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Speaker 1: Everyone.

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Speaker 2: We're on day two of our Eater Live Christmas Tour.

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Speaker 2: We're in Nashville. What does anybody think I'm gonna think

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Speaker 2: of Nashville? They think of music run, music Row. I'm

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Speaker 2: here with the host of God's Country podcast, Dan Reed

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Speaker 2: is belt his Hunt, and we're in a place where

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Speaker 2: you guys make music. Yeah.

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Speaker 3: Literally, we've made music in this room.

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Speaker 1: And we're on a street known for music making.

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Speaker 4: I mean, arguably the most legendary music street in the country.

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Speaker 3: Music Row, music kind of in between them.

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Speaker 5: Sixteenth and seventeenth is the legendary music row in Nashville,

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Speaker 5: and they just run parallel each other. One way this

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Speaker 5: way on sixteenth, one way that way on seventeenth.

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Speaker 1: So fair to say, hundreds of the songs you know

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Speaker 1: have been.

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Speaker 2: Touched thousand, thousands, thousands have been touched on this street.

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Speaker 1: Absolutely, and not only that, Let's get down to brass tacks.

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Speaker 1: The building.

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Speaker 2: It's a music building, indeed, a lot of history with it.

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Speaker 2: The room is a music room. I'm just trying to

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Speaker 2: establish our credentials legedly. This is a legit studio. I mean,

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Speaker 2: this was a vocal booth. If you if you were

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Speaker 2: to pull this down you'd see a big glass window

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Speaker 2: where artists converse with producers on what to play, what

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Speaker 2: they have canob jockeys, but jockey I wouldn't use that loosely.

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Speaker 2: Dolly Parton has been in this building, according to Tammy.

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Speaker 2: Whyett's been in this building. George Jones been this building

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Speaker 2: allegedly allegedly together maybe together many in this room.

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Speaker 4: I'm not one to say so.

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Speaker 1: I'm just establishing our credentials that we're in a music room.

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Speaker 4: I would visure to say, you're in the You're in

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Speaker 4: the heart of the country music creation.

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Speaker 3: Steve, this is this is why I've brought you here.

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Speaker 1: No I brought you here.

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Speaker 3: No I brought you here because.

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Speaker 4: I mean, arguably we brought.

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Speaker 1: This is I brought you.

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Speaker 6: This is the American South, and this is where music

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Speaker 6: is made. Has a Steve has a beef with me

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Speaker 6: because one time I said music is important to people

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Speaker 6: in the South.

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Speaker 3: That's all I say.

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Speaker 1: It's not in the North.

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Speaker 2: Was the implication, right, He's like, well, you don't understand

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Speaker 2: music is very important to people in the South.

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Speaker 4: It's kind of like fraud fish Wells is very important people.

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Speaker 3: What I was trying to say is it's important to.

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Speaker 4: People in the north, more important, frid fish more important.

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Speaker 1: No chance question what's more important?

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Speaker 2: And I just brought up I'm like, tell, go tell

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Speaker 2: the people in Motown about how special music is in

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Speaker 2: the South.

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Speaker 1: Well, I don't want I don't want to burn our

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Speaker 1: time up. These guys got a hard out. We have

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Speaker 1: a song to write.

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Speaker 4: My kids Christmas play. That's the only reason. Otherwise I'd

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Speaker 4: stay all day.

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Speaker 1: Okay, that is important. I thought you had like big

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Speaker 1: time country music stuff to attend to Christmas.

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Speaker 4: I wouldn't be wearing a college shirt if it wasn't

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Speaker 4: for my kids Christmas play.

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Speaker 1: Here's what I want to do.

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Speaker 2: I want to I want to give people a glimpse

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Speaker 2: but into what you do for a living and what

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Speaker 2: happens on this street. But can you guys touch on

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Speaker 2: your sort of your day job right like your your

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Speaker 2: career and what you do in music writing, what services

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Speaker 2: you provide and how that world works very quickly?

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Speaker 5: Yeah, we're lunch pelt songwriters what we'd like to call them.

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Speaker 5: And we write three four days a week right here

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Speaker 5: on music Road. Sometimes we write in this room.

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Speaker 4: Now we write three or four days a week. There

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Speaker 4: was a time, we were writing five days a week,

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Speaker 4: sometimes doubles.

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Speaker 5: Okay, yeah, but we've got we've got publishers or pluggers

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Speaker 5: that we write for or signed to. I'm signed to

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Speaker 5: fifty Egg, Dan signed to Sony, and they schedule out

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Speaker 5: our rights way in advance, and.

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Speaker 1: So they schedule it.

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Speaker 5: Yeah, we do too. We do a lot of that

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Speaker 5: too now, but most of the time they do. And

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Speaker 5: we'll look at on Sunday, you'll look at your calendar

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Speaker 5: for Monday and see that you're writing with X, this

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Speaker 5: X writer and this X writer at Sony at eleven

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Speaker 5: o'clock and you roll up at ten forty five, do

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Speaker 5: a little chat and say what's up? Catch up with everybody,

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Speaker 5: head into the room at eleven and do a chatting

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Speaker 5: for about thirty minutes again, and then you start scrolling

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Speaker 5: through ideas and seeing what artists. If you've got buddies

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Speaker 5: that's cutting a record, I.

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Speaker 4: Can't see his secret or we're friends with Luke Combs,

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Speaker 4: so a lot of times people will come in and

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Speaker 4: sit down with us and go, hey, man, when's Luke

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Speaker 4: cutting a bit? Oh man, he's two years out. What

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Speaker 4: is that's off the table?

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Speaker 3: Right?

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Speaker 4: There's no sense in even trying.

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Speaker 1: So that'll how you move beyond that.

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Speaker 4: So if you're six months out and you go, oh man,

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Speaker 4: he's looking for a song about hunting, then this guy

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Speaker 4: might go, it's crazy. I have this hook praying in

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Speaker 4: a deer stand or whatever it is.

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Speaker 1: And then we're praying in a deer stand. That's way

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Speaker 1: better than what I.

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Speaker 4: Got for you. Okay, we'll see wing right that.

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Speaker 3: If you want to, that'd be praying in a mule saddle.

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Speaker 1: So why okay? What so I brought Clay down?

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Speaker 4: Yeah, oh, you brought him.

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Speaker 2: I brought Clay's debatable to workshop because I wanted to

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Speaker 2: see you guys and work so the best I could

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Speaker 2: come up with.

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Speaker 1: I'm not a songwriter, sure, I was gonna pitch you, guys.

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Speaker 2: I was gonna be the guy that comes in and

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Speaker 2: I'm gonna pitch you on an idea of a song

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Speaker 2: that you could develop about how mules are better than horses.

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Speaker 4: Okay, now, look, I'm gonta be honest. I don't know

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Speaker 4: a whole lot about mutles.

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Speaker 3: That's what I hear.

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Speaker 5: I can give you the bullet point, okay, And to

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Speaker 5: be honest, we don't know a lot about horses.

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Speaker 1: Either well, his lifetime.

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Speaker 2: He needs a song to go with this because this

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Speaker 2: is his lifetime battle.

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Speaker 1: Anyways.

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Speaker 4: Okay, so you're the artists and we are the summer

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Speaker 4: I help, which is what we did.

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Speaker 1: And I'm the producer.

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Speaker 3: Well I sure more like produced bag producer. You're the producer.

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Speaker 6: So this is this is like really high stakes for me.

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Speaker 6: I need a song that carries now I want to

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Speaker 6: do that carries the data, the facts, but also the culture,

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Speaker 6: the attitude, the fire, and the bones of the overlooked people.

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Speaker 3: You are at this.

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Speaker 4: Yeah, so you know about Columbia, Tennessee. Right, yeah, we

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Speaker 4: will selltown, yeah, race Brothers, the Muletown Coffee.

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Speaker 7: Yeah.

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Speaker 3: Yeah, oh yeah, it's pretty slick. I haven't been probably

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Speaker 3: Grand Marshal at some day.

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Speaker 4: Dude, well, easy, we can put you in for that.

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Speaker 3: I mean you can put your mules in. There's a

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Speaker 3: condition their guitars.

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Speaker 7: That way, the lunch their lunch listen.

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Speaker 1: I think by dinner time.

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Speaker 6: The song that the song needs some like real specific

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Speaker 6: data that a mule or horse person would be like dang,

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Speaker 6: he's right, but it also needs like some catchy hook

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Speaker 6: that ca Okay, So so here here's here's the scoop.

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Speaker 6: For every hundred horses, there's probably two mules in the country.

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Speaker 3: Starting line, Okay.

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Speaker 4: Yeah, can I have that?

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Speaker 1: You just could put that line in there.

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Speaker 3: Well, you know what I mean. Well, but it's gotta

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Speaker 3: it's gotta bring the horses.

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Speaker 1: For every horse.

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Speaker 2: Okay, I'm saying there ain't a hundred horses. There ain't,

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Speaker 2: but two mules ain't. Well, now they're thinking we're dumb though.

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Speaker 6: I mean, it's like it's like special, but a mule

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Speaker 6: is a four wheel drive horse, Like that's kind of

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Speaker 6: a thing. Mules are surefooted, like way more surefooted than

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Speaker 6: a horse. That DaMina than a horse. They live longer

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Speaker 6: than a horse. They have a longer working life.

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Speaker 4: I think what I need from you that would make

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Speaker 4: for a great commercial country mule song. Maybe maybe this

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Speaker 4: is a story tune. So I'm sure's a specific meal.

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Speaker 4: I'm sure in your lifetime you've had or maybe even

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Speaker 4: a specific instance with a specific mule. Like you're on

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Speaker 4: a mountain and the cat jumps and swipes it, but

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Speaker 4: it doesn't kill it, and the horse falls off the

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Speaker 4: side of the mountain, but your mule stays and his

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Speaker 4: name is.

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Speaker 3: Is He's my good meal. Right now, that's what What

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Speaker 3: was the slow trap?

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Speaker 4: I said, So, what we're gonna do now in lunch

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Speaker 4: best songwriting world, It's take the three options he just

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Speaker 4: gave us and decide on which one is the hook

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Speaker 4: your name. Now one of them may meant more to

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Speaker 4: you than.

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Speaker 3: It doesn't matter. But is he Betty Bay? And Betty Bay?

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Speaker 5: So there's even like a he said, Betty Bay and

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Speaker 5: that's a laser color. That's a little song, right, you

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Speaker 5: think too? Is like the baby Bay is also for sale?

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Speaker 5: The two bees?

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Speaker 4: The this is craigslist.

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Speaker 3: Dude, geez, I'm thinking about somebody.

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Speaker 1: That's what this is.

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Speaker 3: Really getting your paycheck? Don't worry about this. Just write

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Speaker 3: me a really about Betty Bay.

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Speaker 4: Okay, I like Betty Bay. What was the other one?

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Speaker 7: Uh?

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Speaker 1: Slow trap? Is he Betty Bay?

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Speaker 3: And he said? May is her color? B a wat?

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Speaker 6: Yeah, she's Bay colored. But I mean, like the biggest

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Speaker 6: thing that a mule would have would be as surefootedness

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Speaker 6: and safety and rough country. Like if you meet somebody

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Speaker 6: with the mule, you're like, this dude's going in some

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Speaker 6: rough country. This, this is a this is a gritty American.

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Speaker 6: But mules are stubborn they're harder to deal with than

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Speaker 6: a horse. They're harder to train than a horse, But

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Speaker 6: if you get one trained, it's better than a horse.

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Speaker 4: Payoffs man, Okay, so nothing, I love that for a chorus,

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Speaker 4: Like hold on, we don't even know what.

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Speaker 3: No, I'm just working in my brain like this song

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Speaker 3: might be that.

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Speaker 4: What do you want this song to sound like? Well,

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Speaker 4: I mean should it be up tempo?

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Speaker 3: Should yeah?

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Speaker 7: Yeah?

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Speaker 3: Yeah?

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Speaker 5: Like should it be like like like like like like

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Speaker 5: kind of kind of fun. We could start out with

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Speaker 5: a chorus, That's what I'm thinking. Like them might they

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Speaker 5: would you just say? They might be what? They might

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Speaker 5: be this? They might be that.

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Speaker 6: Well they're they're they're surefooted, they're made for rough country.

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Speaker 1: To raise up, but it's worth it in the end.

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Speaker 3: Yeah yeah, what are the what are the downfalls of them?

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Speaker 3: They might be well, they're they're harder to train.

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Speaker 8: Might be.

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Speaker 3: There, they're a bad mule is.

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Speaker 6: Way worse than a bad horse. But a good mule,

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Speaker 6: okay here, let me it's better than a good horse.

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Speaker 6: We gotta save saying that outlaw. If you get an outlaw,

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Speaker 6: you're in trouble.

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Speaker 4: Nobody's listening to this. Should we should we save our

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Speaker 4: horse references like for because here's the thing, we could

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Speaker 4: ship on horses through this.

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Speaker 3: Entire song, right, no doubt. But I think the move.

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Speaker 4: I think the move is to pick one poignant moment

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Speaker 4: to ship on a horse and then just keep it honoring.

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Speaker 2: He's trying to go low and negative. Well you guys

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Speaker 2: are trying to go positive.

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Speaker 3: Well, positive makes money.

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Speaker 4: Yeah, we're trying.

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Speaker 3: Okay, could you could like.

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Speaker 6: Start with like a trip to the mountains in rough

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Speaker 6: country now, I mean like a personal to come through

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Speaker 6: with have been carrying a bear hide?

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Speaker 4: Love it? Give me two seconds? Betty by Betty of course,

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Speaker 4: finest mules, every fin god ever, Beny.

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Speaker 3: He should we put a state in there? Sure?

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Speaker 4: Yeah, yeah, in a minute, I've got one.

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Speaker 5: What's the reference for the state?

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Speaker 3: Well, just I don't know it.

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Speaker 6: Just like Tennessee stud is really cool. I would love

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Speaker 6: an Arkansas reference.

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Speaker 4: Okay, what's but Arkansas's Arkansas?

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Speaker 3: What just just Arkansas? Arkansas?

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Speaker 1: Ass yeah.

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Speaker 6: Words, well, but but but it's not a donkey. Like

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Speaker 6: if somebody's trying to insult me, they'll go, hey, get

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Speaker 6: your donkey out of the trailer.

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Speaker 1: Spotting.

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Speaker 3: Yeah, don't call my mule a donkey baby. Yeah yeah, so.

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Speaker 4: Now you're the artist's over. This is where we text

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Speaker 4: our poster and be like, hey, senis a text that

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Speaker 4: we got studio time at two thirty.

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Speaker 3: Sorry, I gotta go home.

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Speaker 4: I think we're just gonna have enough time.

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Speaker 3: Of course, Betty, Betty.

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Speaker 5: Got Betty, just write a different line of.

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Speaker 1: Clay.

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Speaker 4: I mean we could do you want to be in

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Speaker 4: the song.

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Speaker 1: Arkansas Clay, Betty Babe, Betty babe.

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Speaker 3: So I'm doing doing Arkansas Clay. I love that. And

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Speaker 3: then Betty for sale to the finest, finest God, this.

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Speaker 5: Got it.

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Speaker 1: And you can do?

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Speaker 3: And then a story, all right, which one goes first Clay?

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Speaker 3: Then got it?

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Speaker 4: The many Babe, Betty babe, what's okay?

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Speaker 3: Help us, help us, help us here?

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Speaker 4: Something about that Arkansas Clay, like the something to the

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Speaker 4: mount only dedicated to you? What's another word for vehicle

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Speaker 4: blank to the mountains of Arkansas Clay.

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Speaker 6: I call him like they're a ride a mountain Cadillac,

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Speaker 6: Cadillac for Arkansas.

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Speaker 4: Mountain, Cadillac for.

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Speaker 7: Many.

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Speaker 4: Betty, All right, there that's your course.

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Speaker 1: Over now.

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Speaker 6: But the parts the course she's four verse, she's actually

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Speaker 6: fourteen three is what they call it.

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Speaker 3: How old is she? She's seven going on eight.

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Speaker 6: We're going on eight, going on on out here, going

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Speaker 6: on and.

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Speaker 4: About it, you know, verse, how.

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Speaker 5: Do you she's going on eight at fourteen three?

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Speaker 4: Are she going on fourteen three something? To something that that's.

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Speaker 3: Spanish To somebody who don't, Yeah, I like like.

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Speaker 2: Technical sounds, dukes. It makes it sound like you guys

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Speaker 2: know a lot about it.

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Speaker 4: I think we're leaving that. I think it's got to

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Speaker 4: be clay cool. I don't think it's commercial cool. I

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Speaker 4: think we just got tochtake cool.

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Speaker 5: He's going on a fourteenth three dude, look at that.

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Speaker 1: And that would be a concern because you're just losing people.

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Speaker 3: Well you in a commercial sense.

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Speaker 5: Who's gonna know what she's going on eight at fourteenth three?

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Speaker 4: Nobody listeners that yours guys to Yeah.

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Speaker 2: No, I got you, but like just a but a

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Speaker 2: commercial audience is too obscure or yeah you do.

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Speaker 3: He's eight years old, stands fourteen three, So everybody that's

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Speaker 3: a little Claire, Yeah, that's a little bit.

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Speaker 4: I don't think we help out. I think we make

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Speaker 4: it cooler than Clay cool cool.

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Speaker 6: Well she she she weighs a thousand pounds. She's she's, uh,

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Speaker 6: you know, just a ball of energy energy the first verse.

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Speaker 5: Yeah, only fourteen.

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Speaker 4: Three pounds, thousand pounds of energy. Yeah, yeah, I'm good

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Speaker 4: shivers like, okay, so we could do this in that

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Speaker 4: second stands of stands.

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Speaker 1: You guys did bold versions.

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Speaker 2: You left the stands off last time, but I think't

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Speaker 2: throw that in even going on.

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Speaker 5: Eight stands fourteen three thousand pounds, thousand pounds of energy.

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Speaker 5: They call it horsepower fifteen g they you have her s.

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Speaker 5: They call it horsepower, but they should call it m power.

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Speaker 3: You know what I'm saying.

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Speaker 6: Maybe seven Yeah, horse powers got all the hype, but

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Speaker 6: mule power is really what we want. Yeah, you know

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Speaker 6: something like that energy, horsepower, horse powers for They say

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Speaker 6: horsepower makes horse powers Hollywood, mule powers powers for Ford.

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Speaker 4: Her horse powers for Hollywood, mules for the mountains, mules

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Speaker 4: for them for a lot for real life.

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Speaker 8: Horsepower horsepower for Hollywood.

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Speaker 4: Doesn't really based.

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Speaker 5: Yeah, okay, she she's going on eight stands, fourteen three

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Speaker 5: thousand energy.

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Speaker 8: We got it right, horse horse I got it still

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Speaker 8: trapped Hollywood.

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Speaker 1: That's you know, I mean, I'm little songwriter.

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Speaker 2: Horse powers for Grease monkeys, grease monkeys.

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Speaker 4: We just gave you the national not the Nashville Know.

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Speaker 4: Is when somebody says the line that we don't like,

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Speaker 4: you just look back and start playing again start yeah, okay, yeah.

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Speaker 1: But I liked it because I felt let down easy.

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Speaker 4: Yeah, that's that's what it's supposed to do.

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Speaker 1: Like leaves this idea that you're still mulling it.

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Speaker 4: And here's the thing, this is one of my favorite

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Speaker 4: quotes I've ever heard in Nashville about that about the

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Speaker 4: Nashville No. Guy said something one time and we kind

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Speaker 4: of Nashville noted. He prefaced it by saying, look, I

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Speaker 4: don't I don't know that this is the line, but

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Speaker 4: I don't know that this is the crop. But it

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00:17:48,320 --> 00:17:51,600
Speaker 4: might be the fertilizer for it. So like smelling them

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Speaker 4: stepping in there, all.

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Speaker 1: Right, yeah I do. I do appreciate that. Then just

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Speaker 1: getting shut.

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Speaker 4: Down, yeah, instead of going that ship's terrible.

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Speaker 3: Yeah's are we trying to keep Are we trying to

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Speaker 3: keep keep it cool?

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Speaker 4: Man?

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Speaker 7: No?

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Speaker 3: No, I know, but the same like same cadence.

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Speaker 5: Like or you do or you do like horse powers

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Speaker 5: from something a I'll take power every day.

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Speaker 8: There's fourteen three thousand pounds energy, horse powers, Hollyoo something

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Speaker 8: there were Betty based real power, power, mule power.

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Speaker 4: It feels a little weird to me, man. I think

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Speaker 4: we maybe hangt like punt meal power and just try

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Speaker 4: another direction.

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Speaker 5: Yeah, she's just you know, going on eight stands fourteen,

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Speaker 5: three thousand pounds energy.

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Speaker 6: Uh sure, Now she'll carry a hog, should carry carry

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Speaker 6: a hog?

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Speaker 4: Or so?

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Speaker 3: No, no, no, something time to clear.

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Speaker 4: I think this is it. I think this is the

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Speaker 4: last line. Of course.

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Speaker 3: Yeah, absolutely, don't don't. That's another here's another trick. Don't bores.

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Speaker 3: Get to the course.

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Speaker 5: All right, So we what we just did, what we're

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00:18:58,000 --> 00:18:59,720
Speaker 5: doing right now is we're talking out of line.

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Speaker 3: So like, yeah, you you want.

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Speaker 5: Songs to be conversational, and so that's what a lot

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Speaker 5: of song right is, is we sit there and go she's.

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00:19:07,480 --> 00:19:10,240
Speaker 4: She'll carry white tail deep.

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Speaker 7: Side.

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Speaker 3: I love that she's some times a year there you go,

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00:19:16,960 --> 00:19:17,919
Speaker 3: she'll carry.

383
00:19:19,640 --> 00:19:22,439
Speaker 6: We throw it to nature reference like when the leaves

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Speaker 6: turn orange and that time fall.

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00:19:25,880 --> 00:19:30,520
Speaker 4: Well, gotta earn set up missing one line. We're missing

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00:19:30,560 --> 00:19:31,080
Speaker 4: one line.

387
00:19:32,080 --> 00:19:35,040
Speaker 3: She'll carry a hog or a deer, or you can

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Speaker 3: flip them.

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00:19:35,800 --> 00:19:41,639
Speaker 4: She'll carry a deer, hog something over along they step

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Speaker 4: over along or some ship.

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Speaker 6: Well they do, but that's a little that's a little

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Speaker 6: anti comatic.

393
00:19:47,080 --> 00:19:51,560
Speaker 4: Sorry. I like she'll carry this information that I is great.

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Speaker 1: It's a week.

395
00:19:53,720 --> 00:19:55,200
Speaker 3: What about h uh?

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Speaker 5: She'll carry a hog or sometime a year, so many times.

397
00:20:01,880 --> 00:20:04,040
Speaker 3: A year, any day of the year, any day of

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Speaker 3: the year.

399
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Speaker 1: That sounds cheap. That's ready to get an.

400
00:20:06,440 --> 00:20:08,400
Speaker 4: I love it. She's she'll carry a home.

401
00:20:08,880 --> 00:20:09,439
Speaker 8: What up?

402
00:20:09,880 --> 00:20:11,240
Speaker 4: She's ready to go in.

403
00:20:11,359 --> 00:20:12,240
Speaker 6: The daily.

404
00:20:19,160 --> 00:20:22,440
Speaker 5: Mountains ship forgotun Cadillac for Narkansas play.

405
00:20:22,800 --> 00:20:23,360
Speaker 3: She's got it right.

406
00:20:24,040 --> 00:20:25,800
Speaker 4: This guitar, we need to lay that once. You just

407
00:20:25,840 --> 00:20:27,160
Speaker 4: handle this and I'll handle this.

408
00:20:27,160 --> 00:20:29,880
Speaker 3: This is how all these guys not.

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00:20:31,040 --> 00:20:33,480
Speaker 6: Put my fingerprint on the verse with my name, but

410
00:20:33,800 --> 00:20:37,320
Speaker 6: and Arkansas clay. Would it be like old Arkansas class.

411
00:20:36,960 --> 00:20:42,160
Speaker 4: See now we're just tightening the strands of this, and you.

412
00:20:42,119 --> 00:20:45,760
Speaker 1: Pick up your guitar and do it. I mean, what

413
00:20:45,880 --> 00:20:47,439
Speaker 1: is it I should like to you get in there?

414
00:20:47,480 --> 00:20:48,159
Speaker 1: I mean it's about you.

415
00:20:48,280 --> 00:20:49,159
Speaker 3: I don't even know how to do this.

416
00:20:49,280 --> 00:20:52,520
Speaker 4: Man, do what you don't do anything? She's doing it?

417
00:20:52,640 --> 00:20:56,040
Speaker 4: Oh okay, okay, okay, on to start with a course.

418
00:20:57,520 --> 00:20:58,280
Speaker 4: Ready to start with.

419
00:21:00,600 --> 00:21:06,119
Speaker 5: Betty Babe, Mountain Cadillac Roll Arkansas Play.

420
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Speaker 7: Betty Babe, Betty Babe, minest.

421
00:21:13,640 --> 00:21:16,399
Speaker 4: Mew gods ever watch it.

422
00:21:17,000 --> 00:21:21,760
Speaker 5: She's going on age dance fourteen three thousand pounds of energy.

423
00:21:22,080 --> 00:21:25,240
Speaker 7: You'll carry a harmor a white tell de she's ready

424
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Speaker 7: to go. And Debby by Babe, Betty Babe, She's a

425
00:21:33,680 --> 00:21:44,080
Speaker 7: battle Cadillac Roll Arkansas Clay Betty Babe, Betty Babe, miestmue

426
00:21:44,160 --> 00:21:48,720
Speaker 7: gods ever, Babe, my minest mute God.

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00:21:48,840 --> 00:21:52,760
Speaker 2: Never there you going, Ladies and gentlemen. That's how hits

428
00:21:52,760 --> 00:21:56,320
Speaker 2: are made. Coming to you live from Music Row and Nashville, Tennessee.

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00:21:56,359 --> 00:21:59,240
Speaker 2: Stay tuned for that one on the FM dial. Boom, boom,

430
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Speaker 2: turn it off, Evil, That's it.