

1060
00:52:08,360 --> 00:52:10,120
Speaker 1: like you know, you know tons of people like this.

1061
00:52:10,160 --> 00:52:12,239
Speaker 1: You're probably like this, like you can harmonize, you can

1062
00:52:12,520 --> 00:52:15,319
Speaker 1: you know, just start playing along. And you know jac

1063
00:52:15,360 --> 00:52:18,200
Speaker 1: Owen is the best at that, right, Craig Campbell, Guys

1064
00:52:18,200 --> 00:52:19,880
Speaker 1: that can it doesn't matter what you're doing anytime, you

1065
00:52:19,960 --> 00:52:22,840
Speaker 1: can do it. And that that's a big part of

1066
00:52:22,840 --> 00:52:26,640
Speaker 1: the Boston acoustic live scene. Uh. There's a venue they're

1067
00:52:26,640 --> 00:52:29,000
Speaker 1: called Passing where we've all come up. It's like my

1068
00:52:29,080 --> 00:52:31,120
Speaker 1: home venue. And you see a ton of that. You

1069
00:52:31,239 --> 00:52:33,399
Speaker 1: just see like friends walking into the show and the

1070
00:52:33,440 --> 00:52:35,440
Speaker 1: next thing they're on stage and they're all playing together,

1071
00:52:36,000 --> 00:52:39,040
Speaker 1: and it's a it's this really nurturing part of music.

1072
00:52:39,080 --> 00:52:43,160
Speaker 1: It's really like where people, you know, the people that

1073
00:52:43,239 --> 00:52:46,279
Speaker 1: make the music really can connect that way. I've never

1074
00:52:46,320 --> 00:52:48,520
Speaker 1: been I want to do that. I still don't know

1075
00:52:48,520 --> 00:52:51,319
Speaker 1: how to harmonize unless Hillary Lindsay teaches me how to

1076
00:52:51,320 --> 00:52:55,320
Speaker 1: do it, and um and and so I'm really bad

1077
00:52:55,400 --> 00:52:58,399
Speaker 1: like that. So I was missing. I knew I was wrong.

1078
00:52:58,480 --> 00:53:02,000
Speaker 1: I knew I wasn't set, you know, like and all

1079
00:53:02,040 --> 00:53:05,120
Speaker 1: these things that everybody else was. Um. And then when

1080
00:53:05,120 --> 00:53:08,279
Speaker 1: I found co writing, I was like, oh, okay, So

1081
00:53:08,320 --> 00:53:11,799
Speaker 1: I can't harmonize to your song unless you teach me.

1082
00:53:12,520 --> 00:53:15,399
Speaker 1: But I can help you, right like I can sit

1083
00:53:15,440 --> 00:53:19,279
Speaker 1: here with you and and try to help you write

1084
00:53:19,320 --> 00:53:21,600
Speaker 1: the best song that you can today, or the best

1085
00:53:21,680 --> 00:53:23,880
Speaker 1: or the song that needs to come out of you,

1086
00:53:23,880 --> 00:53:25,160
Speaker 1: you know what I mean, or the song that no

1087
00:53:25,160 --> 00:53:28,760
Speaker 1: one's gonna hear, but you and I are like better

1088
00:53:28,920 --> 00:53:31,040
Speaker 1: for the experience of writing it, just because we got

1089
00:53:31,080 --> 00:53:34,880
Speaker 1: something off our heart or whatever. Because as you know,

1090
00:53:35,000 --> 00:53:37,440
Speaker 1: like we all write a Brazilian songs nobody hears, but

1091
00:53:38,239 --> 00:53:40,160
Speaker 1: you have to be thankful for them because they get

1092
00:53:40,200 --> 00:53:43,360
Speaker 1: you to the one, you know, the one in a

1093
00:53:43,440 --> 00:53:46,040
Speaker 1: hundred that somebody will here. And that's where I really

1094
00:53:46,080 --> 00:53:48,279
Speaker 1: found my community. I think that's partly why I love

1095
00:53:48,760 --> 00:53:53,120
Speaker 1: this town so much, because I I really that's where

1096
00:53:53,160 --> 00:53:55,640
Speaker 1: I connected with with my co writer. So as much

1097
00:53:55,680 --> 00:53:58,680
Speaker 1: as I do write, I do like writing alone still.

1098
00:54:00,040 --> 00:54:01,880
Speaker 1: Um And sometimes I will have a title that I

1099
00:54:01,920 --> 00:54:05,200
Speaker 1: feel like, I just nobody, Nobody's gonna like this title.

1100
00:54:05,239 --> 00:54:07,960
Speaker 1: I'll just do it by myself. But sometimes I just

1101
00:54:08,120 --> 00:54:10,920
Speaker 1: really can't do it alone, I mean by myself anymore.

1102
00:54:10,920 --> 00:54:15,040
Speaker 1: And I enjoy, you know, I enjoy that, the pulling

1103
00:54:15,080 --> 00:54:18,120
Speaker 1: it apart with a group, you know, within it with

1104
00:54:18,200 --> 00:54:20,000
Speaker 1: two or three people. It's great. I was sent the

1105
00:54:20,080 --> 00:54:22,479
Speaker 1: list just now of other number ones in country music

1106
00:54:22,520 --> 00:54:24,200
Speaker 1: that have been written by one person. There are only

1107
00:54:24,239 --> 00:54:30,200
Speaker 1: a few. Taylor Ours, Patsy Klein Crazy, didn you wrote

1108
00:54:30,200 --> 00:54:35,000
Speaker 1: that little trivia? Do you know he wrote Patsy? Yeah,

1109
00:54:35,080 --> 00:54:40,040
Speaker 1: Johnny Cash, a boy named Sue written by and Dolly Parton.

1110
00:54:40,680 --> 00:54:44,399
Speaker 1: Dolly wrote by herself. Are those are the only other

1111
00:54:44,400 --> 00:54:47,480
Speaker 1: country songs? It's not true? Is that true? Mike just

1112
00:54:47,520 --> 00:54:50,960
Speaker 1: sent me this. I think that's all the big ones there.

1113
00:54:50,960 --> 00:54:54,040
Speaker 1: Maybe a couple more. Yeah. Yeah. Well the thing is

1114
00:54:54,239 --> 00:54:57,080
Speaker 1: about this town. I mean you can't really you can't

1115
00:54:57,080 --> 00:55:00,160
Speaker 1: really blame them because at any you know, any given moment, know,

1116
00:55:00,520 --> 00:55:02,240
Speaker 1: like we could go down the street to a Starbucks,

1117
00:55:02,239 --> 00:55:04,319
Speaker 1: will probably bump into a great songwriter, So why not

1118
00:55:04,480 --> 00:55:06,960
Speaker 1: try to wrestle together when you write. This is kind

1119
00:55:06,960 --> 00:55:08,880
Speaker 1: of a nerdy songwriting question for you because I'll get

1120
00:55:08,880 --> 00:55:10,640
Speaker 1: into roos of topes of people. And there are a

1121
00:55:10,640 --> 00:55:12,279
Speaker 1: couple of kind of writers that are writers that will

1122
00:55:12,320 --> 00:55:15,799
Speaker 1: go they're very lyric based and very melody based and

1123
00:55:15,840 --> 00:55:18,879
Speaker 1: sometimes and so for example, I have one friend who

1124
00:55:18,880 --> 00:55:22,719
Speaker 1: writes on melody first, so uh, somebody will either play

1125
00:55:22,840 --> 00:55:25,760
Speaker 1: or track will be built to write and she'll goot

1126
00:55:25,960 --> 00:55:28,480
Speaker 1: do to do batt dude, And then you insert the

1127
00:55:28,520 --> 00:55:31,120
Speaker 1: words to the melody that's just been or so it

1128
00:55:31,120 --> 00:55:32,640
Speaker 1: comes down with a bunch of lyrics and it's like,

1129
00:55:32,880 --> 00:55:34,799
Speaker 1: this is my idea. These are some of the couple

1130
00:55:34,800 --> 00:55:36,120
Speaker 1: that's I have. This is where I want to go,

1131
00:55:36,440 --> 00:55:40,000
Speaker 1: and then you build the melody around that. How do

1132
00:55:40,120 --> 00:55:42,759
Speaker 1: you walk in approach or right when it's just you?

1133
00:55:42,760 --> 00:55:45,040
Speaker 1: Are you lyric or melody? I think I like to

1134
00:55:45,080 --> 00:55:46,799
Speaker 1: have a title. I love to have a title. I

1135
00:55:46,840 --> 00:55:48,799
Speaker 1: love titles, and I know some people don't like that,

1136
00:55:48,840 --> 00:55:52,719
Speaker 1: but I do love titles, and I think that's why, Um,

1137
00:55:52,760 --> 00:55:54,719
Speaker 1: you know a lot of us have just a list

1138
00:55:54,760 --> 00:55:58,000
Speaker 1: in our phone. But I think, honestly, the best thing

1139
00:55:58,000 --> 00:55:59,560
Speaker 1: in the world is if you can find them both

1140
00:55:59,600 --> 00:56:01,560
Speaker 1: at the same time, if you can find the melody

1141
00:56:01,680 --> 00:56:03,440
Speaker 1: in the lyric at the same time, and they just

1142
00:56:03,480 --> 00:56:05,480
Speaker 1: pop out of your face. You know what I mean?

1143
00:56:05,520 --> 00:56:07,960
Speaker 1: That does sound easy. If I can just on both

1144
00:56:08,000 --> 00:56:10,799
Speaker 1: and they pop out. Lord, this must be so easy

1145
00:56:10,840 --> 00:56:12,360
Speaker 1: for you, Like, you know, if you just have a

1146
00:56:12,440 --> 00:56:14,400
Speaker 1: number one fall out of your mouth. That's that's what

1147
00:56:14,640 --> 00:56:18,480
Speaker 1: what I would recommend. I think that's the way first. No,

1148
00:56:18,680 --> 00:56:21,760
Speaker 1: but but I do. I guess I have to start.

1149
00:56:22,080 --> 00:56:24,040
Speaker 1: If I'm by myself, I have to start with words.

1150
00:56:24,040 --> 00:56:27,200
Speaker 1: But what I will do at home is I maybe

1151
00:56:27,280 --> 00:56:28,920
Speaker 1: that's not true, because what I do at home is

1152
00:56:28,960 --> 00:56:31,319
Speaker 1: I just play chords and I blah blah like your

1153
00:56:31,480 --> 00:56:35,320
Speaker 1: your friend and and then you'll usually find the words

1154
00:56:35,360 --> 00:56:38,120
Speaker 1: that you know. And if I can't this day, is

1155
00:56:38,160 --> 00:56:41,640
Speaker 1: that I just you know, I'll try, like I'll try

1156
00:56:41,719 --> 00:56:43,680
Speaker 1: for an hour and I can't. I just end up

1157
00:56:43,719 --> 00:56:46,000
Speaker 1: hating myself, so I'll just put it away. I'm not

1158
00:56:46,080 --> 00:56:47,840
Speaker 1: an every day writer. I couldn't write every day like,

1159
00:56:47,880 --> 00:56:52,080
Speaker 1: oh god, I'm not that smart man. I have friends,

1160
00:56:52,120 --> 00:56:55,319
Speaker 1: a grind and two songs to day. You're talking about,

1161
00:56:55,480 --> 00:56:58,640
Speaker 1: you know, four hours minimally twice a day at least.

1162
00:56:58,840 --> 00:57:03,120
Speaker 1: Phil Barton here hero that guy you know, and and

1163
00:57:03,280 --> 00:57:05,239
Speaker 1: he's been to my house many times. And the thing

1164
00:57:05,280 --> 00:57:07,839
Speaker 1: about Phil is he I don't every time I picture him,

1165
00:57:07,880 --> 00:57:11,399
Speaker 1: he has a guitar and and he's just playing another thing.

1166
00:57:11,480 --> 00:57:14,239
Speaker 1: And so I mean, I think, you know, for the

1167
00:57:14,280 --> 00:57:18,920
Speaker 1: most part, I need to have a a starting point

1168
00:57:19,200 --> 00:57:22,479
Speaker 1: lyrically in my head. I do love writing with track

1169
00:57:22,560 --> 00:57:25,320
Speaker 1: people where they'll play you something. And but what what

1170
00:57:25,400 --> 00:57:28,160
Speaker 1: I always ask myself is what does that feel like?

1171
00:57:28,200 --> 00:57:30,360
Speaker 1: What does it feel like? It wants that sounds weird?

1172
00:57:30,400 --> 00:57:32,560
Speaker 1: But what does that feel like? It wants to say? Like?

1173
00:57:32,760 --> 00:57:36,520
Speaker 1: Is it like nostalgic? Is it does it sound sad?

1174
00:57:36,640 --> 00:57:40,200
Speaker 1: Doesn't you know? Um? God, That's why we love it.

1175
00:57:40,200 --> 00:57:41,880
Speaker 1: It's like you never know what you're gonna get into.

1176
00:57:41,960 --> 00:57:43,800
Speaker 1: It's funny you bring up Phili Barton. A couple of

1177
00:57:44,080 --> 00:57:46,960
Speaker 1: spends off of Phil. One filing, I wrote I have

1178
00:57:47,440 --> 00:57:49,680
Speaker 1: but a Kid's record and I have a number one

1179
00:57:49,720 --> 00:57:51,360
Speaker 1: kids song, and Phil and I wrote it together where

1180
00:57:51,400 --> 00:57:54,040
Speaker 1: he passed like call when I grow up? Yeah, okay,

1181
00:57:54,080 --> 00:57:55,520
Speaker 1: and he plays it and he'll go and do it.

1182
00:57:55,840 --> 00:57:57,640
Speaker 1: Writer arounds and he plays and people will always send

1183
00:57:57,680 --> 00:57:59,520
Speaker 1: me and I love Phil like that's so much energy.

1184
00:57:59,680 --> 00:58:02,160
Speaker 1: So but did you guys write the Eli Young band

1185
00:58:02,200 --> 00:58:07,480
Speaker 1: song together? Um with Mike Yeah Sen Yeah yeah, and

1186
00:58:07,520 --> 00:58:09,720
Speaker 1: that started. I think there was like a little bit

1187
00:58:09,720 --> 00:58:11,680
Speaker 1: of lyrics, you know what I mean, And that did

1188
00:58:11,720 --> 00:58:16,640
Speaker 1: start lyrically, but um, yeah, those the Phils always you

1189
00:58:16,640 --> 00:58:19,360
Speaker 1: know when you just the thing about co writing is

1190
00:58:19,600 --> 00:58:22,640
Speaker 1: and I always say this is like say the three

1191
00:58:22,680 --> 00:58:24,600
Speaker 1: of us in the in the room. You know, some

1192
00:58:24,680 --> 00:58:28,040
Speaker 1: days you have an artist, so you know you're you're

1193
00:58:28,080 --> 00:58:30,520
Speaker 1: hoping the artists is the artist, and you'll be the

1194
00:58:30,520 --> 00:58:36,480
Speaker 1: therapist or the best friend, or the cheerleader or the editor,

1195
00:58:36,520 --> 00:58:38,240
Speaker 1: you know what I mean. Like, the thing that I

1196
00:58:38,280 --> 00:58:40,680
Speaker 1: love most about co writing is you just never know

1197
00:58:41,080 --> 00:58:43,640
Speaker 1: in the room that day which hat you're gonna have

1198
00:58:43,680 --> 00:58:47,320
Speaker 1: to wear. Like I write a lot with Hillary Lindsay

1199
00:58:47,360 --> 00:58:50,640
Speaker 1: and Liz Rose. And even if we were we're writing

1200
00:58:50,680 --> 00:58:53,840
Speaker 1: several songs a day sometimes because we just camp out

1201
00:58:53,920 --> 00:58:57,680
Speaker 1: and spend like three days together. And sometimes even the

1202
00:58:57,720 --> 00:59:00,919
Speaker 1: song like one song, Hilary be the artist and I'll

1203
00:59:00,920 --> 00:59:02,560
Speaker 1: be the you know what I mean, And and well

1204
00:59:02,560 --> 00:59:05,720
Speaker 1: I'll take the next song like we have something to

1205
00:59:05,760 --> 00:59:07,880
Speaker 1: eat and a glass of wine, and all of a sudden,

1206
00:59:08,080 --> 00:59:11,040
Speaker 1: next song is like, it's totally different. And and Liz

1207
00:59:11,120 --> 00:59:12,680
Speaker 1: is an artist, and you know what I mean, And

1208
00:59:12,720 --> 00:59:15,680
Speaker 1: we're trying to serve Liz and what she needs to

1209
00:59:15,880 --> 00:59:17,800
Speaker 1: have come out of her. And um, that's how I

1210
00:59:17,920 --> 00:59:20,400
Speaker 1: love about it. That's my favorite part. Let me run

1211
00:59:20,400 --> 00:59:21,760
Speaker 1: through some of these songs real quick. I feel like

1212
00:59:21,760 --> 00:59:22,880
Speaker 1: we could talk all day, but I want to make

1213
00:59:22,920 --> 00:59:25,680
Speaker 1: sure some of these are highlighted. Let's see. I want

1214
00:59:25,680 --> 00:59:31,520
Speaker 1: crazy Hunter Hayes. Look at this broth, this cool one

1215
00:59:32,520 --> 00:59:37,400
Speaker 1: right now, so many. I mean literally, I'm looking at

1216
00:59:37,760 --> 00:59:41,640
Speaker 1: fifty songs here. I don't think I even have this

1217
00:59:41,680 --> 00:59:43,360
Speaker 1: is all listen to your songs to have right here,

1218
00:59:43,400 --> 00:59:45,360
Speaker 1: all my little sheet. It's whatever I want to go to.

1219
00:59:45,840 --> 00:59:49,600
Speaker 1: You can cry pretty. That was a joy. Yeah, that

1220
00:59:49,720 --> 00:59:53,360
Speaker 1: was a joy. She is one hell of a songwriter.

1221
00:59:53,840 --> 00:59:56,040
Speaker 1: Carry Underwood, Oh my god. And of course I was

1222
00:59:56,080 --> 00:59:58,040
Speaker 1: love Junkies. That was me and Liz and Hillary and

1223
00:59:58,120 --> 01:00:00,720
Speaker 1: Carrie came in and she was just I love Junkie

1224
01:00:00,760 --> 01:00:03,600
Speaker 1: for a couple of days and we wrote a few songs.

1225
01:00:03,760 --> 01:00:08,160
Speaker 1: And and when you see somebody, especially like you know

1226
01:00:08,720 --> 01:00:11,960
Speaker 1: somebody that an artist that big when you when you

1227
01:00:12,880 --> 01:00:14,680
Speaker 1: and I've met her a couple of times before and

1228
01:00:14,720 --> 01:00:16,680
Speaker 1: she had cut another love junkie song, and she's been

1229
01:00:16,680 --> 01:00:18,439
Speaker 1: so good to us. But when she comes, when someone

1230
01:00:18,480 --> 01:00:23,440
Speaker 1: like that comes in, that talented and that um, you know,

1231
01:00:23,760 --> 01:00:27,040
Speaker 1: sort of exposed to the public and is that honest,

1232
01:00:27,520 --> 01:00:30,880
Speaker 1: it's it's just like, man, thank god, you know like

1233
01:00:30,920 --> 01:00:33,760
Speaker 1: she and she's a she's a. Just listening to her

1234
01:00:33,800 --> 01:00:36,840
Speaker 1: in the room, especially with Hillary, because their voices, you know,

1235
01:00:37,040 --> 01:00:40,240
Speaker 1: are so beautiful. Sing the crap out of words, both

1236
01:00:40,240 --> 01:00:42,280
Speaker 1: of them. They sing the crap out of words. It's

1237
01:00:42,320 --> 01:00:45,840
Speaker 1: just like crazy. My favorite Jillian Jacqueline song, God bless

1238
01:00:45,880 --> 01:00:48,640
Speaker 1: Us Mess. It's my favorite song from one of my

1239
01:00:48,640 --> 01:00:53,400
Speaker 1: favorite artists. She's amazing. Yeah, let's see how about I

1240
01:00:53,480 --> 01:00:56,240
Speaker 1: Love Happy People felt like got the Shaft? I don't

1241
01:00:56,240 --> 01:00:58,520
Speaker 1: know what and I tell I would, I don't know that.

1242
01:00:58,880 --> 01:01:01,720
Speaker 1: Every part of the song was fantastic. I tell you,

1243
01:01:01,920 --> 01:01:03,840
Speaker 1: I don't know what. What radio people do, I don't know.

1244
01:01:04,880 --> 01:01:07,960
Speaker 1: And I literally have the biggest radio show in the

1245
01:01:08,040 --> 01:01:09,840
Speaker 1: history of the format of country music, and I have

1246
01:01:09,880 --> 01:01:12,160
Speaker 1: no idea what it works, like the radio part of it,

1247
01:01:12,280 --> 01:01:14,720
Speaker 1: like the how the honestly, I don't like, I know,

1248
01:01:14,880 --> 01:01:16,760
Speaker 1: I see you just do your thing, You just do you.

1249
01:01:16,920 --> 01:01:18,800
Speaker 1: I kind of love that that because I don't really

1250
01:01:18,800 --> 01:01:21,800
Speaker 1: know how the bustic business work. I brain might get

1251
01:01:21,880 --> 01:01:23,640
Speaker 1: messed up if we learned too much about it. I

1252
01:01:23,640 --> 01:01:25,600
Speaker 1: feel like if I learned the rules, then I played

1253
01:01:25,600 --> 01:01:28,880
Speaker 1: by them, okay. And so there's some that I kind

1254
01:01:28,880 --> 01:01:32,560
Speaker 1: have to pick up along the way. But like at that,

1255
01:01:32,840 --> 01:01:35,880
Speaker 1: how that song didn't work? Happy people? Whatever makes you

1256
01:01:35,960 --> 01:01:38,880
Speaker 1: happy people? And all the kids and all everybody dance

1257
01:01:38,920 --> 01:01:41,000
Speaker 1: and every part of that was wonderful. Video is great.

1258
01:01:41,040 --> 01:01:43,800
Speaker 1: I wrote that with Hayley Winners, who's amazing and she's

1259
01:01:43,800 --> 01:01:47,920
Speaker 1: an artist and just check her out because she is amazing.

1260
01:01:47,920 --> 01:01:49,919
Speaker 1: And that was her idea. She showed up at my house.

1261
01:01:50,000 --> 01:01:51,880
Speaker 1: Never met her. Well maybe i'd met her like for

1262
01:01:51,880 --> 01:01:54,240
Speaker 1: a second, you know, so you know, like you said,

1263
01:01:54,320 --> 01:01:56,000
Speaker 1: knock on the door and open the door, and she said,

1264
01:01:56,040 --> 01:01:57,520
Speaker 1: I want to write a song called happy People, and

1265
01:01:57,560 --> 01:01:59,920
Speaker 1: I was like, let's do it. You know. That was

1266
01:02:00,080 --> 01:02:02,720
Speaker 1: her vision and um and it was a wonderful song.

1267
01:02:02,800 --> 01:02:05,280
Speaker 1: Let me say yeah, number one in my heart, thank you?

1268
01:02:06,200 --> 01:02:08,960
Speaker 1: Oh yeah yeah, tell me about that real quick. That

1269
01:02:09,040 --> 01:02:12,000
Speaker 1: was amazing. I went to be on the Oprah Show

1270
01:02:12,040 --> 01:02:14,640
Speaker 1: because Faith pulled me in and Um, she was going

1271
01:02:14,720 --> 01:02:16,720
Speaker 1: to be on the show anyway, and the record was

1272
01:02:16,760 --> 01:02:19,080
Speaker 1: coming out Fireflies, and she said, why don't have my

1273
01:02:19,120 --> 01:02:21,280
Speaker 1: friend Laurie come up and we'll tell the story about

1274
01:02:21,720 --> 01:02:24,200
Speaker 1: you know, sort of this those being you know, those

1275
01:02:24,240 --> 01:02:28,120
Speaker 1: songs coming from you know, this housewife Massachusetts and UM,

1276
01:02:28,160 --> 01:02:32,280
Speaker 1: and sort of got to UM. What happened was, UM,

1277
01:02:32,360 --> 01:02:35,320
Speaker 1: I was scared out of my mind. I was getting

1278
01:02:35,400 --> 01:02:37,120
Speaker 1: used to Faith that you know, I'd only been around

1279
01:02:37,120 --> 01:02:40,600
Speaker 1: Faith a handful of times at that point. UM and

1280
01:02:40,640 --> 01:02:43,120
Speaker 1: it but it was really UM. It was right after

1281
01:02:43,320 --> 01:02:47,840
Speaker 1: Katrina that that UM. They taped that show, so there

1282
01:02:47,960 --> 01:02:50,680
Speaker 1: was a lot of things happening in the background because

1283
01:02:50,720 --> 01:02:53,080
Speaker 1: Oprah was was going to do a show down there

1284
01:02:53,560 --> 01:02:55,600
Speaker 1: and she was doing all this fundraising and all this stuff.

1285
01:02:55,640 --> 01:02:59,200
Speaker 1: So there was a ton of watching. UM sort of

1286
01:02:59,200 --> 01:03:02,320
Speaker 1: these people pull all together and and help you know,

1287
01:03:02,400 --> 01:03:05,720
Speaker 1: people in need and U and it was just it was,

1288
01:03:05,920 --> 01:03:08,000
Speaker 1: you know, we went to rehearsal the night before. Faith

1289
01:03:08,080 --> 01:03:11,680
Speaker 1: sang this UM, this gospel song called I Surrender All

1290
01:03:11,720 --> 01:03:14,640
Speaker 1: I believe It's called and we all just cried like babies,

1291
01:03:14,720 --> 01:03:17,320
Speaker 1: like cried like babies like Faith. Hill is one of

1292
01:03:17,360 --> 01:03:20,960
Speaker 1: the most soulful people I've ever had the experience to know.

1293
01:03:21,240 --> 01:03:24,600
Speaker 1: And I've seen her. I've seen her in Monroe, Louisiana

1294
01:03:24,840 --> 01:03:28,600
Speaker 1: sing a gospel song for a group of you know,

1295
01:03:28,720 --> 01:03:31,440
Speaker 1: thousands of people that have been standing in a field

1296
01:03:31,560 --> 01:03:34,840
Speaker 1: for you know, all day. It's a dry county, you

1297
01:03:34,840 --> 01:03:37,040
Speaker 1: know what I mean, They're just standing there, and she

1298
01:03:37,200 --> 01:03:39,880
Speaker 1: just shuts down the band for a second and start singing,

1299
01:03:40,080 --> 01:03:44,240
Speaker 1: and everybody goes to church like she is remarkable like that.

1300
01:03:44,400 --> 01:03:46,720
Speaker 1: So that's that was my takeaway. I had a couple

1301
01:03:46,720 --> 01:03:50,160
Speaker 1: of moments with Oprah just being so spiritual and and

1302
01:03:50,240 --> 01:03:55,120
Speaker 1: so like sort of just bighearted and watching them both

1303
01:03:55,160 --> 01:03:58,480
Speaker 1: communicate and how they were going to help people and um,

1304
01:03:58,760 --> 01:04:02,880
Speaker 1: New Orleans and it was great. It was great. Well, you'll,

1305
01:04:03,240 --> 01:04:06,640
Speaker 1: you know, deflect, but you are so beloved in this town.

1306
01:04:07,200 --> 01:04:09,520
Speaker 1: It's because I don't live here. That's I just don't

1307
01:04:09,560 --> 01:04:13,320
Speaker 1: think that's true. I don't think that's true. I'm gonna say,

1308
01:04:13,320 --> 01:04:15,960
Speaker 1: I'm so happy that you came. We got we've done it.

1309
01:04:16,040 --> 01:04:19,040
Speaker 1: We've done an hour, and uh, you know, you're one

1310
01:04:19,080 --> 01:04:22,160
Speaker 1: of my favorites. I'll tell you that. You know, that's true,

1311
01:04:22,200 --> 01:04:25,200
Speaker 1: and tell your husband us Hello, I well here, he

1312
01:04:25,280 --> 01:04:26,600
Speaker 1: had a couple of things you wanted me to talk

1313
01:04:26,600 --> 01:04:28,480
Speaker 1: to you about. My mother in law says, hello, this

1314
01:04:28,560 --> 01:04:30,600
Speaker 1: is a big deal for the Mechanic family. What what

1315
01:04:30,640 --> 01:04:33,880
Speaker 1: did he want you to talk to about? Something on microoff? Well, no,

1316
01:04:34,040 --> 01:04:36,040
Speaker 1: it was just like I was telling I left my

1317
01:04:36,160 --> 01:04:37,960
Speaker 1: ride and I was like, I'm hitting over to Bobby's. Well,

1318
01:04:38,120 --> 01:04:42,919
Speaker 1: he's in a new house. That's that's true. That's true,

1319
01:04:42,960 --> 01:04:44,960
Speaker 1: that's true. And I'm like, well do you know that?

1320
01:04:46,760 --> 01:04:48,840
Speaker 1: It's just so funny. He's like, but I hope it's

1321
01:04:48,880 --> 01:04:53,440
Speaker 1: comfortable there. I'm very comfortable. You should be. I'm very comfortable.

1322
01:04:53,560 --> 01:04:56,400
Speaker 1: Thanks for having I'm so happy listen. Um, I could

1323
01:04:57,400 --> 01:04:59,120
Speaker 1: I have a lot of other We could do eight

1324
01:04:59,120 --> 01:05:02,360
Speaker 1: hours of this, but how you come back and we'll

1325
01:05:02,400 --> 01:05:05,000
Speaker 1: do it again. They go over all your next set

1326
01:05:05,000 --> 01:05:07,480
Speaker 1: of number one and all the songs you've written my

1327
01:05:07,480 --> 01:05:09,280
Speaker 1: favorite artist, and I'm like, I can't believe this wasn't

1328
01:05:09,360 --> 01:05:11,440
Speaker 1: number one because it's so good. I know, and then

1329
01:05:11,480 --> 01:05:14,240
Speaker 1: you can we can still not know anything about Howly like,

1330
01:05:14,920 --> 01:05:17,560
Speaker 1: but do you know? No, I don't know yet. All right.

1331
01:05:17,680 --> 01:05:21,240
Speaker 1: This is episode one sixty two Laurie McKenna and you

1332
01:05:21,280 --> 01:05:24,120
Speaker 1: can follow Laurie on Instagram like I do, um, what

1333
01:05:24,280 --> 01:05:27,240
Speaker 1: is it? Just your name? It's Laura McKenna, m A

1334
01:05:27,640 --> 01:05:30,000
Speaker 1: from Massachusetts? What it is? And my kids call me

1335
01:05:30,960 --> 01:05:34,880
Speaker 1: by the way, not I know, I say l O

1336
01:05:35,080 --> 01:05:39,840
Speaker 1: R I Laurie is how I'm from the south would spelled.

1337
01:05:40,000 --> 01:05:43,200
Speaker 1: I'd say it wrong. Do you love Aarro Smith from Boston?

1338
01:05:43,520 --> 01:05:46,480
Speaker 1: Because I feel like a local local field to you? Yeah,

1339
01:05:46,600 --> 01:05:48,960
Speaker 1: pretty much. I think they're like really nice guys like

1340
01:05:49,080 --> 01:05:50,920
Speaker 1: seven Tyler, super nice. I told you if my husband

1341
01:05:50,920 --> 01:05:52,720
Speaker 1: works for the gas company and he's like every now

1342
01:05:52,800 --> 01:05:54,680
Speaker 1: and it'd be like he'll have to change a meter,

1343
01:05:54,880 --> 01:05:57,400
Speaker 1: He's like, I'm changing the meet Steven Tyler's house, you

1344
01:05:57,400 --> 01:06:01,080
Speaker 1: wouldn't believe it. I mean, I think that they're very um,

1345
01:06:01,280 --> 01:06:03,840
Speaker 1: sort of regular, you know, part of the community people.

1346
01:06:03,880 --> 01:06:05,760
Speaker 1: I've never met any of them, but everyone loves them.

1347
01:06:05,760 --> 01:06:08,320
Speaker 1: New kids on the block. I don't know them either,

1348
01:06:08,400 --> 01:06:11,440
Speaker 1: but I bet they're super nice. Hm. I just wonder

1349
01:06:11,480 --> 01:06:13,840
Speaker 1: who who's Who's like the big Boston group that you

1350
01:06:13,840 --> 01:06:15,479
Speaker 1: grew up listening to that was like the home team

1351
01:06:15,480 --> 01:06:18,440
Speaker 1: that made it, oh jeez, like the home that like

1352
01:06:18,720 --> 01:06:22,200
Speaker 1: they like my grandmother was Johnny Cash in Arkansas. When

1353
01:06:22,200 --> 01:06:23,640
Speaker 1: Bill Clinton made it was a big deal to us

1354
01:06:23,640 --> 01:06:26,760
Speaker 1: because it was somebody from like small town Arkansas was

1355
01:06:26,800 --> 01:06:30,360
Speaker 1: president who from around your your your hood. I cannot think,

1356
01:06:30,520 --> 01:06:35,480
Speaker 1: I cannot. Maybe it's you. Maybe everyone waited for Larry McCanns.

1357
01:06:36,720 --> 01:06:38,800
Speaker 1: I mean, it's gotta be new kids on the block, right,

1358
01:06:38,840 --> 01:06:40,959
Speaker 1: I mean it's gotta be that. I mean they're coming.

1359
01:06:41,040 --> 01:06:43,280
Speaker 1: I mean they're all over the place right now. Well

1360
01:06:43,360 --> 01:06:46,960
Speaker 1: again now they're like, it's the Wallburgs. It's the wallburg

1361
01:06:47,720 --> 01:06:51,400
Speaker 1: The Wallburgs are super nice. I think too. Kay No,

1362
01:06:51,560 --> 01:06:53,160
Speaker 1: But I was in the t s A line with

1363
01:06:53,200 --> 01:06:55,080
Speaker 1: the brother that owns a restaurant once and I was

1364
01:06:55,120 --> 01:06:56,840
Speaker 1: watching him with his kids and he seemed like a

1365
01:06:56,880 --> 01:07:00,600
Speaker 1: super nice That's how I judge people. But kay, Hanley

1366
01:07:00,600 --> 01:07:04,040
Speaker 1: do Okay, Hanley is letters Cleo. Okay Hanley. She's out

1367
01:07:04,040 --> 01:07:05,880
Speaker 1: in l A now and she does a bunch of stuff.

1368
01:07:05,920 --> 01:07:09,360
Speaker 1: But it's a rock band. Check it out. They're they're

1369
01:07:09,360 --> 01:07:13,400
Speaker 1: really there there there. It's probably nineties likely, Miss Cleo.

1370
01:07:13,480 --> 01:07:18,160
Speaker 1: This she's not from your head. But those wall Bergs

1371
01:07:18,200 --> 01:07:20,360
Speaker 1: are hard to beat, you know, I would we will

1372
01:07:20,360 --> 01:07:22,960
Speaker 1: settle on that the Wallburgs are the most famous people

1373
01:07:23,000 --> 01:07:25,280
Speaker 1: to come from your head. I think the Kennedy's and

1374
01:07:26,920 --> 01:07:29,959
Speaker 1: of course alright Episode one sixty two with Loria McKenna Laurie,

1375
01:07:29,960 --> 01:07:31,080
Speaker 1: thank you, thank you,