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Speaker 1: guaranteed to be a hit. All Right, Welcome to episode

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Speaker 1: the Bobby Cat all Right in Today with songwriter Lee

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Speaker 1: Thomas Miller known to his friends as Lemiller. But I

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Speaker 1: guess Lee Miller was too generic. Put Thomas. They would know.

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Speaker 1: My mother never ever called me Lee. She called me

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Speaker 1: Lee Thomas one word. So should I call you Lee Thomas?

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Speaker 1: If you had ever met my mother, you would call

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Speaker 1: me Lee Thomas without realizing it because she always does. Oh,

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Speaker 1: I have to see. When I would google Lee Miller,

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Speaker 1: it was always like ancient Civil War heroes or some

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Speaker 1: guy that was in three episodes of Jurassic Park the cartoon.

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Speaker 1: You know it's some famous British photographer. Lady too. I

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Speaker 1: want to play a few just before we get started

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Speaker 1: so we can have an idea. Here are some of

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Speaker 1: the songs and we'll get to them during the conversation

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Speaker 1: that Lee has written do you know before I say,

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Speaker 1: do you know any number one? You've written? Seven? Okay?

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Speaker 1: Is that true? Mike? Is that the fact check? Seven? Alright? Seven? Okay?

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Speaker 1: So for example, it's gonna be fact checking. Oh yeaeah, Yeah,

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Speaker 1: we have lots of fact checks, like a couple of gears,

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Speaker 1: Juice in Color by Jamie Johnson, Mother, you should have

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Speaker 1: seen it in color, Southern Girl, Timo Graan, Sweet than

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Speaker 1: to Blue Honey, a little bit crazy like Newly Lifts

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Speaker 1: Blue and Day Jon Sunday, You're gonna miss this, You're

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Speaker 1: gonna missing You're gonna want this fact, You're gonna days

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Speaker 1: had so Fat just a few of the songs that

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Speaker 1: Lee has written. Also The World by Got Brad Paisleys

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Speaker 1: to Perfect Storm, She It's joys Me and and I'm

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Speaker 1: still a guy but then I'm still alright. So you

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Speaker 1: have quite the library of songs there. I like to

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Speaker 1: start by letting people know the big picture first. So

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Speaker 1: when you first came to Nashville, you came to Nashville,

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Speaker 1: true or Falster because your goal was to play in Alabama. No.

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Speaker 1: I tell this story and they always retail it wrong.

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Speaker 1: I always say I wanted to be in whatever the

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Speaker 1: next Alabama type thing was, because they were my heroes.

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Speaker 1: What was the Alabama TI thinking made a band? The

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Speaker 1: band and you know they were cool and there was

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Speaker 1: a guy on the end that played a bunch of instruments.

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Speaker 1: I wanted to be the guy in the modern version

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Speaker 1: of Alabama, whatever it was that had all the instruments

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Speaker 1: set up and played a little bit of this and

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Speaker 1: played a little bit of that, and that was that

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Speaker 1: was the goal. So your goal is never to be

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Speaker 1: the front man of the even the new Alabama, you

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Speaker 1: want to be the utility player. I always want to

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Speaker 1: be the utility player. But I wanted to be in

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Speaker 1: in a you know, in in a traveling signed band

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Speaker 1: like the Eagles or something like that. Whatever. But what

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Speaker 1: you know, whatever it was, I mean in the eighties,

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Speaker 1: the early eighties, you know, I'm I'm just Alabama made

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Speaker 1: me want to be in the business. And so that's

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Speaker 1: why the Alabama reference keeps pop up. Okay, so you

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Speaker 1: did not want to be in Alabama, but you wanted

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Speaker 1: to be in something like Alabama. Exactly did you try?

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Speaker 1: Did you have a band like Alabama? I mean, did

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Speaker 1: you have a band called? From high school? High school?

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Speaker 1: From the time I was in middle school, there was

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Speaker 1: some incarnation of dudes that could or couldn't play in

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Speaker 1: my parents living room, trying to learn how to be

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Speaker 1: So you moved to Nashville wanting to be the person

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Speaker 1: on stage? Were you not good enough? Well, you know,

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Speaker 1: back home in Kentucky, I was pretty good, you know.

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Speaker 1: And you grow up in these these bars and and

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Speaker 1: especially when you're young, and you can kind of play

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Speaker 1: different instruments. People say, oh, you're fantastic, and I'm like, yeah,

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Speaker 1: I'm fantastic. But you know, I think in high school,

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Speaker 1: I mean, my first visits in Nashville and uh, and

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Speaker 1: Nashville was a lot different than there weren't near as

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Speaker 1: many hockey talks as there are now. But there would

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Speaker 1: be kind of local clubs where, you know, the people

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Speaker 1: that have moved to town trying to trying to get

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Speaker 1: heard would go play. And I remember I would go

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Speaker 1: and I would At the time, you know, I went

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Speaker 1: on to music school. I was classically trained, but through

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Speaker 1: these years while I'm trying to figure out how to

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Speaker 1: be a better musician, I would come here and I

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Speaker 1: would go in these clubs and I would sit there

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Speaker 1: and I would listen to these guys that weren't working,

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Speaker 1: they were trying to get gigs, and I would sit

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Speaker 1: there and go. You know, they were so good. They

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Speaker 1: were so freakishly good on every instrument, whatever it was,

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Speaker 1: whatever they said and it did. It was just like,

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Speaker 1: h and and this guy is unemployed here back where

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Speaker 1: I'm um, this guy would be you know, the a legend,

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Speaker 1: you know, um. But so you know, I didn't come

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Speaker 1: here with any you know, false hopes. I knew, I

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Speaker 1: knew what I was getting myself into. So you moved

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Speaker 1: to town and you get into kind of a band

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Speaker 1: playing fiddle and they fired you, Is that true? Well?

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Speaker 1: So I look at whatever I played at the time,

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Speaker 1: and I said, okay, certainly guitar players or adama dozen't

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Speaker 1: in this town. And at that point, piano was my

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Speaker 1: first instrument. But I really felt like, as far as

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Speaker 1: you know, I probably wasn't ever going to be up

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Speaker 1: to par with these guys. So I said, okay, I'll

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Speaker 1: be a fuddle player. So that became my all my

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Speaker 1: focus and uh, and so I moved here, and I

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Speaker 1: moved around June one, and two weeks later, I've already

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Speaker 1: met somebody that got me an audition for Tom Tehall,

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Speaker 1: and so I walked into the audition. Um, Tom wasn't there.

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Speaker 1: It was a band leader and auditioned for Tom Tehall,

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Speaker 1: and the guy hired me, and uh, there were two

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Speaker 1: fiddle players, and so I get the job. Blame one.

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Speaker 1: He asked me to come back and run through the

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Speaker 1: whole set with the second guy, and so I went

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Speaker 1: back and the other guy have been there for a while,

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Speaker 1: So I in my second audition. I'm now playing all

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Speaker 1: of the music with the second to chair and okay, good,

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Speaker 1: your good, your heart. We leave Saturday. So July three,

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Speaker 1: I get on the bus as Tom ty hospital player

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Speaker 1: and we did two dates and on July fifth, he

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Speaker 1: fired me. So why did he fire you? What did

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Speaker 1: they say to you? Because that's it. He didn't give

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Speaker 1: you a chance. Like well, so so we get on

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Speaker 1: the bus and we drived a Homestead, Florida. Well, i've

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Speaker 1: never been on the bus, you know, something twenty one,

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Speaker 1: I guess, and might get on the bus and it's

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Speaker 1: like season musicians. Tom's not there. And Tom was from

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Speaker 1: about seventy miles in Kentucky for a where I'm from.

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Speaker 1: So I'm thinking, first of all, I've got the Kentucky

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Speaker 1: thing in my back pocket. I'm gonna will him. He's

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Speaker 1: gonna love me, you know. So we get on the

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Speaker 1: bus to go to Florida and there's no Tom. It's

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Speaker 1: just the band. And so I meet the band and well,

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Speaker 1: these guys were seasoned road guys and they really weren't

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Speaker 1: all into the new guy, right, So I didn't really

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Speaker 1: have a friend. And so we drive to the other

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Speaker 1: side of the world and we get there and there's

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Speaker 1: no tim. We do sound check and there's no time,

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Speaker 1: and when I come back, Tom has arrived. And so

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Speaker 1: I introduced myself to Tom. Well, Tom's kind of Tom

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Speaker 1: isn't a real people person. Tom isn't a chatter and

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Speaker 1: I told him I was. I told him where I

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Speaker 1: was from, and he just kind of looked through me,

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Speaker 1: said nothing, and that was that. And okay, So now

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Speaker 1: I'm nervous. And so the band leader started getting anxious

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Speaker 1: because he realized he had hired me. Nobody else had

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Speaker 1: heard me. What if I mess up? And the Tom

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Speaker 1: to hollagig was pretty fiddle heavy, and so he starts saying,

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Speaker 1: hey man, it's kind of my gig here, you know

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Speaker 1: my butt. Don't don't mess this up. Okay, okay. So

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Speaker 1: this went on kind of for six hours. We do

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Speaker 1: the first gig and I rushed over to him and

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Speaker 1: I'm like, howd to do? And he says, I monitors

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Speaker 1: weren't very good. I couldn't hear you. I'll just listen

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Speaker 1: to Morrow. So we go from there to North Carolina

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Speaker 1: and and he just wanted to my man. He says,

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Speaker 1: I just you know, you gotta do that man. He

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Speaker 1: could be great man, you gotta be and he just

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Speaker 1: got in my head and we get ready to kick

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Speaker 1: off the show and I'm trembly and I'm nervous. Ladies, gentlemen,

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Speaker 1: Tompty Hall and the worst fiddle player in America shows up.

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Speaker 1: I mean I absolutely and in of fact this thing.

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Speaker 1: The guy that was playing with me is going, what's wrong?

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Speaker 1: And I'm like, shut up, you know? And uh, and

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Speaker 1: it just it was like a can't fight and it

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Speaker 1: just kept getting worse, and I'm I'm like a little

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Speaker 1: anxiety attack, a little panic attack. And the more I played,

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Speaker 1: the worst I got. Was it? They didn't see enough

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Speaker 1: in you though to try again? Fired me? Fired me.

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Speaker 1: I mean, I had some people come worry for me

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Speaker 1: that I'm like, you know what, You're not that good now,

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Speaker 1: but I see a lot in you did a lot

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Speaker 1: of potential. Fired me. And it was about five or

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Speaker 1: six years ago before I ever saw Tom T. Hall again.

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Speaker 1: And we were at some function and I went up

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Speaker 1: to him and I said, Mr Hall, I'm Lee Miller.

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Speaker 1: I played fiddle for you for three days in nine

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Speaker 1: and you fired me. And he says, what happened? And

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Speaker 1: I said, I wasn't ready, and he was kind of like,

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Speaker 1: he was kind of like, are you are you mad

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Speaker 1: at me? And I'm like, no, no, No, was the

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Speaker 1: greatest thing that ever happened to change my path. Can

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Speaker 1: I have a picture? So that's where that was my

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Speaker 1: welcome to Nashville kid. So your path has changed because

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Speaker 1: your confidence is broken. You're now the broken stallion. Sure,

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Speaker 1: and so do you put it in your head? Okay,

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Speaker 1: I'm just gonna write I'm staying in town, but I'm

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Speaker 1: gonna write no, no. I I beared down. I was like,

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Speaker 1: let's let's let's get on with it. So you know,

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Speaker 1: I'm the guy that rehearsed or practiced fifteen hours a day.

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Speaker 1: I mean I just I played and practiced and practiced

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Speaker 1: and took lessons and practiced and did more auditions and

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Speaker 1: you know, did local gigs, road gigs with touring bands

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Speaker 1: and did whatever. He you stayed on the road and

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Speaker 1: played instruments, not with anybody you would know, just with

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Speaker 1: bar bands but whoever. I mean, I had to pay bills,

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Speaker 1: so so I would do And again I was the

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Speaker 1: utility guys, so I would I would play everything, you know,

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Speaker 1: and I had tons of gear and I would do whatever.

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Speaker 1: And somebody heard me and put me with a a

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Speaker 1: producer was had this duo and made it a trio

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Speaker 1: and they wanted to try to get a record deal

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Speaker 1: and that was Sugarland, and well it wasn't no they

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Speaker 1: it never got to Sugarland level. But what it is,

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Speaker 1: we started writing songs every day, and uh, and writing

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Speaker 1: the project and then auditioning for labels and all that

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Speaker 1: kind of stuff, and and uh, they got me writing

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Speaker 1: a music row and I met more people. And music

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Speaker 1: in the nineties was huge. Music row was amazing. There

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Speaker 1: was so many record companies and so many records being made,

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Speaker 1: and so many publishers and right, you know, signing lots

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Speaker 1: of writers and and the key was I started writing

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Speaker 1: with music road guys and people were giving me a chance.

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Speaker 1: And in ninety six, guy named Jeff Carlton ran this

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Speaker 1: big independent company and uh, buddy mind, it got me

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Speaker 1: in there righting with some of their guys and he said,

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Speaker 1: he said, I don't think I don't think you can

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Speaker 1: do any of this other stuff he's about. I think

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Speaker 1: you could be a full time songwriter. That's okay done,

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Speaker 1: And he signed me. So he signed to be a

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Speaker 1: full time song writer. How long from that day until

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Speaker 1: you got your first cut? Um, the first cut was probably,

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Speaker 1: I don't know, within a couple of years. I mean

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Speaker 1: that this company was really great. The people that were

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Speaker 1: mentoring me were really great, and we we the whole

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Speaker 1: key was, first of all, I have to be riding

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Speaker 1: in the ballpark of what's working. You know, this is

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Speaker 1: what's legitimately commercial music. Then you gotta have somebody that

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Speaker 1: can legitimately get it listened to. And that's where they

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Speaker 1: came in, and they could so so you would get

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Speaker 1: good listens immediately. And you know, there were several cuts

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Speaker 1: that came pretty quick. It took a while to have

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Speaker 1: a hit, but uh, you know, you gotta have the

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Speaker 1: cut before you can have a hit. First hit was

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Speaker 1: first bona fide hit was The Impossible with Joe Nichols

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Speaker 1: Unsinkable Ship, Unbreakable, Watch Break Sometimes the thing thing never

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Speaker 1: happened happened, just like that unbendable steep. So you write

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Speaker 1: the song, who'd you write it? With? Kelly Lovelace? So

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Speaker 1: you guys, right, this is this one of those where

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Speaker 1: they say, oh, you knew the magic was there as

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Speaker 1: soon as he wrote the song, so Kelly Lovelace. It

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Speaker 1: was a blind date. I didn't know him, he didn't

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Speaker 1: know me. Publishers put us in the room together and uh,

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Speaker 1: we wrote this song. And I did demo on the

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Speaker 1: song and turned it in, which you sing it, and

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Speaker 1: that the dem no no I heard. I heard. I

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Speaker 1: got to sing it, and uh, we turn it in

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Speaker 1: and everybody just kind of said us nice. And I

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Speaker 1: don't know how much it was pitched. It wasn't pitched much.

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Speaker 1: And so I'd even gone to R. C A because

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Speaker 1: I had a friend that was an A and R

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Speaker 1: and I took it to him. And the only person

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Speaker 1: I ever knew that loved it was this an Arga

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Speaker 1: and he he held it in for a few weeks

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Speaker 1: and played it for people at the label. And then

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Speaker 1: when day he called me and said, uh, I've played

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Speaker 1: it for everybody here, everybody we have on the roster,

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Speaker 1: everyone's past. So I'm gonna have to let it go.

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Speaker 1: And this song was never mentioned for maybe eight or

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Speaker 1: nine more months, so it is disappears and a song

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Speaker 1: in purgatory. Well, you know, here's the thing. There's everyone's

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Speaker 1: excited about the new songs, so they love it and

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Speaker 1: they go, you pitched everybody that's looking today, And in

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Speaker 1: a couple of weeks it's a new batch of songs,

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Speaker 1: and the publishers are pitching those songs, and uh, it

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Speaker 1: just kind of got buried. And I mean, honestly, I

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Speaker 1: don't think that the publishers were not excited about it,

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Speaker 1: so that how do they get refound and reused again. Well,

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Speaker 1: this one got lucky because Kelly's publisher was a big

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Speaker 1: publisher at the time. And uh, people, this this song

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Speaker 1: is meant a lot to a lot of people. And

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Speaker 1: people will say this must have been undeniable, and I say, oh,

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Speaker 1: are you kidding me? It was quite deniable. Um. It

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Speaker 1: was kind of over in this b drawer at their

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Speaker 1: publishing company. Um to the point that there was a

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Speaker 1: guy named Brent Rowan that was cutting sides on this

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Speaker 1: young guy who had already lost one record deal named

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Speaker 1: Joe Nichols, and he asked somebody at E M I

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Speaker 1: for some songs just so they could maybe do some demos.

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Speaker 1: And this is one of the songs that they let

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Speaker 1: him have, just to cut side IDs on somebody that

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Speaker 1: had already lost one record deal. This was way down

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Speaker 1: the food chain, right and so they went and did

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Speaker 1: a real low budget uh demo and then called hess.

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Speaker 1: They really liked the song and uh and I'm like, oh,

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Speaker 1: who is it? And so they tell me and it

295
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Speaker 1: was so far removed from, you know, actually even a

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Speaker 1: record deal. I'm like, okay, well thanks, and then they said, okay,

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Speaker 1: we think there's gonna be a new record label. The

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Speaker 1: guy that that had made Arista Records famous and signed

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Speaker 1: tons of people's tempted boys, responsible for all these major acts,

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Speaker 1: is doing. We think is going to have a new

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Speaker 1: record label with Tony Brown, who's one of the biggest

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Speaker 1: producers in Nashville history. They're going to be partners. We

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Speaker 1: think they're going to have a label, and if they do,

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Speaker 1: we think they're gonna sign Joe Nichols. And we think

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Speaker 1: they like your song. A lot of things to have

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Speaker 1: to fall. No, you don't even you don't even you know,

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Speaker 1: as somebody said, you know, it's it's a single for

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Speaker 1: an artist that hasn't been signed to a record label

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Speaker 1: that does it exists, So so no, we thought nothing

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Speaker 1: about this. And then honestly it comes out and you're like, okay, well,

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Speaker 1: right before it comes out, Mark Chestnut cuts it and

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Speaker 1: he was on Sony and it was still Mark Chestnut,

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Speaker 1: you know. And I'm like, whoa this is? This is

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Speaker 1: a big cut. And my publisher said, well, we promised

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Speaker 1: it to Joe Nichols. And I said, Joe Nichols didn't

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Speaker 1: even have a record deal. And it's what's a relationship

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Speaker 1: town and and and and Tim Dubois, who's one of

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Speaker 1: all of our heroes. He had actually come to a

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Speaker 1: publisher and said, you can't take this song away from me.

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Speaker 1: You promised it to me. And and I'm sitting there

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Speaker 1: going you all have all lost your mind. I said,

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Speaker 1: we don't even know if this this guy has a

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Speaker 1: record deal, you know. And they said, well we we're

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Speaker 1: gonna have to honor it. So then okay, and so

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Speaker 1: we just waited to see, okay, well the word came

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Speaker 1: there is a record label, there is a record deal.

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Speaker 1: He actually they're going to try to put this out

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Speaker 1: and uh and and there was it was that day

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Speaker 1: that I'm like, you know what, I don't know anything

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Speaker 1: about the music business. And and I remember I had

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Speaker 1: a song on a black Hawk that I really loved

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Speaker 1: called Days of America. I need it gone to thirty three?

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Speaker 1: How do you have that queue up there that good.

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Speaker 1: Don't worry about what we gotta here. That's unbelieving. So

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Speaker 1: as you were saying black Hawk Days of America and

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Speaker 1: and we were so pumped because this was kind of

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Speaker 1: my tribute to nine eleven. That's what we that's what

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Speaker 1: we wrote after nine eleven. And I love this record.

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Speaker 1: And remember they did it at halftime of the Titans

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Speaker 1: Steelers game in Pittsburgh and uh, and I'd actually gone

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Speaker 1: up there to see this happened. It was a big deal.

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Speaker 1: And then it stopped at thirty three and I'm like,

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Speaker 1: it was disappointing, but it was the biggest record I've

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Speaker 1: ever had, and so impossible comes out and as always

345
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Speaker 1: new artists, you know, they climbed slow. And uh. I

346
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Speaker 1: was sitting in my office and my publisher opened the door.

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Speaker 1: Um and like every Monday, you kind of know what

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Speaker 1: the charts have done for the week. You kind of

349
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Speaker 1: get through the weekend. The Monday morning they say this

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Speaker 1: is the official New charts and I'll never get She

351
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Speaker 1: opened the door and she says, you went to nineteen

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Speaker 1: and that was the first time that I went that's

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Speaker 1: a hit because of the top I don't I guess

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Speaker 1: there was no rule. Just to me, I was like, oh, nineteen,

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Speaker 1: you know, and uh, and it kept climbing and it

356
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Speaker 1: kept climbing, and it was at five and uh it

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Speaker 1: was the anniversary of nine eleven, whatever anniversary that was,

358
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Speaker 1: whatever the year it was, nine eleven. It was like

359
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Speaker 1: one or two two two, I guess, um, and we

360
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Speaker 1: probably were out of juice. We weren't going to make

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Speaker 1: it to number one, but we've gone to five. And

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Speaker 1: on the anniversary of nine eleven, his radio does um,

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Speaker 1: they're playing things that are appropriate for the emotion for

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Speaker 1: nine eleven. And the song that was willing to keep

365
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Speaker 1: us out was ten more Rounds of Jose Quervo, which

366
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Speaker 1: is the opposite of what radio it was teed up

367
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Speaker 1: to go number one, and we jumped from five to

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Speaker 1: one because we got enough emotional spins because of the

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Speaker 1: day to put us over the thing. Now, in all fairness,

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Speaker 1: ten Rounds Quervo went number one the next week. We

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Speaker 1: didn't keep them out, but it allowed us to get

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Speaker 1: number one, a non science artist on a label that

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Speaker 1: didn't exist. It wasn't even gonna be number one. There

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Speaker 1: you go, So that changed it all for you. When

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Speaker 1: you have a number one? Do you have a lot more? Cloud?

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Speaker 1: Is it like everybody wants right with you? Now? Well,

377
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Speaker 1: I think it makes people take notice, like we all

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Speaker 1: are aware of what what's number one? And if it's

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Speaker 1: somebody that's never had one before, everybody's like, oh, it's cool.

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Speaker 1: It's like I think everybody loves to see somebody knew when. Um.

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Speaker 1: I think that it makes people pay attention. Um. The

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Speaker 1: most beautiful thing is because as we all do our

383
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Speaker 1: own self doubting and I'm a one hit wonder, one

384
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Speaker 1: hit wonder them. A few months later I had a

385
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Speaker 1: number one one Terry Clark called I just want to

386
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Speaker 1: be mad. Never changed continue And what was fun is

387
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Speaker 1: because for me it was emotional and I'm like, okay,

388
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Speaker 1: even for me, I'm like, okay, I did it again.

389
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Speaker 1: You're not chumbawamba at this point. Yeah, well, I it was.

390
00:21:28,600 --> 00:21:32,119
Speaker 1: It was some confidence, you know, and uh and there

391
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Speaker 1: was a lot of things going on then. I mean

392
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Speaker 1: it's like we had, you know, several things that we

393
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Speaker 1: thought were gonna happen and then didn't. But those two

394
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Speaker 1: things that did kind of back to back, and uh, yeah,

395
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Speaker 1: I think that changed everything. It's certainly it got me

396
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Speaker 1: in riding rooms that I couldn't get in before. So

397
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Speaker 1: Joe Nichols, the impossible, the number one, Terry Clark. I

398
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Speaker 1: just want to be mad now I number one, your

399
00:21:50,119 --> 00:21:57,160
Speaker 1: fingers through my hair and your listen number one? What's next? Chronological?

400
00:21:57,240 --> 00:21:59,840
Speaker 1: I think the world would have been next. So the

401
00:22:00,080 --> 00:22:03,399
Speaker 1: world with Brad, which is a whole sidebar subject. But

402
00:22:06,200 --> 00:22:21,119
Speaker 1: to you maybe just another girl girl but me baby.

403
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Speaker 1: So you and Brad have a relationship where you have

404
00:22:28,359 --> 00:22:31,760
Speaker 1: written a lot of songs together, and so because and

405
00:22:31,840 --> 00:22:33,640
Speaker 1: knowing both, to you, guys, I see how you get

406
00:22:33,680 --> 00:22:35,720
Speaker 1: along because you guys have the same sense of humor.

407
00:22:35,880 --> 00:22:37,960
Speaker 1: Is that good? Well? I think you and I have

408
00:22:38,040 --> 00:22:39,879
Speaker 1: the same sense of humor too, and I think that's good. No,

409
00:22:40,040 --> 00:22:41,600
Speaker 1: it's not. It's not good for anybody except for us.

410
00:22:41,600 --> 00:22:44,040
Speaker 1: Because nobody else thinks we're funny. And we've seen that

411
00:22:44,119 --> 00:22:45,920
Speaker 1: in rooms where were the only two in the rooms

412
00:22:46,000 --> 00:22:49,680
Speaker 1: think we're funny? But you and Brad? Is that what

413
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Speaker 1: makes you guys take it first? Because you both have

414
00:22:52,400 --> 00:22:57,680
Speaker 1: that dry, sarcastic with the plus you're good songwriters. I

415
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Speaker 1: don't know. You'd have to ask him. I've known him

416
00:23:00,040 --> 00:23:03,080
Speaker 1: so long um. And then before his first record came out,

417
00:23:03,200 --> 00:23:06,359
Speaker 1: we wrote the first time back then, and uh, and

418
00:23:06,440 --> 00:23:09,240
Speaker 1: I didn't that a matter of fact, The World was

419
00:23:09,280 --> 00:23:11,440
Speaker 1: the first cut that I had on him. UM and

420
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Speaker 1: I had a couple on that same album. And again,

421
00:23:15,080 --> 00:23:17,520
Speaker 1: you know, it's about relationships. I mean, from there we

422
00:23:17,640 --> 00:23:19,320
Speaker 1: end up spending more time together, and we ended up

423
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Speaker 1: we've been writing ever since then. But you like each

424
00:23:21,680 --> 00:23:23,120
Speaker 1: other and you don't know, you don't we spend time

425
00:23:23,160 --> 00:23:26,800
Speaker 1: together unless you like each other. Um. And again I

426
00:23:26,960 --> 00:23:31,280
Speaker 1: can't speak for him. I know that there's something familiar

427
00:23:31,320 --> 00:23:34,840
Speaker 1: about knowing somebody for so long. And you know, I

428
00:23:34,880 --> 00:23:37,920
Speaker 1: always say the music community is tight. So the people

429
00:23:37,960 --> 00:23:40,159
Speaker 1: that you're close to, we all do life together, and

430
00:23:40,240 --> 00:23:44,600
Speaker 1: we all you know, probably the goods, the bads. You know,

431
00:23:45,119 --> 00:23:48,199
Speaker 1: he's one of those people that. I mean, Brad's interesting

432
00:23:48,280 --> 00:23:52,200
Speaker 1: in that Brad. Brad's a talker. Brad likes to sit

433
00:23:52,280 --> 00:23:56,200
Speaker 1: and talk stuff out and and just hang. More so

434
00:23:56,400 --> 00:24:00,640
Speaker 1: than anybody any guy in my life. Ad is all

435
00:24:00,720 --> 00:24:03,280
Speaker 1: about if he's gonna relax, if he's just gonna blow

436
00:24:03,359 --> 00:24:06,240
Speaker 1: off steam. We're just going somewhere, we're gonna hang. We'll

437
00:24:06,240 --> 00:24:08,000
Speaker 1: say we're gonna chat, we're gonna laugh, we're gonna listen

438
00:24:08,000 --> 00:24:10,240
Speaker 1: to music, we're gonna drive around, you know, and just

439
00:24:10,760 --> 00:24:13,640
Speaker 1: just hang you know. So yeah, it's like you spend

440
00:24:13,760 --> 00:24:16,240
Speaker 1: enough time with somebody, you know somebody pretty well. And

441
00:24:16,359 --> 00:24:21,160
Speaker 1: then he's incredibly loyal to his everyone in his world,

442
00:24:21,320 --> 00:24:24,720
Speaker 1: I mean, his his crew, you know, the bus drivers,

443
00:24:24,840 --> 00:24:28,879
Speaker 1: everyone in Brad Paisley Land has been there. Sometimes we say,

444
00:24:28,920 --> 00:24:32,120
Speaker 1: what do you gotta do to get fired by Brad Paisley.

445
00:24:32,240 --> 00:24:35,280
Speaker 1: I mean he truly he loves his people and he

446
00:24:35,359 --> 00:24:39,359
Speaker 1: wants you there. And uh so he doesn't write unless

447
00:24:39,400 --> 00:24:42,359
Speaker 1: he's working on an album. So we're just hanging unless

448
00:24:42,440 --> 00:24:43,800
Speaker 1: it's time to do an album. And its time to

449
00:24:43,840 --> 00:24:47,800
Speaker 1: do an album, and then we write and it's intense.

450
00:24:47,920 --> 00:24:50,760
Speaker 1: It's it's all day and all night and all week

451
00:24:50,920 --> 00:24:54,000
Speaker 1: and all month and and you just slam it out

452
00:24:54,040 --> 00:24:56,040
Speaker 1: and you spend a lot of time together. And you're right.

453
00:24:56,119 --> 00:25:01,159
Speaker 1: The world was at the first time track off the record. No,

454
00:25:01,760 --> 00:25:04,040
Speaker 1: I don't know. It wasn't that. There were several singles in.

455
00:25:04,240 --> 00:25:06,160
Speaker 1: I mean again, can you pressure a friend to put

456
00:25:06,160 --> 00:25:10,359
Speaker 1: your track out first? No? No, As a matter of fact,

457
00:25:10,400 --> 00:25:13,240
Speaker 1: you kinda I think you have to be careful and

458
00:25:13,960 --> 00:25:17,160
Speaker 1: there's an art to that. It's like, I'm really bad

459
00:25:17,200 --> 00:25:21,000
Speaker 1: at self promotion anyway. But if I'm sitting here and

460
00:25:21,080 --> 00:25:23,800
Speaker 1: there's a conversation about the next single is going to

461
00:25:23,880 --> 00:25:27,240
Speaker 1: be my song or somebody else's song, I'm going to

462
00:25:27,359 --> 00:25:31,640
Speaker 1: be thinking, I love you so much, please put mine note.

463
00:25:33,359 --> 00:25:36,360
Speaker 1: But I'm never, ever, ever, ever probably going to bring

464
00:25:36,440 --> 00:25:38,360
Speaker 1: it up or ask what he's thinking, because I feel

465
00:25:38,359 --> 00:25:41,240
Speaker 1: like it puts him in an uncomfortable position. So the

466
00:25:41,320 --> 00:25:43,600
Speaker 1: world has a number one song at your number three?

467
00:25:44,920 --> 00:25:55,160
Speaker 1: What's number four? Um? I guess, I guess still a guy.

468
00:25:55,720 --> 00:25:58,080
Speaker 1: See this is how you know you're a great writer

469
00:25:58,160 --> 00:25:59,880
Speaker 1: when you can't remember the order of your number one

470
00:26:00,000 --> 00:26:05,080
Speaker 1: of the time kind of gets funky and hazy and

471
00:26:05,400 --> 00:26:12,760
Speaker 1: problems man, Bloomber, I'm still When I hear this song,

472
00:26:12,920 --> 00:26:14,600
Speaker 1: I think of both of you guys personalities and this

473
00:26:14,680 --> 00:26:16,440
Speaker 1: song like I hear it and no by knowing you

474
00:26:16,520 --> 00:26:20,600
Speaker 1: guys like this is the quite essential song where both

475
00:26:20,640 --> 00:26:21,800
Speaker 1: of you guys, you got to get together and make

476
00:26:21,840 --> 00:26:24,959
Speaker 1: a bunch of jokes and the song comes out of it. Well.

477
00:26:25,000 --> 00:26:27,640
Speaker 1: The common phenomenator, but all all of your first four

478
00:26:27,800 --> 00:26:30,639
Speaker 1: is Kelly Lovelace. I wrote the first two that you

479
00:26:30,720 --> 00:26:32,680
Speaker 1: played with just me and him, and then these two

480
00:26:32,720 --> 00:26:36,240
Speaker 1: brad things are me Brad and Kelly, And uh, yeah,

481
00:26:36,280 --> 00:26:38,600
Speaker 1: I mean I think again, it's it's also knowing somebody.

482
00:26:39,119 --> 00:26:42,760
Speaker 1: You know, we were in this conversation Kelly now about

483
00:26:43,119 --> 00:26:47,600
Speaker 1: Brad and Kilm and you know, it's it's this perfect,

484
00:26:47,880 --> 00:26:51,119
Speaker 1: amazing relationship, these two beautiful people with these beautiful lives

485
00:26:51,160 --> 00:26:53,800
Speaker 1: and he's a country superstar and she's a movie star

486
00:26:54,560 --> 00:26:59,720
Speaker 1: and they're so happy, and uh and we you start

487
00:26:59,760 --> 00:27:01,400
Speaker 1: to say and like I said to Kelly, I said,

488
00:27:01,400 --> 00:27:05,120
Speaker 1: do you think when nobody's around, they just have redneck

489
00:27:05,200 --> 00:27:09,320
Speaker 1: bites just like everybody else, just ugly, nasty, married fights.

490
00:27:10,480 --> 00:27:14,400
Speaker 1: And Kelly said, I don't know, they seem pretty stable.

491
00:27:15,280 --> 00:27:18,600
Speaker 1: He probably annoys or he's still a guy. And that's

492
00:27:18,640 --> 00:27:21,960
Speaker 1: where the I did came from. How would you write that?

493
00:27:22,200 --> 00:27:25,000
Speaker 1: And so we kind of roughed in some thoughts on

494
00:27:25,080 --> 00:27:26,879
Speaker 1: it and took it to him and he liked it,

495
00:27:27,160 --> 00:27:29,760
Speaker 1: but it took took a long time to get it.

496
00:27:31,080 --> 00:27:33,800
Speaker 1: He's kind of gotta finally find an emotional connection to it.

497
00:27:34,000 --> 00:27:36,240
Speaker 1: And when he finally did, when he finally thought it

498
00:27:36,320 --> 00:27:37,840
Speaker 1: was funny, he got it to where he thought it

499
00:27:37,920 --> 00:27:39,920
Speaker 1: was funny. Then the question was how far do we go?

500
00:27:40,880 --> 00:27:42,800
Speaker 1: And so then we took it further than we probably

501
00:27:42,800 --> 00:27:45,320
Speaker 1: should have, and then that's when he decided it was perfect.

502
00:27:45,720 --> 00:27:48,159
Speaker 1: And we felt like it was uncommercial. We felt like

503
00:27:48,160 --> 00:27:52,120
Speaker 1: it would scare the label, and and the label felt

504
00:27:52,160 --> 00:27:55,520
Speaker 1: like it would absolutely reach people. And and they were right,

505
00:27:55,600 --> 00:27:58,520
Speaker 1: and I'm glad they were. Does that song surprise you most?

506
00:27:58,560 --> 00:28:03,919
Speaker 1: That's twenty of your number ones? Um, you know, only maybe,

507
00:28:04,040 --> 00:28:08,920
Speaker 1: But budd, you know, your opinion is kind of influenced

508
00:28:08,960 --> 00:28:10,680
Speaker 1: by what your peers say. And I felt like that.

509
00:28:11,200 --> 00:28:16,040
Speaker 1: Oddly enough, this this song probably from from my friends,

510
00:28:16,640 --> 00:28:19,880
Speaker 1: my writer friends. They probably gave this song more love

511
00:28:19,920 --> 00:28:21,600
Speaker 1: than the others because they felt like it was written

512
00:28:21,640 --> 00:28:24,680
Speaker 1: so well, which is strictly based on a well written song.

513
00:28:25,240 --> 00:28:28,280
Speaker 1: The thing that is interesting is it's been a while

514
00:28:28,359 --> 00:28:31,760
Speaker 1: since anything this quote funny was a hit. It's like

515
00:28:32,200 --> 00:28:37,240
Speaker 1: radio doesn't really do funny lately. So sometimes it shocks

516
00:28:37,320 --> 00:28:39,160
Speaker 1: me that something this light and is silly in this.

517
00:28:39,520 --> 00:28:41,560
Speaker 1: You know, he was a superstar then though, right at

518
00:28:41,640 --> 00:28:44,400
Speaker 1: this point, so it's it's easier to be a little

519
00:28:44,440 --> 00:28:47,280
Speaker 1: funny love when you're a superstar and he had been

520
00:28:47,680 --> 00:28:50,640
Speaker 1: funny enough alcohol was funny celebrity he had he had

521
00:28:50,680 --> 00:28:53,560
Speaker 1: done this before. It was kind of his thing, you know,

522
00:28:53,640 --> 00:28:55,040
Speaker 1: and it was it had been a little while, so

523
00:28:55,120 --> 00:28:58,760
Speaker 1: it was kind of ready for it, um, but like

524
00:28:58,880 --> 00:29:01,080
Speaker 1: he would test it. It shows of course, I said,

525
00:29:01,080 --> 00:29:03,200
Speaker 1: he's been an arena act for a long time and

526
00:29:03,360 --> 00:29:05,400
Speaker 1: so before anybody had heard it, he would sit on

527
00:29:05,480 --> 00:29:07,120
Speaker 1: a stool with an acoustic and he would sing it

528
00:29:07,200 --> 00:29:10,680
Speaker 1: to the minut an arena, which is gutsy and and

529
00:29:10,760 --> 00:29:13,320
Speaker 1: he was blown away because he said, he said, the

530
00:29:13,680 --> 00:29:18,160
Speaker 1: entire place just roared and laughed, which he says, that's

531
00:29:18,160 --> 00:29:20,840
Speaker 1: fantastic because they don't know the song. You're selling it

532
00:29:21,000 --> 00:29:23,600
Speaker 1: like that. And then we remember that he started getting

533
00:29:23,600 --> 00:29:25,600
Speaker 1: nervous right before it came out as a single because

534
00:29:25,600 --> 00:29:27,960
Speaker 1: the album have been out for a while. This wasn't

535
00:29:28,040 --> 00:29:30,520
Speaker 1: the first single of several singles in so people his

536
00:29:30,640 --> 00:29:32,400
Speaker 1: fans had had the album and they knew the music.

537
00:29:32,920 --> 00:29:37,280
Speaker 1: And I remember one day he had said, they're not

538
00:29:37,360 --> 00:29:41,520
Speaker 1: really laughing anymore, and then Kelly pointed out, he says, no,

539
00:29:42,080 --> 00:29:46,840
Speaker 1: because they're singing. You know, everybody's singing now because they

540
00:29:46,880 --> 00:29:50,360
Speaker 1: know it, you know, and then he still he still

541
00:29:50,440 --> 00:29:52,440
Speaker 1: does it, and it's it's fun to watch him do

542
00:29:52,440 --> 00:29:55,280
Speaker 1: it in concert because the entire place sings it back in.

543
00:29:55,920 --> 00:29:58,560
Speaker 1: That's break brought to you by a Sleep number. I

544
00:29:58,640 --> 00:30:01,959
Speaker 1: gotta paid the bill, obviously. Did you see my room?

545
00:30:02,000 --> 00:30:03,680
Speaker 1: By the way, I get a new place, Persial, I've

546
00:30:03,680 --> 00:30:06,240
Speaker 1: been to the new place, I haven't seen the sleep

547
00:30:06,480 --> 00:30:07,959
Speaker 1: Did you give them a tour it all? Michael, you're

548
00:30:07,960 --> 00:30:10,840
Speaker 1: walking out. We just came up. Well, so I have

549
00:30:10,880 --> 00:30:12,200
Speaker 1: a sleep in bed. If you like to take a

550
00:30:12,280 --> 00:30:14,560
Speaker 1: spin and and take a nap afterward, feel free. It's

551
00:30:14,560 --> 00:30:16,880
Speaker 1: a very comfortable bed. How long is the buck cast

552
00:30:16,960 --> 00:30:21,480
Speaker 1: going to be? Well? Am I going home tonight? Well,

553
00:30:22,360 --> 00:30:25,040
Speaker 1: so listen sleep number. I have one. My sleep number

554
00:30:25,080 --> 00:30:27,400
Speaker 1: setting is thirty. And they have a comfort fit pillow,

555
00:30:27,440 --> 00:30:29,640
Speaker 1: which is awesome now. And you don't realize how awesome

556
00:30:29,640 --> 00:30:31,960
Speaker 1: pillows are until you actually either have a really bad

557
00:30:32,000 --> 00:30:33,840
Speaker 1: one a really good one, and you have a bad

558
00:30:33,920 --> 00:30:35,280
Speaker 1: when you're like, oh that's terrible. If they have a

559
00:30:35,360 --> 00:30:37,240
Speaker 1: good when you're like, I never even knew I needed

560
00:30:37,280 --> 00:30:40,120
Speaker 1: a good one. But sleep number has the comfort fit pillow,

561
00:30:40,640 --> 00:30:42,800
Speaker 1: and it remembers even now your head is shaped and

562
00:30:42,920 --> 00:30:46,320
Speaker 1: so the comfort fit pillow is comfortable. It's a holiday

563
00:30:46,400 --> 00:30:49,840
Speaker 1: season time. If you're hearing this right recently, and it's

564
00:30:49,880 --> 00:30:51,760
Speaker 1: there for you. My Sleep number setting is thirty. My

565
00:30:51,840 --> 00:30:54,240
Speaker 1: sleep i Q score last night was in the nineties.

566
00:30:54,280 --> 00:30:56,360
Speaker 1: And there's only one place you'll find the comfort fit

567
00:30:56,440 --> 00:30:58,800
Speaker 1: pillow at a Sleep Number store. And right now you

568
00:30:58,840 --> 00:31:00,560
Speaker 1: can buy only get one and off, and you can

569
00:31:00,640 --> 00:31:03,160
Speaker 1: check out the great gifts too for greater sleep five

570
00:31:03,240 --> 00:31:06,200
Speaker 1: hundred Sleep Number stores eight hundred next bed and you

571
00:31:06,240 --> 00:31:08,120
Speaker 1: can tell them that charted here on the Bobby Cast.

572
00:31:08,680 --> 00:31:10,080
Speaker 1: That's how you know you start to make it. Whenever

573
00:31:10,240 --> 00:31:12,400
Speaker 1: people want to advertise during a show. I'm big Sleep

574
00:31:12,480 --> 00:31:14,720
Speaker 1: number guy anyway, but whenever we started get people going

575
00:31:14,760 --> 00:31:17,680
Speaker 1: how and advertise them like dang, people are listening to

576
00:31:17,760 --> 00:31:20,600
Speaker 1: this thing now, so you you know I'm still a

577
00:31:20,640 --> 00:31:24,280
Speaker 1: guy that's your fourth number one. At this point, you're

578
00:31:24,360 --> 00:31:28,000
Speaker 1: rolling the dough. I mean you're walking around fur coats,

579
00:31:28,920 --> 00:31:31,640
Speaker 1: fur coats, fur coats come early though, I mean you

580
00:31:31,720 --> 00:31:36,840
Speaker 1: gotta jump on that immediately, gold chains, You're the whole thing.

581
00:31:37,480 --> 00:31:39,600
Speaker 1: At this time, they really after four number ones? Are again?

582
00:31:39,640 --> 00:31:43,000
Speaker 1: Are you a big dog on music? Girl? I don't

583
00:31:43,040 --> 00:31:45,600
Speaker 1: know you know, here's the problem. Um, you may not

584
00:31:45,760 --> 00:31:47,800
Speaker 1: know this because there is no bigger dog than you.

585
00:31:48,320 --> 00:31:51,560
Speaker 1: But in music, it's like, no matter how good you're doing,

586
00:31:51,640 --> 00:31:55,000
Speaker 1: you've got somebody that's just killing you. You know. So

587
00:31:56,720 --> 00:31:58,600
Speaker 1: by the time I had four, it's like a couple

588
00:31:58,640 --> 00:32:00,880
Speaker 1: of my best friends had twelve or something. That's kind

589
00:32:00,920 --> 00:32:03,560
Speaker 1: of gone, Uh, this is exhausting because here's the thing.

590
00:32:03,920 --> 00:32:06,800
Speaker 1: It's it's a numbers game. It's a no game. So

591
00:32:07,480 --> 00:32:10,000
Speaker 1: so I mean, I'm very blessed, so I can't complain

592
00:32:10,040 --> 00:32:12,959
Speaker 1: about my success, but understand, but the time you get

593
00:32:13,000 --> 00:32:17,160
Speaker 1: to the fourth number one, I mean, it's thousands of songs,

594
00:32:17,400 --> 00:32:21,720
Speaker 1: and and we write every day, and and then inevitably

595
00:32:21,840 --> 00:32:24,160
Speaker 1: the things that you think are your great stuff nobody

596
00:32:24,240 --> 00:32:26,680
Speaker 1: cares about. You know, they've passed on them. Or you

597
00:32:26,760 --> 00:32:28,840
Speaker 1: get things on the record and you okay, you're gonna

598
00:32:28,880 --> 00:32:30,800
Speaker 1: be the next single, and then the last minute they

599
00:32:30,880 --> 00:32:32,800
Speaker 1: changed their mind and you don't get it, or the

600
00:32:32,880 --> 00:32:36,840
Speaker 1: thing comes out and and this is unbelievable. This is huge,

601
00:32:36,880 --> 00:32:38,440
Speaker 1: This is gonna be huge, this is gonna be huge.

602
00:32:38,480 --> 00:32:40,720
Speaker 1: And then the guy loses his record deal. I literally

603
00:32:40,760 --> 00:32:43,280
Speaker 1: had a single coming out Monday. This is a few

604
00:32:43,360 --> 00:32:46,719
Speaker 1: years ago. Um, and it was a song that had

605
00:32:46,800 --> 00:32:49,320
Speaker 1: been cut twice before and had never been a single,

606
00:32:49,400 --> 00:32:51,120
Speaker 1: and this guy cuts that. He's on a major label.

607
00:32:51,560 --> 00:32:53,200
Speaker 1: It was the new single that was in all the trades.

608
00:32:53,240 --> 00:32:56,000
Speaker 1: They're going for ads on Monday and on Friday, the

609
00:32:56,080 --> 00:32:58,840
Speaker 1: guy calls me and he's crying and he says, I

610
00:32:58,960 --> 00:33:02,000
Speaker 1: just got dropped it. You know. So we do lots

611
00:33:02,040 --> 00:33:06,040
Speaker 1: of heartbreak, you know, along the way. Um and you know,

612
00:33:06,160 --> 00:33:09,880
Speaker 1: so you're you're You're constantly Uh, is this is this

613
00:33:10,040 --> 00:33:12,000
Speaker 1: the last one? I drive my wife crazy and all

614
00:33:12,080 --> 00:33:15,640
Speaker 1: songwriters have just like it's big hit, number one record.

615
00:33:16,160 --> 00:33:18,760
Speaker 1: I wonder if that's the last one. You know, it

616
00:33:19,000 --> 00:33:22,600
Speaker 1: wasn't take me to number five. I guess that was.

617
00:33:22,680 --> 00:33:25,360
Speaker 1: You're gonna miss this, You're gonna miss this. Trace Atkins,

618
00:33:29,080 --> 00:33:31,160
Speaker 1: did you write this with Trace? No? I wrote this

619
00:33:31,240 --> 00:33:36,080
Speaker 1: with Ashley Gorley. So did you write in color with Trace?

620
00:33:37,480 --> 00:33:39,360
Speaker 1: Did you ever write with Trace? No? You know, I

621
00:33:39,400 --> 00:33:41,160
Speaker 1: wonder because that would be a weird dynamic. That's why

622
00:33:41,160 --> 00:33:42,480
Speaker 1: I asked, because I got a chance on the Trace.

623
00:33:42,520 --> 00:33:46,280
Speaker 1: He's a little difficult to have a conversation with a

624
00:33:46,360 --> 00:33:49,280
Speaker 1: man a very few words. He's quiet. Yeah, I mean

625
00:33:49,360 --> 00:33:53,280
Speaker 1: he's uh, he writes, I don't Tracey never. I don't

626
00:33:53,280 --> 00:33:55,400
Speaker 1: think Tracy ever loved writing you know, I've never written

627
00:33:55,440 --> 00:33:58,320
Speaker 1: with written with Trace about if you cuts on Trace? Um.

628
00:34:00,080 --> 00:34:02,320
Speaker 1: Race is such a cartoon character because he's so big

629
00:34:02,400 --> 00:34:05,160
Speaker 1: and his voice is so deep, and he's he's kind

630
00:34:05,160 --> 00:34:09,160
Speaker 1: of scary, you know. Yeah, and his stories too, once

631
00:34:09,239 --> 00:34:17,920
Speaker 1: you learn them, it's scary. Yeah, like he's a bad man. Yeah, yeah, Um,

632
00:34:18,840 --> 00:34:21,480
Speaker 1: you never stopped thinking about that. You know what's funny

633
00:34:21,600 --> 00:34:25,200
Speaker 1: is Trace cut in color? That I think that's where

634
00:34:25,239 --> 00:34:27,160
Speaker 1: it was. I think in Trace cut in color on

635
00:34:27,200 --> 00:34:29,480
Speaker 1: the same session as you're going to miss this and uh.

636
00:34:30,040 --> 00:34:31,799
Speaker 1: And then Jamie got a record deal that we didn't

637
00:34:31,800 --> 00:34:34,320
Speaker 1: even know that he was trying to get, and we

638
00:34:34,400 --> 00:34:35,920
Speaker 1: had to call Trace and tell him he couldn't have

639
00:34:35,960 --> 00:34:38,279
Speaker 1: an and color him. I didn't call him. I made

640
00:34:38,320 --> 00:34:41,080
Speaker 1: somebody else call him. Both those guys with one of

641
00:34:41,120 --> 00:34:43,480
Speaker 1: those guys. So you're gonna miss this Coast number one.

642
00:34:43,840 --> 00:34:47,600
Speaker 1: But this is a monster song. Of all of these

643
00:34:47,640 --> 00:34:50,200
Speaker 1: songs so far, in my mind, this is the biggest

644
00:34:50,239 --> 00:34:53,759
Speaker 1: so far as far as just all encompassing. Everybody knows it.

645
00:34:54,160 --> 00:34:55,840
Speaker 1: Do you feel that way because he's just my personal

646
00:34:56,080 --> 00:35:01,759
Speaker 1: feeling him a hard I think so, Um, this this

647
00:35:01,920 --> 00:35:03,560
Speaker 1: one song of the heard a couple of things. It

648
00:35:04,040 --> 00:35:06,960
Speaker 1: was nominated for all the big awards and didn't win

649
00:35:07,000 --> 00:35:11,640
Speaker 1: any of them. We lost to other things. But um, yeah,

650
00:35:11,680 --> 00:35:14,920
Speaker 1: I think that it's certainly for impact. This one is

651
00:35:15,080 --> 00:35:19,640
Speaker 1: what is used for graduations, and you know, it's done

652
00:35:19,640 --> 00:35:24,640
Speaker 1: a lot of things until In Color comes along. It's

653
00:35:24,680 --> 00:35:26,640
Speaker 1: is interesting thing. But in Color and Color only went

654
00:35:26,680 --> 00:35:31,440
Speaker 1: to seven. This wasn't a number one song. It was

655
00:35:31,480 --> 00:35:34,600
Speaker 1: not you know that's it's not that and I am

656
00:35:34,640 --> 00:35:37,879
Speaker 1: shocked by it, but I'm not because Girl Crush wasn't

657
00:35:37,880 --> 00:35:39,800
Speaker 1: a number one song. And there are a lot of

658
00:35:40,280 --> 00:35:43,680
Speaker 1: huge songs that don't hit number one for whatever political reasons.

659
00:35:43,800 --> 00:35:46,400
Speaker 1: Radio has and labels. You know, there's a lot of

660
00:35:46,640 --> 00:35:48,960
Speaker 1: labels going, okay, we'll trade you this for this, and

661
00:35:49,040 --> 00:35:53,200
Speaker 1: for some reason it doesn't happen well. And In Color

662
00:35:53,360 --> 00:35:56,960
Speaker 1: sounded for all of the things that made people loving Color,

663
00:35:57,160 --> 00:36:01,239
Speaker 1: it hurt it commercially. I can't blame what I ever

664
00:36:01,280 --> 00:36:05,000
Speaker 1: one song and it took forever to get and you stuck.

665
00:36:06,400 --> 00:36:08,120
Speaker 1: You can't even get this song number one. You wouldn't

666
00:36:08,120 --> 00:36:09,440
Speaker 1: have done this if you haven't known, this didn't go

667
00:36:09,600 --> 00:36:11,840
Speaker 1: number one. That's the only way that I brought it

668
00:36:11,920 --> 00:36:16,160
Speaker 1: at this listen, This song, though now is the biggest

669
00:36:16,160 --> 00:36:18,960
Speaker 1: song of all of them. I would say this one

670
00:36:19,120 --> 00:36:24,719
Speaker 1: changed my life more than anything else, because you know,

671
00:36:25,680 --> 00:36:30,520
Speaker 1: the music business is almost is an interesting animal. So

672
00:36:31,200 --> 00:36:34,320
Speaker 1: you can have you can have a big hit on

673
00:36:34,400 --> 00:36:40,360
Speaker 1: a big commercial, cool sounding record that people the business

674
00:36:40,400 --> 00:36:42,600
Speaker 1: just struggles their shoulders say you congratulations, it's a hit.

675
00:36:42,680 --> 00:36:47,800
Speaker 1: It's another one, another one, this one. I don't know.

676
00:36:48,320 --> 00:36:51,120
Speaker 1: I'm not the one to speak on it. I just

677
00:36:51,239 --> 00:36:53,480
Speaker 1: know that the things that people said to me respect

678
00:36:53,560 --> 00:36:58,759
Speaker 1: wise craft wise, um, it got a lot of a

679
00:36:58,880 --> 00:37:00,439
Speaker 1: lot of love. And I had a lot of people

680
00:37:00,480 --> 00:37:03,560
Speaker 1: say wonderful, a lot of nice things to me about this.

681
00:37:04,080 --> 00:37:08,160
Speaker 1: This is a song that's people's favorite song. And all

682
00:37:08,239 --> 00:37:10,400
Speaker 1: the other songs but in the trade song could probably

683
00:37:10,400 --> 00:37:12,800
Speaker 1: be a favorite song too. And the other songs that

684
00:37:12,880 --> 00:37:15,320
Speaker 1: you had Nuver once with those are really fun, good songs,

685
00:37:16,160 --> 00:37:19,120
Speaker 1: but very few songs and lifetimes our favorite songs of people,

686
00:37:19,680 --> 00:37:21,600
Speaker 1: because like I have two or their favorite songs in

687
00:37:21,640 --> 00:37:23,000
Speaker 1: my life, Like that's it, Like what favorite song? I

688
00:37:23,000 --> 00:37:24,799
Speaker 1: got a couple of favorite songs like I love stop

689
00:37:24,960 --> 00:37:26,520
Speaker 1: this Train from John Mayer, like I would say I

690
00:37:26,520 --> 00:37:29,279
Speaker 1: have a couple of favorite songs if tomorrow never comes,

691
00:37:29,360 --> 00:37:32,000
Speaker 1: like I have a couple of favorite songs. I know.

692
00:37:32,560 --> 00:37:34,960
Speaker 1: For example, my manager Mary Forest, this is our favorite

693
00:37:35,000 --> 00:37:38,960
Speaker 1: song in her life. This is main Grandma. Listen to

694
00:37:39,080 --> 00:37:47,920
Speaker 1: this summer song Christa. The day we said off, you

695
00:37:48,040 --> 00:37:53,400
Speaker 1: can't tell it was hot that Jane and roads was red,

696
00:37:54,680 --> 00:38:00,720
Speaker 1: were blue? Just look at that. I was so from

697
00:38:05,000 --> 00:38:08,959
Speaker 1: that's the story. And you're telling me Tray Scott this first,

698
00:38:09,000 --> 00:38:10,439
Speaker 1: and you had to call Trace and go, hey, gota

699
00:38:10,440 --> 00:38:14,839
Speaker 1: take it back. We did, and nobody was really talking

700
00:38:14,880 --> 00:38:16,880
Speaker 1: about you're gonna miss this. I don't It wouldn't have

701
00:38:16,960 --> 00:38:20,720
Speaker 1: made the record. However, everybody was freaking out about in Color.

702
00:38:20,840 --> 00:38:23,000
Speaker 1: And I had one of the studio musicians actually called

703
00:38:23,040 --> 00:38:25,279
Speaker 1: me the day they tracked it, and they tracked both

704
00:38:25,360 --> 00:38:28,160
Speaker 1: of them and and he says, man, he says, why

705
00:38:28,200 --> 00:38:30,960
Speaker 1: do you hear in color? It is unbelievable. And and

706
00:38:31,080 --> 00:38:34,360
Speaker 1: so the producer called me into to play me the

707
00:38:34,719 --> 00:38:38,560
Speaker 1: cuts and uh, and he played me You're gonna miss this,

708
00:38:38,760 --> 00:38:41,440
Speaker 1: but I already knew the Trace really didn't like it,

709
00:38:41,560 --> 00:38:44,000
Speaker 1: like he wasn't really into it, and then he played

710
00:38:44,040 --> 00:38:48,360
Speaker 1: me in Color Tracey's cut and it killed me. It

711
00:38:48,520 --> 00:38:51,719
Speaker 1: was it was big, and it was it sounded expensive.

712
00:38:51,800 --> 00:38:54,440
Speaker 1: I mean, it would just wow, is this a big record?

713
00:38:54,520 --> 00:38:57,680
Speaker 1: And and there's rumblings that might be the title track

714
00:38:57,760 --> 00:38:59,360
Speaker 1: of the album was gonna be a career record for

715
00:38:59,400 --> 00:39:02,680
Speaker 1: Trace and and you know, and then he wanted to

716
00:39:02,719 --> 00:39:05,320
Speaker 1: go do the Celebrity Apprentice, which put the entire album

717
00:39:05,400 --> 00:39:08,719
Speaker 1: on hold and they're gonna do something else, and that

718
00:39:08,840 --> 00:39:12,920
Speaker 1: gave them just enough hiccup that Jamie the whole time

719
00:39:13,000 --> 00:39:14,600
Speaker 1: knew he was going to do another record, and so

720
00:39:14,719 --> 00:39:18,160
Speaker 1: he turned a group of songs into uh the label,

721
00:39:19,200 --> 00:39:21,839
Speaker 1: another label, and uh they offered him a record deal

722
00:39:21,880 --> 00:39:24,120
Speaker 1: on the spot. And then they turned around and says,

723
00:39:24,200 --> 00:39:26,640
Speaker 1: but the the easiest thing, we think we can get

724
00:39:26,719 --> 00:39:31,600
Speaker 1: radio to places in Color and uh so okay. And

725
00:39:31,680 --> 00:39:33,160
Speaker 1: so then I walked into Publish one day and they

726
00:39:33,160 --> 00:39:36,160
Speaker 1: said we got a problem and they said their shipping

727
00:39:36,280 --> 00:39:40,120
Speaker 1: and Color the radio for Jamie and Uh, I said,

728
00:39:41,600 --> 00:39:43,879
Speaker 1: Jamie has a deal and they said yeah, and I said,

729
00:39:44,960 --> 00:39:49,439
Speaker 1: but we've already promised Trace and they said, somebody sat

730
00:39:49,560 --> 00:39:54,920
Speaker 1: called Trace and I said, called Jamie. Jamie called Trace

731
00:39:55,160 --> 00:40:00,320
Speaker 1: really and he did, and how I Trace about that?

732
00:40:00,400 --> 00:40:04,279
Speaker 1: Do you know? So I hadn't talked to Trace, and

733
00:40:04,520 --> 00:40:06,520
Speaker 1: uh it was at the number one party for You're

734
00:40:06,560 --> 00:40:09,400
Speaker 1: Gonna Miss This and we're standing on the platform. We

735
00:40:09,600 --> 00:40:11,399
Speaker 1: we we've all done our little speech and our thank

736
00:40:11,440 --> 00:40:13,920
Speaker 1: you and and we're having a picture taken and I'm

737
00:40:13,960 --> 00:40:16,680
Speaker 1: standing next to Trace, and of course he's nine ft tall,

738
00:40:17,840 --> 00:40:21,480
Speaker 1: and I said, um, I'm sorry about it in Color,

739
00:40:22,960 --> 00:40:28,680
Speaker 1: and he goes, yeah, he says, well, he says, if

740
00:40:28,719 --> 00:40:31,920
Speaker 1: Jamie wouldn't a writer on it, it would have been

741
00:40:31,920 --> 00:40:34,640
Speaker 1: a different story. But Jamie was a writer. What am

742
00:40:34,640 --> 00:40:37,960
Speaker 1: I supposed to do? You wrote it with Jamie did.

743
00:40:39,120 --> 00:40:43,640
Speaker 1: And so we went to Vegas for the a c

744
00:40:43,920 --> 00:40:48,080
Speaker 1: M and When in Color was nominated for Song of

745
00:40:48,120 --> 00:40:52,200
Speaker 1: the Year and we won. And uh so after we

746
00:40:52,400 --> 00:40:54,320
Speaker 1: go up and we accept our award, we go on

747
00:40:54,360 --> 00:40:56,600
Speaker 1: the back and we come back out to go back

748
00:40:56,640 --> 00:40:59,000
Speaker 1: to our seats and commercial break and I come walking

749
00:40:59,040 --> 00:41:02,239
Speaker 1: out through the crowd and it's fun because it's all music.

750
00:41:02,360 --> 00:41:04,680
Speaker 1: Rows out there. Anybody's high five and youn, you know,

751
00:41:05,440 --> 00:41:11,279
Speaker 1: and somebody screams Miller and everybody stops and turns around

752
00:41:11,320 --> 00:41:14,880
Speaker 1: and Trace is standing up this much taller than everybody else, right,

753
00:41:14,960 --> 00:41:19,239
Speaker 1: and says, come here. And so I walk over the

754
00:41:19,280 --> 00:41:20,560
Speaker 1: to him and I kid you not there. I'm in

755
00:41:20,800 --> 00:41:23,279
Speaker 1: my suit. We're all looking and he puts me in

756
00:41:23,360 --> 00:41:27,560
Speaker 1: a headlock and he screams with for garrityes, that's my

757
00:41:27,960 --> 00:41:32,520
Speaker 1: blanking song. And I remember I'm staying ahead, like looking

758
00:41:32,600 --> 00:41:35,440
Speaker 1: at kid Rock, who's watching me be beat up by

759
00:41:35,520 --> 00:41:38,359
Speaker 1: Trace Atkins? And and then he laughed and he hit

760
00:41:38,440 --> 00:41:43,120
Speaker 1: me and he said, oh blank blank blank congratulations. So

761
00:41:43,320 --> 00:41:45,759
Speaker 1: that song also, like you go to the Grammys for

762
00:41:45,800 --> 00:41:49,719
Speaker 1: that song? Right, he did have I've had three Grammy nominations,

763
00:41:49,800 --> 00:41:52,400
Speaker 1: which is beautiful. It just gets you so close to

764
00:41:52,480 --> 00:41:55,440
Speaker 1: make you make you want one. UM was interesting is

765
00:41:56,239 --> 00:41:58,520
Speaker 1: in Color was up against You're gonna miss this for

766
00:41:58,600 --> 00:42:02,360
Speaker 1: the Grammy. You had two songs utter the same Grammy

767
00:42:03,920 --> 00:42:08,200
Speaker 1: and by the time but the time I got there,

768
00:42:08,400 --> 00:42:12,880
Speaker 1: because uh, impossible is up for a Grammy. But we

769
00:42:13,000 --> 00:42:14,719
Speaker 1: knew where were you in the Royal stop starning. We

770
00:42:14,800 --> 00:42:18,040
Speaker 1: knew that was gonna win, and it did. Um and

771
00:42:18,120 --> 00:42:23,320
Speaker 1: then we go for miss this and and in Color

772
00:42:23,440 --> 00:42:26,320
Speaker 1: and it's like, okay, well there's five there's five choices.

773
00:42:26,480 --> 00:42:31,120
Speaker 1: I have two of them, and a lot of people

774
00:42:31,200 --> 00:42:33,160
Speaker 1: thought In Color was gonna win. So but the time

775
00:42:33,239 --> 00:42:35,440
Speaker 1: you get down to the and the winter is I'm

776
00:42:35,520 --> 00:42:38,359
Speaker 1: pretty pumped, I'm pretty and I'm dying. So I'm thinking,

777
00:42:38,440 --> 00:42:40,840
Speaker 1: what are we really going to win a Grammy? And

778
00:42:40,960 --> 00:42:45,600
Speaker 1: we didn't? Stay sugar Land. Speaking of sugar Land, they

779
00:42:45,680 --> 00:42:48,600
Speaker 1: won and uh and I'm I'm sitting there with Trace,

780
00:42:49,200 --> 00:42:51,000
Speaker 1: you know, thinking I'm going to win for it in

781
00:42:51,120 --> 00:42:56,359
Speaker 1: Color and then we didn't win anything. So stay good.

782
00:42:56,400 --> 00:42:58,160
Speaker 1: I'm not gone to these days. A good song, dude,

783
00:42:59,239 --> 00:43:01,040
Speaker 1: that's a favorite song for people, do I know? But

784
00:43:01,200 --> 00:43:03,200
Speaker 1: you're my friends and we you shouldn't say that out loud.

785
00:43:04,360 --> 00:43:07,399
Speaker 1: I would have voted Frank Color though that's a life song.

786
00:43:07,800 --> 00:43:09,520
Speaker 1: They're both great though, that Stay song. I We're watching

787
00:43:09,560 --> 00:43:11,120
Speaker 1: a video for that one and being like, oh my god,

788
00:43:11,200 --> 00:43:13,399
Speaker 1: this get Jennifer was crying during the song. I don't

789
00:43:13,400 --> 00:43:15,640
Speaker 1: know if she's acting. Probably she's a good actor. But

790
00:43:16,200 --> 00:43:18,239
Speaker 1: you know what, Actually, at the a c M, s

791
00:43:19,040 --> 00:43:21,359
Speaker 1: in Color was up against You're gonna miss the Song

792
00:43:21,400 --> 00:43:24,680
Speaker 1: of the Year at the a c M, and in

793
00:43:24,800 --> 00:43:27,439
Speaker 1: Color one song of the year, and you're gonna miss

794
00:43:27,520 --> 00:43:29,480
Speaker 1: this one single of the year, so you want both

795
00:43:29,960 --> 00:43:32,920
Speaker 1: with both. The single is for the producer and the artist,

796
00:43:33,280 --> 00:43:35,400
Speaker 1: but he's still a youth song. And you wrote the

797
00:43:35,440 --> 00:43:36,920
Speaker 1: song and they didn't get they want to produce it

798
00:43:37,040 --> 00:43:40,160
Speaker 1: or sing it if you didn't reach pretty fantastic it was.

799
00:43:40,200 --> 00:43:42,200
Speaker 1: That was a lot of fun. It's like all my

800
00:43:42,239 --> 00:43:44,920
Speaker 1: worlds are colliding because like, what do I don't know

801
00:43:44,920 --> 00:43:47,360
Speaker 1: anything of music, right, I mean, I do whatever I do.

802
00:43:48,080 --> 00:43:50,439
Speaker 1: But we do our little musical thing and write some songs.

803
00:43:50,480 --> 00:43:52,400
Speaker 1: But really the only two people that I feel compable

804
00:43:52,440 --> 00:43:55,520
Speaker 1: writing with that are you and Christian Bush. That's it.

805
00:43:56,040 --> 00:44:00,200
Speaker 1: That's and you guys are up against well. I don't

806
00:44:00,320 --> 00:44:02,399
Speaker 1: let people you know me. I'm a very private guy.

807
00:44:02,480 --> 00:44:06,200
Speaker 1: When I'm not public, I'm not that fun and I'm

808
00:44:06,280 --> 00:44:10,080
Speaker 1: not that confident. I can remember the first time because

809
00:44:10,120 --> 00:44:11,880
Speaker 1: we were like, hey, I didn't know how to do

810
00:44:11,920 --> 00:44:14,520
Speaker 1: a record. I don't think about a record, and it was, hey,

811
00:44:15,120 --> 00:44:17,839
Speaker 1: I'm gonna a comedy record because we had we'd say goals,

812
00:44:17,880 --> 00:44:19,000
Speaker 1: and we said, hey, if we make a million buck

813
00:44:19,040 --> 00:44:20,960
Speaker 1: for charity, we're gonna do a record. And before we

814
00:44:21,560 --> 00:44:23,160
Speaker 1: could do a record, we had raised two million and

815
00:44:23,239 --> 00:44:25,320
Speaker 1: we're like, holy crap, we kind of owe it to

816
00:44:25,360 --> 00:44:27,840
Speaker 1: ourselves to at least try. I don't any songwriters. I

817
00:44:27,880 --> 00:44:30,360
Speaker 1: don't anything, right. I know like five chords. Now I

818
00:44:30,400 --> 00:44:32,440
Speaker 1: know like nine, so it's not even that much that different.

819
00:44:33,120 --> 00:44:35,640
Speaker 1: And so I'm just writing with a couple of people

820
00:44:35,719 --> 00:44:38,120
Speaker 1: that I know and by myself and my comedy friend

821
00:44:38,160 --> 00:44:40,320
Speaker 1: writers where I'm the musical lead, which is not a

822
00:44:40,400 --> 00:44:45,160
Speaker 1: good place for me to be. So Nick Autrey, who's

823
00:44:45,160 --> 00:44:46,680
Speaker 1: a produce who was produced in the record who worked

824
00:44:46,719 --> 00:44:48,759
Speaker 1: at Black River, was like, listen, I've been trying to

825
00:44:48,800 --> 00:44:50,719
Speaker 1: get this guy for all right. He will not write

826
00:44:50,760 --> 00:44:54,000
Speaker 1: with me. He didn't, I swear to God, but I promise,

827
00:44:54,080 --> 00:44:55,200
Speaker 1: he said, he will not write with me. I can't

828
00:44:55,200 --> 00:44:57,680
Speaker 1: get on for a right. He said, Can I use

829
00:44:57,960 --> 00:44:59,640
Speaker 1: and say you're writing and try to get him to

830
00:44:59,680 --> 00:45:01,080
Speaker 1: come and do a right? And I was like, I

831
00:45:01,120 --> 00:45:04,200
Speaker 1: don't care what you do. I don't know anybody, Like sure,

832
00:45:04,400 --> 00:45:06,600
Speaker 1: whatever you want to do, and he goes okay. And

833
00:45:06,600 --> 00:45:08,040
Speaker 1: I don't even know what the guy's name was. He

834
00:45:08,080 --> 00:45:10,359
Speaker 1: told me it was anyway. I get there and it's late,

835
00:45:10,560 --> 00:45:12,480
Speaker 1: I don't I don't know. I know you're from Jim

836
00:45:13,040 --> 00:45:14,400
Speaker 1: you know. I was like, because I didn't know, I

837
00:45:14,440 --> 00:45:16,680
Speaker 1: don't want anybody like I really, people think, oh, you

838
00:45:16,800 --> 00:45:19,360
Speaker 1: must not, I don't know anybody. When it comes to

839
00:45:19,480 --> 00:45:22,600
Speaker 1: like the minutia of what's happening underneath the music, I

840
00:45:22,640 --> 00:45:25,279
Speaker 1: don't know anybody. I'm starting to meet people now through

841
00:45:25,360 --> 00:45:29,399
Speaker 1: different processes of touring and riding and not so much radio,

842
00:45:29,480 --> 00:45:31,400
Speaker 1: but the different parts of it. Like you, now, I

843
00:45:31,480 --> 00:45:34,960
Speaker 1: have songwriter friends and I have a girlfriend who's so

844
00:45:35,120 --> 00:45:37,600
Speaker 1: it's but then I knew nothing. So all I know

845
00:45:37,680 --> 00:45:41,759
Speaker 1: is it's a guy named Lee that the producer of

846
00:45:41,800 --> 00:45:43,960
Speaker 1: the record is like just giddy that he gets to

847
00:45:44,000 --> 00:45:47,440
Speaker 1: write with them, And I'm like, well, let's see what happens.

848
00:45:47,520 --> 00:45:49,040
Speaker 1: I don't even know we wrote the first time we

849
00:45:49,160 --> 00:45:57,960
Speaker 1: were together. I like you, I love this. I love

850
00:45:58,040 --> 00:46:00,880
Speaker 1: fool House about my inner millity to say I love you.

851
00:46:00,960 --> 00:46:04,200
Speaker 1: It's just concerning that you have them queued up that easily.

852
00:46:05,200 --> 00:46:07,319
Speaker 1: People think this is like studio tricks where you're doing

853
00:46:07,400 --> 00:46:09,560
Speaker 1: this later, but you're literally just hitting the button as

854
00:46:09,600 --> 00:46:11,520
Speaker 1: we talk. Oh yeah, there's no editing. We don't edit

855
00:46:11,600 --> 00:46:13,040
Speaker 1: this at all. We don't if there's a role, right

856
00:46:13,080 --> 00:46:15,560
Speaker 1: Mike me, Yeah, he wrote I liked you for the

857
00:46:15,640 --> 00:46:17,960
Speaker 1: raging Idiots, and then I was like, oh, that lead

858
00:46:18,120 --> 00:46:20,319
Speaker 1: was pretty nice. I had no idea what you're listen.

859
00:46:20,360 --> 00:46:23,000
Speaker 1: I didn't know anything. It wasn't disrespecting at all. It

860
00:46:23,239 --> 00:46:28,239
Speaker 1: was clueless. And so Lee leaves and he was like

861
00:46:28,520 --> 00:46:30,600
Speaker 1: he was like freaking out. It's like we just wrote

862
00:46:30,600 --> 00:46:33,000
Speaker 1: with Lee Miller around like that's amazing. Like I was like,

863
00:46:33,120 --> 00:46:35,080
Speaker 1: that's cool. You know it's cool. And we look make

864
00:46:35,080 --> 00:46:36,680
Speaker 1: a Wikipedia and I was like, I can't find a

865
00:46:36,760 --> 00:46:40,080
Speaker 1: Lee Miller anywhere because I know it's Lee Thomas Miller, right,

866
00:46:40,120 --> 00:46:42,040
Speaker 1: And I was like, this guy, probably why you want

867
00:46:42,040 --> 00:46:44,320
Speaker 1: to write with him? Many have many songs Lee Miller,

868
00:46:44,920 --> 00:46:47,480
Speaker 1: like Lee is that Arthur Miller's brother from back in

869
00:46:47,520 --> 00:46:49,520
Speaker 1: the fifties. And I didn't know what the deal was, right,

870
00:46:49,640 --> 00:46:51,440
Speaker 1: So he was like, no, no, no, I thought you

871
00:46:51,520 --> 00:46:53,600
Speaker 1: had done the Google before we wrote. Now, I just

872
00:46:53,680 --> 00:46:57,240
Speaker 1: feel weird why I didn't know anything. It was just ignorance.

873
00:46:57,360 --> 00:46:59,520
Speaker 1: So the second time I was ready. Though second time

874
00:46:59,680 --> 00:47:02,240
Speaker 1: he said I'm athlete to write again. I'm like, cool,

875
00:47:02,719 --> 00:47:06,000
Speaker 1: athlete right again. We I thought we were we were friendly.

876
00:47:06,080 --> 00:47:07,279
Speaker 1: We hit it off, which I don't hear it off

877
00:47:07,320 --> 00:47:09,399
Speaker 1: a lot of people because I'm very reserved and shy

878
00:47:09,520 --> 00:47:11,480
Speaker 1: to a point where sometimes people think it's I'm rude,

879
00:47:11,800 --> 00:47:14,279
Speaker 1: but I just I'm very introverted when I'm not extroverted.

880
00:47:15,040 --> 00:47:17,000
Speaker 1: So I was like, I like leak. I felt like

881
00:47:17,040 --> 00:47:18,760
Speaker 1: I could make jokes and I thought you were funny,

882
00:47:19,480 --> 00:47:21,040
Speaker 1: and so I said, yeah, bring it back in, and

883
00:47:21,160 --> 00:47:25,640
Speaker 1: so we went. We went. We started playing this song

884
00:47:25,920 --> 00:47:28,160
Speaker 1: and we're like, hey, let's write a song about Starbucks, right,

885
00:47:28,880 --> 00:47:33,640
Speaker 1: and so stop. This isn't how it started. It started

886
00:47:34,160 --> 00:47:37,520
Speaker 1: with two guitars. Oh, it didn't sound anything like this,

887
00:47:37,800 --> 00:47:39,920
Speaker 1: and it was it was like really it was a

888
00:47:40,000 --> 00:47:42,480
Speaker 1: country song where we were, you know, singing it and

889
00:47:42,560 --> 00:47:44,640
Speaker 1: I was like, hey, Ley, play a little faster. Let

890
00:47:44,719 --> 00:47:46,600
Speaker 1: me try to wrap this thing, and he's like you wrap.

891
00:47:47,000 --> 00:47:49,560
Speaker 1: I was like, let's just see what happens here, solely

892
00:47:49,640 --> 00:47:51,719
Speaker 1: like did the boss starts popping it? Like this was

893
00:47:51,760 --> 00:47:53,680
Speaker 1: not popping it. Yeah, you're popping it pretty hard. He

894
00:47:53,840 --> 00:47:56,160
Speaker 1: was hitting was And so it was written on two

895
00:47:56,160 --> 00:47:59,080
Speaker 1: acoustics and the next thing, you know, we have this

896
00:47:59,200 --> 00:48:01,680
Speaker 1: ridiculous song that, by the way, it's so weird you

897
00:48:01,719 --> 00:48:03,600
Speaker 1: have people singing this song back but our band, the

898
00:48:03,680 --> 00:48:06,600
Speaker 1: Raging Idiots to the song Starbucks and does leave stop

899
00:48:06,880 --> 00:48:11,279
Speaker 1: buy filling up my cup store, buy jacking me up

900
00:48:11,840 --> 00:48:15,680
Speaker 1: Stars ten thousand degrees and ye'all take it down the

901
00:48:15,719 --> 00:48:18,320
Speaker 1: shiny something to eat. I'm always holding enough to like

902
00:48:18,400 --> 00:48:20,480
Speaker 1: because I might be a little choosy, and I do

903
00:48:20,640 --> 00:48:23,200
Speaker 1: appreciate the fact you use a paper CUZI, how's that

904
00:48:23,280 --> 00:48:27,520
Speaker 1: notin for Graham? That's that's great production. Oh yeah, the

905
00:48:28,520 --> 00:48:31,759
Speaker 1: one of the most fantastic pieces of writing I've ever heard.

906
00:48:31,960 --> 00:48:34,640
Speaker 1: And production and vocals. I mean, it's all right there

907
00:48:35,320 --> 00:48:38,279
Speaker 1: now you shouldn't be. But here's a funny story. So, uh,

908
00:48:38,440 --> 00:48:42,120
Speaker 1: we're playing the Rheman last year for the million dollars show,

909
00:48:42,239 --> 00:48:43,880
Speaker 1: and that this is a show for St. Jude, and

910
00:48:44,440 --> 00:48:46,839
Speaker 1: I invite a ton of people out there play with us,

911
00:48:47,360 --> 00:48:50,040
Speaker 1: and so it's our band, the Raging Idiots, but all

912
00:48:50,120 --> 00:48:52,560
Speaker 1: show long, it's a little big talent, it's Kelsey, It's

913
00:48:52,600 --> 00:48:55,719
Speaker 1: it's people that I'm friends with that are coming on

914
00:48:56,239 --> 00:48:57,920
Speaker 1: to also raise money for St. Jude. But they were

915
00:48:57,960 --> 00:49:00,600
Speaker 1: easy calls for me because I don't asked people to

916
00:49:00,680 --> 00:49:03,040
Speaker 1: do stuff, and but when it comes to charity, I'll

917
00:49:03,080 --> 00:49:05,040
Speaker 1: ask my friends to do stuff. And I'll be like, so,

918
00:49:05,239 --> 00:49:06,640
Speaker 1: you know, I called a little big town, and I

919
00:49:06,719 --> 00:49:11,640
Speaker 1: called Kelsey, and I called Carry Carrie who. All these

920
00:49:11,640 --> 00:49:14,400
Speaker 1: people were just fantastic to show up. And at the

921
00:49:14,560 --> 00:49:17,439
Speaker 1: end of it we played during this raging idiot show,

922
00:49:17,760 --> 00:49:20,600
Speaker 1: we play Starbucks and I like you, and and Lee

923
00:49:20,640 --> 00:49:23,600
Speaker 1: and his wife came and I was like, hey, Lee stay,

924
00:49:23,960 --> 00:49:25,279
Speaker 1: you know there's like want but I want to. I

925
00:49:25,320 --> 00:49:27,480
Speaker 1: want to hang out because I like Lee. I don't

926
00:49:27,480 --> 00:49:31,120
Speaker 1: know enough, like genuinely, I like like that's it was

927
00:49:31,320 --> 00:49:33,400
Speaker 1: for the first time. And so I was like, I

928
00:49:33,440 --> 00:49:35,600
Speaker 1: was being funny. I made a joke. I said, hey, dude, congratulations,

929
00:49:35,640 --> 00:49:37,080
Speaker 1: you've got two songs played at the rhyme of tonight.

930
00:49:37,120 --> 00:49:39,840
Speaker 1: He goes, no, no, no, okay, I got three, and

931
00:49:39,920 --> 00:49:42,680
Speaker 1: I was like, dude, we play something else that you wrote.

932
00:49:43,040 --> 00:49:45,400
Speaker 1: He's like, no, no, no. Chris Stainpleton had showed up

933
00:49:45,600 --> 00:49:47,360
Speaker 1: and we invited them. He was a secret guest and

934
00:49:47,440 --> 00:49:50,040
Speaker 1: Chris again, I just made a call because with the

935
00:49:50,080 --> 00:49:51,840
Speaker 1: Chris think like we we had Christ and before that

936
00:49:52,160 --> 00:49:53,920
Speaker 1: his Traveler came out. I was just a big fan

937
00:49:54,000 --> 00:49:57,320
Speaker 1: of Chris as a songwriter and as a vocalist. So

938
00:49:57,440 --> 00:50:01,120
Speaker 1: Chris was just grateful and it's still it's very loyal

939
00:50:01,160 --> 00:50:02,600
Speaker 1: to this day. And I don't do anything because he's like,

940
00:50:02,680 --> 00:50:05,719
Speaker 1: I just appreciate you, like being there for me when

941
00:50:05,880 --> 00:50:08,719
Speaker 1: it wasn't Chris Stapleton. And so Chris comes and at

942
00:50:08,760 --> 00:50:10,680
Speaker 1: this time he had blown up. Then he shows up

943
00:50:10,680 --> 00:50:12,800
Speaker 1: and the crowd is going crazy and he plays whiskey

944
00:50:12,840 --> 00:50:18,680
Speaker 1: in you right, that's the difference. And then I said, yeah,

945
00:50:18,680 --> 00:50:21,799
Speaker 1: I wrote whiskey in here. And I was like, God

946
00:50:22,840 --> 00:50:25,880
Speaker 1: got me. It was supposed for me to say that one. No,

947
00:50:26,200 --> 00:50:29,919
Speaker 1: I set myself up. I didn't know. I set myself

948
00:50:30,000 --> 00:50:31,360
Speaker 1: up and got plans right in the NAT. It's like

949
00:50:31,440 --> 00:50:33,880
Speaker 1: I was like, hey, you gotta feel good, dude. He's like, No. No.

950
00:50:34,040 --> 00:50:36,560
Speaker 1: Three and the good one. I wrote the good one whiskey.

951
00:50:36,960 --> 00:50:41,000
Speaker 1: I didn't say that in my heart. You did, So

952
00:50:41,120 --> 00:50:49,120
Speaker 1: you're right, this Chris one long gone to him. Um

953
00:50:50,239 --> 00:50:51,920
Speaker 1: a couple of years ago, I said, because this has

954
00:50:51,920 --> 00:50:55,719
Speaker 1: been cut several times before. Chris put Traveler out and

955
00:50:56,040 --> 00:51:02,000
Speaker 1: McGraw cut it, and uh for one, and I think

956
00:51:02,040 --> 00:51:04,919
Speaker 1: Aaron Lewis has cut it, and and um, I said,

957
00:51:04,960 --> 00:51:06,880
Speaker 1: I'll tell you what is this line? And this is

958
00:51:06,920 --> 00:51:08,680
Speaker 1: a drink be goes I'm Lonely and I'm Lonely goes

959
00:51:08,719 --> 00:51:11,480
Speaker 1: a drink and I said, if it's ever a hit,

960
00:51:11,719 --> 00:51:18,000
Speaker 1: I will get that tattooed somewhere. And he says, okay,

961
00:51:18,800 --> 00:51:21,800
Speaker 1: he says, how about this. The higher the hit on

962
00:51:21,920 --> 00:51:27,360
Speaker 1: the charts, the more visible the tattoo. So it hasn't

963
00:51:27,400 --> 00:51:30,920
Speaker 1: it hasn't been on the chart yet. So it's one

964
00:51:31,080 --> 00:51:34,960
Speaker 1: of those songs that's an album cut. And again you

965
00:51:35,000 --> 00:51:38,160
Speaker 1: always want the single because that's how a songwriter makes

966
00:51:38,239 --> 00:51:41,480
Speaker 1: the money. Because but that's that's that's one of the

967
00:51:41,640 --> 00:51:45,239
Speaker 1: album cuts on records that people know, because most time

968
00:51:45,280 --> 00:51:46,879
Speaker 1: you don't know album cuts. It's a lot of people

969
00:51:46,920 --> 00:51:50,160
Speaker 1: know this. Yeah, it's really it's uh, but that whole

970
00:51:50,200 --> 00:51:53,000
Speaker 1: album is so good from front to back that a

971
00:51:53,080 --> 00:51:56,000
Speaker 1: lot of those songs are so well known. So yeah,

972
00:51:56,280 --> 00:51:59,080
Speaker 1: you're right that with Chris and those other people. Kind

973
00:51:59,120 --> 00:52:01,480
Speaker 1: of first I had no idea he uh, you know,

974
00:52:01,760 --> 00:52:04,920
Speaker 1: Chris is incredibly successful as a songwriter and and the

975
00:52:04,960 --> 00:52:07,000
Speaker 1: whole time, I mean it wasn't like he just all

976
00:52:07,000 --> 00:52:09,000
Speaker 1: of a sudden become incredible. I mean we've all known

977
00:52:09,040 --> 00:52:12,560
Speaker 1: it forever. Um, we wrote at the same company for

978
00:52:12,600 --> 00:52:14,000
Speaker 1: a long time, and I spent a lot of time

979
00:52:14,040 --> 00:52:17,359
Speaker 1: with Chris, and I wrote every other Wednesday with Chris

980
00:52:17,480 --> 00:52:20,640
Speaker 1: for years. And uh so once he got his record

981
00:52:20,680 --> 00:52:23,200
Speaker 1: deal and you know, immediately and he's had a record

982
00:52:23,280 --> 00:52:25,200
Speaker 1: deal for a while, it takes a while for things

983
00:52:25,280 --> 00:52:28,279
Speaker 1: to happen. And uh, you know, I've been telling him

984
00:52:28,360 --> 00:52:31,399
Speaker 1: now for years, you know, at least three years or something,

985
00:52:31,440 --> 00:52:34,480
Speaker 1: says he's been out, you know, being an artist and traveling,

986
00:52:34,520 --> 00:52:37,320
Speaker 1: and about ever two months, I'll just text him and

987
00:52:37,360 --> 00:52:40,400
Speaker 1: say I miss my every other Wednesday. Because it was

988
00:52:40,440 --> 00:52:42,600
Speaker 1: like you just knew. I mean, sometimes we wrote just

989
00:52:43,000 --> 00:52:47,279
Speaker 1: commercial ditty and sometimes we wrote dark and sad, but

990
00:52:47,440 --> 00:52:50,680
Speaker 1: whatever it was, it was always so good, like we

991
00:52:50,800 --> 00:52:54,080
Speaker 1: had me and Chris wrote Thomas Rhet's first single with him,

992
00:52:54,120 --> 00:52:57,520
Speaker 1: and Thomas was still in the which is something to

993
00:52:57,600 --> 00:53:07,440
Speaker 1: do with my n sticks, So you would Stapleton righte

994
00:53:07,440 --> 00:53:09,759
Speaker 1: this for Thomas and he was still in college. It's

995
00:53:09,800 --> 00:53:12,680
Speaker 1: funny because the other day I saw Thomas and I said,

996
00:53:13,960 --> 00:53:16,080
Speaker 1: I need to update my contact because I want to

997
00:53:16,160 --> 00:53:18,200
Speaker 1: email you something the other day and it's still your

998
00:53:18,360 --> 00:53:23,960
Speaker 1: college dot ed it whatever it is address. So he

999
00:53:24,000 --> 00:53:26,719
Speaker 1: would like, you know, come right with us in the

1000
00:53:26,800 --> 00:53:30,320
Speaker 1: morning and then go do afternoon classes. Good dude, like,

1001
00:53:30,640 --> 00:53:33,359
Speaker 1: good dude. Yeah. I like Thomas a lot. Yeah, it's

1002
00:53:33,440 --> 00:53:36,240
Speaker 1: good dude. He's I mean, he's the next superstar, serious

1003
00:53:37,120 --> 00:53:40,920
Speaker 1: and has earned it, not been thrown up there, like

1004
00:53:41,080 --> 00:53:45,279
Speaker 1: he's taken all the right steps, and I like him

1005
00:53:45,360 --> 00:53:49,640
Speaker 1: a lot. Wonderful thing. So you inn Stableton wrote that

1006
00:53:49,760 --> 00:53:53,840
Speaker 1: for Thomas. Good. Let me ask you about with more

1007
00:53:53,920 --> 00:53:56,120
Speaker 1: Number one you had here, Uh Tim McGraw's Southern Girl,

1008
00:53:56,600 --> 00:53:59,520
Speaker 1: So you're right, this was here Rodney Clawson and Jared

1009
00:53:59,560 --> 00:54:05,160
Speaker 1: Johnstone Jared by the way, catle like three and also

1010
00:54:06,080 --> 00:54:08,640
Speaker 1: kind of like three, but a very prominent songwright absolutely

1011
00:54:08,800 --> 00:54:11,160
Speaker 1: like maybe even bigger songwriter, but it's kind of like

1012
00:54:11,200 --> 00:54:12,400
Speaker 1: three as good as they are, they ever really cut

1013
00:54:12,440 --> 00:54:16,440
Speaker 1: through commercially yet songwriter like one of the real elite guys.

1014
00:54:18,360 --> 00:54:20,120
Speaker 1: That band is so good too, they haven't had the

1015
00:54:20,280 --> 00:54:23,560
Speaker 1: right song, right, So you guys write this and so

1016
00:54:23,800 --> 00:54:25,200
Speaker 1: do you pitch to my girl first or does it

1017
00:54:25,239 --> 00:54:26,560
Speaker 1: go around? I think he was the first person that

1018
00:54:26,680 --> 00:54:29,320
Speaker 1: heard it. I think that he was looking, you know,

1019
00:54:30,239 --> 00:54:32,440
Speaker 1: and uh, you know, Tim has been good to all

1020
00:54:32,480 --> 00:54:34,879
Speaker 1: of us, and we sent it over and they loved

1021
00:54:34,920 --> 00:54:39,040
Speaker 1: it and they cut it, and there you go to lady.

1022
00:54:39,320 --> 00:54:42,000
Speaker 1: See that's the that's the opposite of the impossible, Like

1023
00:54:42,160 --> 00:54:45,160
Speaker 1: that story is the polar opposite of the impositive is

1024
00:54:45,239 --> 00:54:47,000
Speaker 1: And you know what's funny that people love this song.

1025
00:54:47,120 --> 00:54:49,399
Speaker 1: It's like you can kind of gauge at Writer's Nights

1026
00:54:49,440 --> 00:54:51,719
Speaker 1: when I do them, you know the popularity of things

1027
00:54:51,760 --> 00:54:54,239
Speaker 1: and how much how much people love them. I'm just

1028
00:54:54,400 --> 00:54:57,080
Speaker 1: the sing and you're so good at Writer's Nights. It

1029
00:54:58,200 --> 00:55:01,759
Speaker 1: it's it's really bad. I played Mike, I played one

1030
00:55:01,760 --> 00:55:03,160
Speaker 1: with the Lee want. It was awful. It wasn't really

1031
00:55:03,200 --> 00:55:06,400
Speaker 1: a lot of the worst performing experience in my life.

1032
00:55:07,040 --> 00:55:08,560
Speaker 1: And I've had a couple of really bad ones. But

1033
00:55:09,000 --> 00:55:14,200
Speaker 1: Lee says, hey, will you play tin Pan South right?

1034
00:55:14,880 --> 00:55:16,360
Speaker 1: Maybe the first time I got it right? And and

1035
00:55:16,440 --> 00:55:18,480
Speaker 1: I not that I don't, I just I'm not in

1036
00:55:18,520 --> 00:55:20,400
Speaker 1: the writer world. You had no idea, No, I know

1037
00:55:20,520 --> 00:55:22,239
Speaker 1: it was I was like Tampan's out, Sure, what is that? Like?

1038
00:55:22,280 --> 00:55:26,319
Speaker 1: Everybody brings bands understand playing the kitchen. Bobby famously says,

1039
00:55:26,360 --> 00:55:27,839
Speaker 1: I don't know people. I don't know people I don't

1040
00:55:27,880 --> 00:55:31,920
Speaker 1: know you know, and and somebody it's the Nashville song

1041
00:55:32,040 --> 00:55:34,319
Speaker 1: or Association who puts on Tin Pans South is their

1042
00:55:34,320 --> 00:55:37,319
Speaker 1: big fundraisers said do you think Bobby would play Tin

1043
00:55:37,400 --> 00:55:39,480
Speaker 1: Pans South with you? And I said, so they came

1044
00:55:39,520 --> 00:55:42,080
Speaker 1: to you, which it was just kind of a candid thing.

1045
00:55:42,239 --> 00:55:44,440
Speaker 1: Do you think Bobby would do it? And I said no,

1046
00:55:46,040 --> 00:55:48,040
Speaker 1: and okay, wells let ask And so then I stood

1047
00:55:48,080 --> 00:55:52,640
Speaker 1: there and I was like wow, I said that would

1048
00:55:52,640 --> 00:55:55,640
Speaker 1: be a really good one because people people would like

1049
00:55:55,800 --> 00:56:01,439
Speaker 1: to seem I said, okay, oh, ask, but there's no way.

1050
00:56:01,960 --> 00:56:03,719
Speaker 1: And so I just text him and I just said, hey,

1051
00:56:03,760 --> 00:56:06,719
Speaker 1: would you do? Would you do? Tim been South? And

1052
00:56:06,760 --> 00:56:08,960
Speaker 1: I gave him a date or the dates the week

1053
00:56:10,080 --> 00:56:14,319
Speaker 1: and he writes right back, sure, And I said, wait,

1054
00:56:16,120 --> 00:56:17,440
Speaker 1: I didn't know what it was. All I do was

1055
00:56:17,560 --> 00:56:19,759
Speaker 1: my friend. And again, maybe three people could have asked

1056
00:56:19,760 --> 00:56:21,600
Speaker 1: me that question, and two of them might have said

1057
00:56:21,640 --> 00:56:22,920
Speaker 1: maybe two and one of them I would have said

1058
00:56:23,000 --> 00:56:24,719
Speaker 1: yes too. And he asked, was leave I know what

1059
00:56:24,760 --> 00:56:26,440
Speaker 1: it was? I thought it was like a but you

1060
00:56:26,520 --> 00:56:28,400
Speaker 1: said yes immediately, so I knew you didn't know what

1061
00:56:28,560 --> 00:56:30,760
Speaker 1: what it was. I no idea, But you were asking

1062
00:56:30,840 --> 00:56:33,319
Speaker 1: me the same way that I will make the call

1063
00:56:33,440 --> 00:56:35,839
Speaker 1: to close friends and they say yes before I can

1064
00:56:35,880 --> 00:56:37,839
Speaker 1: really explain what it is. Like, I was like, yes,

1065
00:56:38,000 --> 00:56:40,959
Speaker 1: but ye sure what. Well, immediately there was pressure because

1066
00:56:40,960 --> 00:56:42,840
Speaker 1: I'm like, okay, wait is he just doing this? Because

1067
00:56:42,880 --> 00:56:44,719
Speaker 1: I asked, because I don't know that we're close enough

1068
00:56:44,760 --> 00:56:47,319
Speaker 1: that heat would he do that? Because so I said, wait,

1069
00:56:48,440 --> 00:56:50,480
Speaker 1: I don't think you know what this is. And he says,

1070
00:56:51,960 --> 00:56:54,040
Speaker 1: I'll do it if you want me to. And I said, okay,

1071
00:56:54,239 --> 00:56:56,400
Speaker 1: it's going to be me and you and two other

1072
00:56:56,440 --> 00:56:58,720
Speaker 1: guys were gonna sit on stools, we're gonna take turns

1073
00:56:58,760 --> 00:57:02,160
Speaker 1: and for two hours, we're gonna lay songs and tell

1074
00:57:02,239 --> 00:57:04,520
Speaker 1: the story behind the song. And it's light and it's loose,

1075
00:57:04,600 --> 00:57:07,239
Speaker 1: but there'll be a big crowd and it's a songwriter's night.

1076
00:57:08,280 --> 00:57:11,560
Speaker 1: And his quote was, I literally bring nothing to the table,

1077
00:57:11,680 --> 00:57:13,960
Speaker 1: but I will if you want me to. And so

1078
00:57:14,120 --> 00:57:18,280
Speaker 1: now I'm like, I'm flattered, and I'm terrified because that's

1079
00:57:18,320 --> 00:57:21,080
Speaker 1: a lot of pressure in case he hates this. Right

1080
00:57:21,680 --> 00:57:24,680
Speaker 1: on the opposite, I'm terrified, and then I'm flattered in

1081
00:57:24,720 --> 00:57:28,720
Speaker 1: the opposite order. Well, you did it, and it was amazing.

1082
00:57:31,000 --> 00:57:33,480
Speaker 1: This this is the awful thing. So Lee's first, and

1083
00:57:33,800 --> 00:57:35,840
Speaker 1: usually I'm the funny guy, and then I do the

1084
00:57:35,840 --> 00:57:38,480
Speaker 1: bad music stuff. Lee's also the funny guy, and he

1085
00:57:38,560 --> 00:57:40,160
Speaker 1: does a great he is nail and all these number

1086
00:57:40,160 --> 00:57:41,840
Speaker 1: one songs, and then I have to go and I'm

1087
00:57:41,880 --> 00:57:43,880
Speaker 1: not even the funny guy, nor am I the music guy,

1088
00:57:44,440 --> 00:57:46,520
Speaker 1: and so I'm like, oh great, I have to follow

1089
00:57:46,640 --> 00:57:49,480
Speaker 1: freakingly again, and so all night long, I'm falling Lee.

1090
00:57:49,680 --> 00:57:52,400
Speaker 1: But the two guys that he mentioned are two of

1091
00:57:52,480 --> 00:57:55,000
Speaker 1: the bigger songwriters in all the country music right now,

1092
00:57:55,320 --> 00:57:57,800
Speaker 1: Ashley Gorley and Christa Stephano, who have numb one number

1093
00:57:57,800 --> 00:58:00,680
Speaker 1: one number one like crazy. And so it's me and

1094
00:58:00,800 --> 00:58:04,920
Speaker 1: three humongous songwriters and they're up there just blasting out

1095
00:58:04,960 --> 00:58:08,760
Speaker 1: their hits and I'm like, star but spilling up my

1096
00:58:08,880 --> 00:58:12,440
Speaker 1: cup it really, I was just like what And this

1097
00:58:12,560 --> 00:58:14,040
Speaker 1: is what I was told to He was like, well,

1098
00:58:14,040 --> 00:58:16,440
Speaker 1: you know, play four or five songs, that's it. I

1099
00:58:16,480 --> 00:58:18,320
Speaker 1: was like, great, So I prepared four or five songs

1100
00:58:18,760 --> 00:58:22,000
Speaker 1: and it we ended up going sevn D. We went

1101
00:58:22,440 --> 00:58:24,600
Speaker 1: way deep, and I was like at one point, I

1102
00:58:24,600 --> 00:58:25,520
Speaker 1: was like, I don't know, I don't have more, I

1103
00:58:25,560 --> 00:58:27,160
Speaker 1: don't know what I was gonna play, Like, I don't

1104
00:58:27,160 --> 00:58:28,959
Speaker 1: know that any songs, Like I know parts of the songs.

1105
00:58:28,960 --> 00:58:30,840
Speaker 1: I know how to sing songs, but you're I'm supposed

1106
00:58:30,880 --> 00:58:33,440
Speaker 1: to do them all? But yes, I that was just

1107
00:58:34,480 --> 00:58:37,080
Speaker 1: you're asking, yes, I will do it, and I figured

1108
00:58:37,080 --> 00:58:39,920
Speaker 1: it out and I'm much better. I learned a lot

1109
00:58:40,040 --> 00:58:43,600
Speaker 1: from that experience, really, like what how to handle that

1110
00:58:43,640 --> 00:58:45,560
Speaker 1: situation and how to get to that level where I

1111
00:58:45,560 --> 00:58:47,400
Speaker 1: can do it again and not feel so foolish. I'm

1112
00:58:47,440 --> 00:58:49,439
Speaker 1: never going to be good. I know my limitations in life,

1113
00:58:49,520 --> 00:58:53,560
Speaker 1: but it's where can you find things that take those

1114
00:58:53,600 --> 00:58:58,800
Speaker 1: limitations and kind of rise above. And first of all,

1115
00:58:58,840 --> 00:59:02,160
Speaker 1: I'll know more songs. Secondly, I know my role. I'm

1116
00:59:02,160 --> 00:59:03,439
Speaker 1: gonna playing with you. First of all, I'm not playing

1117
00:59:03,480 --> 00:59:05,520
Speaker 1: beside you. I'm gonna play in front of you, or

1118
00:59:05,560 --> 00:59:07,400
Speaker 1: I'm gonna play like three people down. I'm not playing

1119
00:59:07,440 --> 00:59:10,240
Speaker 1: beside you. So I also learned how to do a writer.

1120
00:59:10,280 --> 00:59:11,960
Speaker 1: I've never done a writer drown before before that. So

1121
00:59:12,000 --> 00:59:13,320
Speaker 1: you want to do them again? So just and if

1122
00:59:13,360 --> 00:59:14,680
Speaker 1: I want to, but if you need me, I would

1123
00:59:14,680 --> 00:59:16,960
Speaker 1: do it in a second. But to go from not

1124
00:59:17,160 --> 00:59:21,320
Speaker 1: doing one to doing that one would be comparable to

1125
00:59:22,480 --> 00:59:25,280
Speaker 1: moving to Nashville just learning how to play the guitar

1126
00:59:25,680 --> 00:59:27,720
Speaker 1: and me going hey, come play on our radio show

1127
00:59:27,880 --> 00:59:30,840
Speaker 1: for for five million people, Like that was kind of

1128
00:59:31,520 --> 00:59:34,160
Speaker 1: and it was really weird and it's fool I felt

1129
00:59:34,160 --> 00:59:37,800
Speaker 1: foolish after it was over. But everybody was happy, right,

1130
00:59:37,960 --> 00:59:41,000
Speaker 1: I think all the people came to see they did

1131
00:59:41,120 --> 00:59:44,080
Speaker 1: not Christina Stephano sings as good as any artists out there,

1132
00:59:44,120 --> 00:59:47,080
Speaker 1: just about and he's just like nailing. He was doing

1133
00:59:47,200 --> 00:59:49,800
Speaker 1: Carrie something in the water, which he wrote, and it's

1134
00:59:49,840 --> 00:59:52,400
Speaker 1: just like he's singing it as loud and as pure

1135
00:59:52,560 --> 00:59:54,160
Speaker 1: as it can possibly be, saying and I'm just like

1136
00:59:54,840 --> 00:59:57,080
Speaker 1: and to Stefano finishes stepping in the water and the

1137
00:59:57,160 --> 01:00:00,840
Speaker 1: people go crazy, and then the crowd notes down. Bobby says,

1138
01:00:01,280 --> 01:00:03,480
Speaker 1: how much money do you have in your wallet right now?

1139
01:00:05,120 --> 01:00:06,800
Speaker 1: That's but that's what they wanted to know, Like people

1140
01:00:06,840 --> 01:00:09,080
Speaker 1: always want to know that stuff. And so I'm like, okay,

1141
01:00:09,600 --> 01:00:11,320
Speaker 1: I'm just gonna be me and I'm gonna ask questions

1142
01:00:11,320 --> 01:00:13,320
Speaker 1: that are coming to my head because I got a

1143
01:00:13,440 --> 01:00:15,640
Speaker 1: note you wrote that song. How much as your wallet

1144
01:00:15,760 --> 01:00:17,440
Speaker 1: right this second? Like how much cash you holding? And

1145
01:00:17,520 --> 01:00:20,680
Speaker 1: he kind of dnanswered on the question. He didn't answer.

1146
01:00:20,720 --> 01:00:22,440
Speaker 1: That's okay, and you don't always have to answer, but

1147
01:00:22,560 --> 01:00:26,240
Speaker 1: I have to ask. So, yeah, that was the fun night.

1148
01:00:26,560 --> 01:00:28,880
Speaker 1: You are writing and you haven't writing with some of

1149
01:00:28,920 --> 01:00:33,280
Speaker 1: my friends. Brother's Osborne. Those are my dudes. They're they're

1150
01:00:33,280 --> 01:00:36,480
Speaker 1: so they're so far my dudes. That John's wife is

1151
01:00:36,520 --> 01:00:39,080
Speaker 1: like Lucy Sella's is like one of my favorite artists

1152
01:00:39,120 --> 01:00:42,320
Speaker 1: in the world. Who, So your brother's Osborne. I haven't

1153
01:00:42,320 --> 01:00:45,240
Speaker 1: ain't my fault up here. So you guys wrote this together? Yeah,

1154
01:00:48,760 --> 01:00:57,360
Speaker 1: I love had a little fall wrong. Wait you think

1155
01:00:57,400 --> 01:01:00,640
Speaker 1: of those guys, well, in my head, I thing like him.

1156
01:01:01,600 --> 01:01:04,040
Speaker 1: They're wonderful, They're so fun to work with, They're so

1157
01:01:04,200 --> 01:01:06,920
Speaker 1: fun to write with. I mean, I can't I think that.

1158
01:01:07,440 --> 01:01:09,840
Speaker 1: You know, one of the next big things that was

1159
01:01:09,920 --> 01:01:13,400
Speaker 1: so exciting, Um, they want Song of the Year at ASCAP,

1160
01:01:14,040 --> 01:01:17,240
Speaker 1: which I knew it was gonna happen, and I've been

1161
01:01:17,280 --> 01:01:20,600
Speaker 1: sworn to secrecy and uh and they announced it and

1162
01:01:20,680 --> 01:01:26,760
Speaker 1: they just lost their minds in this beautiful emotional maybe

1163
01:01:26,800 --> 01:01:30,600
Speaker 1: it hippened, look no, and they were very emotional about

1164
01:01:30,600 --> 01:01:34,080
Speaker 1: it because they really were, like they were moved very many.

1165
01:01:34,640 --> 01:01:38,120
Speaker 1: Everything they said was so pure. And then at the

1166
01:01:38,200 --> 01:01:41,520
Speaker 1: c m as they won duo and and I mean,

1167
01:01:41,760 --> 01:01:43,360
Speaker 1: you know, we're sitting where we were there, me and

1168
01:01:43,480 --> 01:01:45,880
Speaker 1: my wife and and you know, you're all dressed up

1169
01:01:45,880 --> 01:01:47,560
Speaker 1: and you're sitting at bridge Stone, you're watching it, and

1170
01:01:47,840 --> 01:01:51,520
Speaker 1: you know it's we we you know, probably not gonna

1171
01:01:51,520 --> 01:01:52,800
Speaker 1: be shocked by a whole lot, so you're just gonna

1172
01:01:52,920 --> 01:01:54,200
Speaker 1: and all of a sudden they win. And I was like,

1173
01:01:54,240 --> 01:01:56,480
Speaker 1: I'm throwing popcorn and I'm screaming and I'm dancing and

1174
01:01:56,560 --> 01:01:59,200
Speaker 1: I'm flailing, and and everybody was It's one of those names.

1175
01:01:59,280 --> 01:02:02,240
Speaker 1: Was like these such good guys. It was such a

1176
01:02:02,320 --> 01:02:06,320
Speaker 1: great moment. Everyone expected Florida Georgia Linea went again and

1177
01:02:06,360 --> 01:02:08,120
Speaker 1: they didn't. And it was a double shock. One that

1178
01:02:08,120 --> 01:02:10,920
Speaker 1: Florida George line didn't win to that Brother's Osborne and

1179
01:02:10,960 --> 01:02:13,480
Speaker 1: one and not the Brothers Aldborne to deserve it, but

1180
01:02:13,480 --> 01:02:16,840
Speaker 1: nobody was predicting that well. And yeah, and and understand

1181
01:02:16,920 --> 01:02:21,320
Speaker 1: that this wasn't anything against Florida Georgia Lyne's just it.

1182
01:02:21,680 --> 01:02:25,080
Speaker 1: You know, they're at their peak. I mean clearly, you

1183
01:02:25,160 --> 01:02:27,920
Speaker 1: know they're they're they're killing it and and any anyone

1184
01:02:28,000 --> 01:02:31,320
Speaker 1: else would have been an underdog. And for Brother's Osborne

1185
01:02:31,360 --> 01:02:35,480
Speaker 1: to win, um, it was exciting. But but also because

1186
01:02:36,240 --> 01:02:38,880
Speaker 1: everyone that has experienced these guys just loved them. They're

1187
01:02:39,080 --> 01:02:44,320
Speaker 1: they're they're wonderful musicians and they're just sweethearts. Yeah, John

1188
01:02:44,360 --> 01:02:47,960
Speaker 1: plays the guitar like I'm uh, it's amazing, maniac and

1189
01:02:48,280 --> 01:02:50,520
Speaker 1: I see great guitar players, and he played like a maniac.

1190
01:02:51,240 --> 01:02:54,160
Speaker 1: I'll disagree with you a bit. I think they're very deserving.

1191
01:02:54,360 --> 01:02:57,600
Speaker 1: I think a part of it was anti Florida Georgia Line.

1192
01:02:57,640 --> 01:03:01,000
Speaker 1: I do um not that they're not. And I say

1193
01:03:01,080 --> 01:03:03,480
Speaker 1: that as like I know brothers, other one's parents, Like

1194
01:03:03,600 --> 01:03:06,600
Speaker 1: that's how like I these are. They're like, I was

1195
01:03:06,720 --> 01:03:08,520
Speaker 1: so happy for them. I think a little bit of

1196
01:03:08,560 --> 01:03:10,760
Speaker 1: that sentiment wasn't even about Floria Georgia Line. It was

1197
01:03:10,840 --> 01:03:12,800
Speaker 1: that type of music. It was like, we want there

1198
01:03:12,840 --> 01:03:16,360
Speaker 1: to be a slight change, and they've also wanted X

1199
01:03:16,440 --> 01:03:20,640
Speaker 1: not of years in a row, who is awesome, and

1200
01:03:21,000 --> 01:03:23,200
Speaker 1: we want to kind of make a slight change. And

1201
01:03:23,240 --> 01:03:24,360
Speaker 1: I think that was a part of it. I don't

1202
01:03:24,360 --> 01:03:26,280
Speaker 1: think it was the majority of it. But if I

1203
01:03:26,400 --> 01:03:29,240
Speaker 1: didn't say that some of that was anti Florida Georgia Line,

1204
01:03:29,360 --> 01:03:31,160
Speaker 1: I would be lying. But that's my just my opinion.

1205
01:03:31,800 --> 01:03:33,640
Speaker 1: So I was pumped for him, like I was going

1206
01:03:33,680 --> 01:03:35,120
Speaker 1: crazy and I was watching the Cubs play. I didn't go.

1207
01:03:35,360 --> 01:03:36,640
Speaker 1: I didn't even go to the c m A. Like,

1208
01:03:36,680 --> 01:03:38,760
Speaker 1: screwed c m AS. First of all, screwed to CIMA anyway,

1209
01:03:38,920 --> 01:03:41,280
Speaker 1: but then that's that's me saying that, not you. But

1210
01:03:41,480 --> 01:03:44,480
Speaker 1: then that's yeah, it's for sure. Yeah, screwed the c

1211
01:03:44,640 --> 01:03:46,280
Speaker 1: m A. But I didn't go to the c m AS.

1212
01:03:46,360 --> 01:03:48,080
Speaker 1: I went. I came home to watch the Cubs play,

1213
01:03:48,560 --> 01:03:51,280
Speaker 1: and I flipped over for that, because when your friends play,

1214
01:03:51,360 --> 01:03:52,920
Speaker 1: you want to watch. And because Lindsay played too. She

1215
01:03:52,960 --> 01:03:55,840
Speaker 1: played with Carey that night, um, and so there were

1216
01:03:55,880 --> 01:03:58,880
Speaker 1: things I was flipping over for to catch. But yeah,

1217
01:03:59,000 --> 01:04:00,760
Speaker 1: that was cool. I wasn't like all of those guys.

1218
01:04:01,120 --> 01:04:05,240
Speaker 1: She was part of the whole wild girl rock band

1219
01:04:05,560 --> 01:04:09,000
Speaker 1: part of the evening Your girlfriend was yeah, yeah, I'm

1220
01:04:09,080 --> 01:04:11,440
Speaker 1: proud of her. I've tried to get you to come

1221
01:04:11,440 --> 01:04:13,520
Speaker 1: to a cocktail party during Awards week two and you

1222
01:04:13,680 --> 01:04:17,240
Speaker 1: you wouldn't come clause of the cups. Yeah, and it

1223
01:04:17,320 --> 01:04:20,560
Speaker 1: was a cocktail party more because it was the Cubs.

1224
01:04:20,600 --> 01:04:23,400
Speaker 1: And I don't do week nights at all, like zero

1225
01:04:23,480 --> 01:04:26,280
Speaker 1: week nights. Altho. The last time I's got a Crackerbowl

1226
01:04:26,280 --> 01:04:29,280
Speaker 1: commercial till probably eleven o'clock. You have dinner at my

1227
01:04:29,320 --> 01:04:31,240
Speaker 1: house on a week I did, and it was really late,

1228
01:04:31,280 --> 01:04:32,560
Speaker 1: and I was not like you wanted I felt like

1229
01:04:32,600 --> 01:04:35,520
Speaker 1: you wanted us to leave because you're your unbutton, your

1230
01:04:35,560 --> 01:04:37,560
Speaker 1: top button, and you started to look a little disheveled.

1231
01:04:37,720 --> 01:04:39,919
Speaker 1: See you keep telling that, and and at some point

1232
01:04:40,080 --> 01:04:42,360
Speaker 1: I'm gonna be like slumped over in a chair. The

1233
01:04:42,440 --> 01:04:48,560
Speaker 1: farther the story goes, I have had zero dinners with people.

1234
01:04:48,880 --> 01:04:54,480
Speaker 1: They think I really can think of none. That's just

1235
01:04:54,560 --> 01:04:59,440
Speaker 1: not my thing. Zero dinners. And Lee was like, come

1236
01:04:59,520 --> 01:05:00,760
Speaker 1: down for day and I was like, I'm coming down

1237
01:05:00,760 --> 01:05:02,240
Speaker 1: for dinner. He invited me first I have. I was

1238
01:05:02,280 --> 01:05:04,520
Speaker 1: by myself. I was like, hey, come down because my

1239
01:05:04,680 --> 01:05:07,640
Speaker 1: wife asked you. My wife at Tin Pan South says,

1240
01:05:08,080 --> 01:05:09,720
Speaker 1: I want you to come to my house for dinner

1241
01:05:09,840 --> 01:05:11,919
Speaker 1: like normal people. And I said I'm not a normal person.

1242
01:05:12,080 --> 01:05:14,240
Speaker 1: But you said yes. We just had never scheduled it.

1243
01:05:14,280 --> 01:05:16,800
Speaker 1: You had never committed, and I didn't want to be

1244
01:05:16,880 --> 01:05:20,040
Speaker 1: the third will husband, wife and me. When I got

1245
01:05:20,080 --> 01:05:21,919
Speaker 1: a girlfriend, I was like, I'm in for dinner early.

1246
01:05:22,480 --> 01:05:23,880
Speaker 1: And so then we couldn't find a day and I

1247
01:05:23,960 --> 01:05:26,240
Speaker 1: was like, okay, we'll just figure it out some other time,

1248
01:05:26,720 --> 01:05:28,960
Speaker 1: and I was like, no, no, no. So we negotiated

1249
01:05:29,000 --> 01:05:31,360
Speaker 1: for about twenty minutes on dates and then went down

1250
01:05:31,400 --> 01:05:32,800
Speaker 1: and we had dinner until like ten o'clock. It was

1251
01:05:32,880 --> 01:05:36,640
Speaker 1: really a wonderful time, and my my girlfriend really liked

1252
01:05:36,680 --> 01:05:39,600
Speaker 1: you guys. So I did not get tired, I said,

1253
01:05:39,840 --> 01:05:41,880
Speaker 1: I said, okay, we stood up, we walked down the house,

1254
01:05:42,320 --> 01:05:45,040
Speaker 1: and we come back and the girls sat back down

1255
01:05:45,080 --> 01:05:47,320
Speaker 1: and continue talking. So I sit down, and you took

1256
01:05:47,400 --> 01:05:49,560
Speaker 1: that to me, and I was tired. I never remember

1257
01:05:49,640 --> 01:05:54,680
Speaker 1: touching my button. Yeah, okay, listen, in my mind things happen,

1258
01:05:56,200 --> 01:05:58,240
Speaker 1: but that we have the only dinner I think I've

1259
01:05:58,240 --> 01:06:00,440
Speaker 1: ever my gear thing me go to dinner on a

1260
01:06:00,480 --> 01:06:04,360
Speaker 1: weeknight ever. Yeah, I mean either man, he said, at

1261
01:06:04,400 --> 01:06:07,040
Speaker 1: a table with children and we all just we talked

1262
01:06:07,040 --> 01:06:11,720
Speaker 1: about live and part of that A girlfriend too, Like

1263
01:06:12,520 --> 01:06:15,360
Speaker 1: she's a great girlfriend too. She's she's a good hang.

1264
01:06:15,600 --> 01:06:17,560
Speaker 1: She makes me a normal human a little more than

1265
01:06:17,600 --> 01:06:21,200
Speaker 1: I am, because she's oddly she feels in your awkward silences,

1266
01:06:22,360 --> 01:06:24,600
Speaker 1: which is all it's all one big awkward violence, which

1267
01:06:24,600 --> 01:06:27,520
Speaker 1: means she talks and you're just kind of sitting Hey, yeah, yeah, yeah,

1268
01:06:27,600 --> 01:06:31,040
Speaker 1: so that was that was good. Frankie Baalodro al Camino.

1269
01:06:31,680 --> 01:06:35,200
Speaker 1: Who so you're a crestword Alchemino too. This is the

1270
01:06:35,240 --> 01:06:37,600
Speaker 1: title track to write of that record. In that record

1271
01:06:37,760 --> 01:06:40,200
Speaker 1: Comino or it's called like You'll pass over. No, it's

1272
01:06:40,200 --> 01:06:46,000
Speaker 1: called No, it's not the title is. It's something we're

1273
01:06:46,000 --> 01:06:51,960
Speaker 1: shorting out over here, dude. Yeah, there's like whatever the

1274
01:06:52,080 --> 01:06:54,840
Speaker 1: name of it is. It's something. It's it's like a

1275
01:06:54,960 --> 01:06:56,960
Speaker 1: name of a Texas town. It's okay, that maybe why

1276
01:06:56,960 --> 01:07:01,960
Speaker 1: I think it's ALcom Rio or something. So you guys

1277
01:07:02,000 --> 01:07:06,440
Speaker 1: write the alchemyo it just you two? Hey, I think

1278
01:07:06,520 --> 01:07:08,840
Speaker 1: you don't. And I don't want to say any names.

1279
01:07:08,840 --> 01:07:10,440
Speaker 1: But what I want to get into once, I'm just

1280
01:07:10,480 --> 01:07:13,080
Speaker 1: asking his favorite. We ask favorites of each other. Whenever

1281
01:07:13,120 --> 01:07:14,400
Speaker 1: you get like a really powerful right, I want to

1282
01:07:14,400 --> 01:07:15,360
Speaker 1: send in the room and that like a couple of

1283
01:07:15,400 --> 01:07:17,800
Speaker 1: words and let me get a third of that, right

1284
01:07:18,160 --> 01:07:21,280
Speaker 1: you do? Yeah? Yeah, yeah, it'll legitimate if nobody's ever

1285
01:07:21,360 --> 01:07:26,320
Speaker 1: thought about that before that happens. Right, does that happen? Um?

1286
01:07:26,800 --> 01:07:29,080
Speaker 1: I hear that it does. See, I would be so

1287
01:07:29,360 --> 01:07:32,960
Speaker 1: upset like that. I wouldn't be able to handle that.

1288
01:07:33,480 --> 01:07:35,720
Speaker 1: It's funny. I remember when I started, it was kind

1289
01:07:35,760 --> 01:07:39,200
Speaker 1: of a three way was kind of taboo. You needed

1290
01:07:39,240 --> 01:07:41,360
Speaker 1: it to be no more than two. Really, Yeah, I

1291
01:07:41,440 --> 01:07:43,520
Speaker 1: remember that. I remember there were people that wouldn't do

1292
01:07:43,600 --> 01:07:47,439
Speaker 1: a three way. That's crazy now because I know most

1293
01:07:47,560 --> 01:07:49,560
Speaker 1: rights are three people, or at least a lot of

1294
01:07:49,640 --> 01:07:52,400
Speaker 1: them are now. But that's all. That's also less money

1295
01:07:52,400 --> 01:07:55,640
Speaker 1: if it hits. That's dividing in three simple maths. So

1296
01:07:55,680 --> 01:07:58,360
Speaker 1: you're christ right every other Wednesday and in these you

1297
01:07:58,440 --> 01:08:02,040
Speaker 1: wrote those, all these songs like whiskey and you on

1298
01:08:02,160 --> 01:08:05,200
Speaker 1: these every other Wednesday. I probably had more cuts with

1299
01:08:05,280 --> 01:08:08,640
Speaker 1: Chris than I have had with anybody. And he's a

1300
01:08:08,680 --> 01:08:12,560
Speaker 1: good dude. Huh, wonderful I what I know of him,

1301
01:08:12,600 --> 01:08:15,320
Speaker 1: and I and I feel like I know him relatively

1302
01:08:15,400 --> 01:08:18,479
Speaker 1: well for how that time we sat together, just because

1303
01:08:18,520 --> 01:08:20,760
Speaker 1: he's been great to me and I was such a

1304
01:08:21,680 --> 01:08:23,120
Speaker 1: as a robber, just a fan of him as a writer.

1305
01:08:23,240 --> 01:08:24,639
Speaker 1: And I've been lucky enough to do on the radio.

1306
01:08:24,680 --> 01:08:27,920
Speaker 1: Should be fans of writers and talk about writers and

1307
01:08:27,960 --> 01:08:30,519
Speaker 1: bring writers in. And Chris was one of those guys. Um,

1308
01:08:30,760 --> 01:08:34,479
Speaker 1: Chris is quiet, and I think that before we get married,

1309
01:08:34,479 --> 01:08:36,280
Speaker 1: I felt like he. I think he's kind of got

1310
01:08:36,560 --> 01:08:39,920
Speaker 1: a dark side. I feel like that when he married Morgan,

1311
01:08:40,640 --> 01:08:42,720
Speaker 1: I think that that rounded him out and I think

1312
01:08:42,800 --> 01:08:45,000
Speaker 1: that I think that took the I think that took

1313
01:08:45,080 --> 01:08:47,000
Speaker 1: the dark way. I think he's I think he's a

1314
01:08:47,120 --> 01:08:51,200
Speaker 1: happy person. Um, he's a wonderful father. Uh. You know,

1315
01:08:51,439 --> 01:08:52,680
Speaker 1: as I've very said, I've been in this town a

1316
01:08:52,680 --> 01:08:54,639
Speaker 1: long time and know a lot of musicians. Chris Stapleton

1317
01:08:54,720 --> 01:08:58,040
Speaker 1: is the most talented person I've ever worked with and

1318
01:08:58,320 --> 01:09:02,000
Speaker 1: always and that was before the world ever knew about it.

1319
01:09:02,960 --> 01:09:05,880
Speaker 1: He's the second next to Bobby Bones. He's the most

1320
01:09:06,560 --> 01:09:09,080
Speaker 1: on my throat. And I was just I am so

1321
01:09:09,280 --> 01:09:15,160
Speaker 1: embarrassed as a writer that you wrote today right before

1322
01:09:15,200 --> 01:09:18,360
Speaker 1: you came over here. I did, okay? Is that every idea?

1323
01:09:18,400 --> 01:09:21,120
Speaker 1: Do you drive someone right every day? Every day? Drive downtown?

1324
01:09:21,680 --> 01:09:23,840
Speaker 1: Because I love Music Row. I love driving into Music

1325
01:09:23,960 --> 01:09:26,400
Speaker 1: Row and drives my wife crazy. She says, you have

1326
01:09:26,439 --> 01:09:27,840
Speaker 1: a great space at home. Why don't you right here?

1327
01:09:27,840 --> 01:09:29,160
Speaker 1: And I was because I like to go to Music

1328
01:09:29,280 --> 01:09:33,200
Speaker 1: Row and work every day every sec it would be exhausting.

1329
01:09:34,280 --> 01:09:36,400
Speaker 1: Who do you like now? And not who do you

1330
01:09:36,479 --> 01:09:37,560
Speaker 1: not like it? But give me a couple people that

1331
01:09:37,600 --> 01:09:39,840
Speaker 1: you hear now that you're you're on the radio, maybe

1332
01:09:39,840 --> 01:09:41,160
Speaker 1: you have any relationship with them at all, and you're like,

1333
01:09:41,240 --> 01:09:45,080
Speaker 1: that's cool. I like that, Like uh like that. You

1334
01:09:45,120 --> 01:09:47,240
Speaker 1: don't have a personal relationship with Like you can't say

1335
01:09:47,240 --> 01:09:50,040
Speaker 1: about this Osborne. We both enjoyed them as humans, can't

1336
01:09:50,080 --> 01:09:51,640
Speaker 1: mention them. But you hear something on the radio and

1337
01:09:51,680 --> 01:09:55,600
Speaker 1: you're like, that's pretty cool. We know what. I have

1338
01:09:55,840 --> 01:09:58,640
Speaker 1: never had a Kidney Jesney cut, and I am a

1339
01:09:58,720 --> 01:10:02,800
Speaker 1: Kidney Jesney fan. I love sitting the world. As I

1340
01:10:02,920 --> 01:10:07,200
Speaker 1: was talking to Kenny, we were man, I didn't know.

1341
01:10:07,720 --> 01:10:10,040
Speaker 1: He didn't tell me. See here's thinking about if he's

1342
01:10:10,360 --> 01:10:13,400
Speaker 1: every make you say you never make Kenny. I've met him,

1343
01:10:14,479 --> 01:10:16,400
Speaker 1: but you haven't. I don't know him. I've never hung I'

1344
01:10:16,439 --> 01:10:18,320
Speaker 1: gonna give you a couple of Kenny stories. So I

1345
01:10:18,439 --> 01:10:20,920
Speaker 1: have hung with him a few times. My work. It

1346
01:10:21,120 --> 01:10:24,080
Speaker 1: creates that atmosphere, and then if you actually get along

1347
01:10:24,160 --> 01:10:26,360
Speaker 1: with someone, you can still sit in the same room,

1348
01:10:26,400 --> 01:10:27,840
Speaker 1: and if you don't go back to your own rooms,

1349
01:10:28,120 --> 01:10:29,760
Speaker 1: and sometimes there artist and we just go back your

1350
01:10:29,760 --> 01:10:32,640
Speaker 1: own rooms. It's like humans not all humans mesh right.

1351
01:10:33,400 --> 01:10:37,559
Speaker 1: Kenny and I, for some reason get along. But Kenny

1352
01:10:37,600 --> 01:10:41,639
Speaker 1: has no filter, and I wouldn't have no filter around

1353
01:10:41,720 --> 01:10:45,600
Speaker 1: someone that had a big microphone. But I keep a

1354
01:10:45,680 --> 01:10:48,360
Speaker 1: lot of secrets too. I'm good like I know the difference.

1355
01:10:48,400 --> 01:10:49,839
Speaker 1: Why I can. I can't say it just I wouldn't

1356
01:10:49,840 --> 01:10:51,680
Speaker 1: trust me until I was able to trust me. He's

1357
01:10:51,720 --> 01:10:55,840
Speaker 1: always trusting me for some reason. So Kenny and I

1358
01:10:56,120 --> 01:10:58,599
Speaker 1: just the last time we were together. We're up, we're

1359
01:10:58,640 --> 01:11:02,479
Speaker 1: on stage, and we've had three or four instance where

1360
01:11:02,520 --> 01:11:04,080
Speaker 1: we've been together for over an hour and a half

1361
01:11:04,160 --> 01:11:07,439
Speaker 1: or so, so we're comfortable with each other, and we're

1362
01:11:07,479 --> 01:11:09,639
Speaker 1: playing songs from his record, and there's a crowd watching

1363
01:11:09,720 --> 01:11:12,320
Speaker 1: and he that song that you like, and then I

1364
01:11:12,439 --> 01:11:14,200
Speaker 1: like to is it's an amazing song with Pink, and

1365
01:11:14,280 --> 01:11:15,760
Speaker 1: what a great person to pick for that song Set

1366
01:11:15,840 --> 01:11:18,000
Speaker 1: in the World on Fire. Healans over and he goes,

1367
01:11:18,560 --> 01:11:21,040
Speaker 1: this was never gonna be a single ever. And I

1368
01:11:21,160 --> 01:11:23,400
Speaker 1: was like, why would you know, why would you cut

1369
01:11:23,479 --> 01:11:25,840
Speaker 1: up with a pop artist? You know why? He's like,

1370
01:11:25,880 --> 01:11:29,120
Speaker 1: I wanted it to be, but had she not gotten pregnant,

1371
01:11:29,360 --> 01:11:30,680
Speaker 1: this would never been a single because she was doing

1372
01:11:30,720 --> 01:11:31,960
Speaker 1: her own thing. And then we're gonna let us put

1373
01:11:31,960 --> 01:11:34,160
Speaker 1: it out because she had her songs out. You can't

1374
01:11:34,160 --> 01:11:36,559
Speaker 1: put a song out. I didn't know she had an

1375
01:11:36,560 --> 01:11:39,800
Speaker 1: announced that she was pregnant. He told me this O

1376
01:11:40,040 --> 01:11:42,840
Speaker 1: this like a month before. She hadn't she because she

1377
01:11:42,920 --> 01:11:44,720
Speaker 1: just announced was pregnant like a week or so ago.

1378
01:11:44,960 --> 01:11:47,479
Speaker 1: As we're taping this right now. She just said she's pregnant,

1379
01:11:47,600 --> 01:11:49,679
Speaker 1: and I was like, oh my god. He never said,

1380
01:11:49,720 --> 01:11:52,840
Speaker 1: don't say anything about it. I never did, but it

1381
01:11:52,920 --> 01:11:54,960
Speaker 1: could have been a mess because he just threw it

1382
01:11:55,000 --> 01:11:56,960
Speaker 1: out there, like, oh, yeah, she was pregnant, and had

1383
01:11:57,000 --> 01:11:58,960
Speaker 1: she not gotten pregnant, we'd never got to cut this song.

1384
01:11:59,200 --> 01:12:01,720
Speaker 1: And I'm like, oh, that's cool. Had it come up

1385
01:12:01,760 --> 01:12:04,120
Speaker 1: in conversation and may have said something about it, because

1386
01:12:04,160 --> 01:12:06,920
Speaker 1: he didn't say, hey, don't off the record, hey don't

1387
01:12:06,960 --> 01:12:10,160
Speaker 1: say this, so that song would have never been on

1388
01:12:10,280 --> 01:12:11,920
Speaker 1: the radio. It was never when they cut it, it

1389
01:12:11,960 --> 01:12:14,040
Speaker 1: was never going to be on the radio. But because

1390
01:12:14,120 --> 01:12:15,880
Speaker 1: she got pregnant, was like, I'm gonna pull myself off.

1391
01:12:16,479 --> 01:12:18,840
Speaker 1: They got to put it out as a single, So

1392
01:12:19,560 --> 01:12:21,920
Speaker 1: I thought that was pretty cool. There was another one

1393
01:12:22,560 --> 01:12:25,000
Speaker 1: because he just says stuff and you're like, did you

1394
01:12:25,120 --> 01:12:29,200
Speaker 1: say that? And like that I have another good game.

1395
01:12:29,280 --> 01:12:32,080
Speaker 1: What's my other trusting? But why, man, I don't know,

1396
01:12:32,080 --> 01:12:35,360
Speaker 1: why would trust me though of all people? Because I'm

1397
01:12:35,400 --> 01:12:38,320
Speaker 1: known because I don't have a big mouth, but I

1398
01:12:38,400 --> 01:12:40,320
Speaker 1: say my feelings and those two things kind of get

1399
01:12:41,880 --> 01:12:44,720
Speaker 1: mixed up. Yeah, I mean, I think that was dice.

1400
01:12:44,760 --> 01:12:46,160
Speaker 1: So you could have messed up because you could have

1401
01:12:46,200 --> 01:12:48,600
Speaker 1: just assumed that everybody knew. I did assume that. It

1402
01:12:48,640 --> 01:12:50,200
Speaker 1: just didn't come up in a conversation because I would

1403
01:12:50,200 --> 01:12:52,000
Speaker 1: have got lucky on that. I would have said something.

1404
01:12:52,720 --> 01:12:55,479
Speaker 1: Um Man had another good kidney story too from that night. Better.

1405
01:12:55,520 --> 01:12:57,840
Speaker 1: I don't know, forgot who knows. I've been talking on

1406
01:12:58,040 --> 01:13:01,000
Speaker 1: today for like eleven hours. I dig Aaron Morris. Yeah

1407
01:13:01,160 --> 01:13:04,800
Speaker 1: it's awesome. Huh Yeah, I think she's very real. I

1408
01:13:04,960 --> 01:13:08,960
Speaker 1: met her again before before Chris blew up. I was

1409
01:13:09,000 --> 01:13:10,920
Speaker 1: on the road riding with him and she opened a

1410
01:13:10,960 --> 01:13:12,800
Speaker 1: show for him with this little this little bar in

1411
01:13:12,880 --> 01:13:15,040
Speaker 1: Atlanta and for some of my for seen her and

1412
01:13:15,120 --> 01:13:17,599
Speaker 1: she just was so amazing. She was so sweet. And then, uh,

1413
01:13:18,320 --> 01:13:22,800
Speaker 1: it's funny, last summer vacation, family vacation. Um, I'd taken

1414
01:13:22,880 --> 01:13:24,400
Speaker 1: my oldest just meet him to the rock and roll

1415
01:13:24,640 --> 01:13:27,040
Speaker 1: Museum in Cleveland and we're sitting in the in the

1416
01:13:27,200 --> 01:13:29,920
Speaker 1: cafe eating a sandwich in the at the Rock and

1417
01:13:30,080 --> 01:13:34,920
Speaker 1: Roll Hall of Fame, random and Marion Morris walks in

1418
01:13:34,960 --> 01:13:36,880
Speaker 1: the system and eats a salad and I said, what

1419
01:13:37,000 --> 01:13:39,120
Speaker 1: are you doing? And she was in town with the

1420
01:13:39,240 --> 01:13:41,280
Speaker 1: Keith Urban Concert and she was just going through the

1421
01:13:41,840 --> 01:13:44,479
Speaker 1: Hall of Fame. And it's funny now, she probably couldn't

1422
01:13:44,479 --> 01:13:46,560
Speaker 1: have walked through the Everybody go crazy. But you know,

1423
01:13:47,560 --> 01:13:49,560
Speaker 1: I think the weird thing about Marion, and I know

1424
01:13:49,880 --> 01:13:52,519
Speaker 1: I've the same way. You know, Marion and I were

1425
01:13:52,560 --> 01:13:55,640
Speaker 1: cool before Marion blew up and I had her on

1426
01:13:55,680 --> 01:13:58,640
Speaker 1: the show before she hadn't be download. I thought, man,

1427
01:13:59,280 --> 01:14:04,400
Speaker 1: she's really good. And so she still goes to Walmart

1428
01:14:04,479 --> 01:14:08,800
Speaker 1: and stuff like she that's part Nashville too. I think

1429
01:14:08,840 --> 01:14:10,599
Speaker 1: you can get away with stuff in Nashville that maybe

1430
01:14:10,760 --> 01:14:13,080
Speaker 1: you can't some places. And I think if people go

1431
01:14:13,280 --> 01:14:16,599
Speaker 1: this is Mary Morris, everybody freaks out. But yeah, she's

1432
01:14:16,680 --> 01:14:21,320
Speaker 1: and Marin's real deal. Yah, she's gonna be pretty recognizable though.

1433
01:14:21,520 --> 01:14:23,960
Speaker 1: I mean, she she's gonna be hard. You know, Yeah,

1434
01:14:24,040 --> 01:14:26,719
Speaker 1: you're a fan, you're gonna, oh that's her. She's also

1435
01:14:26,880 --> 01:14:29,280
Speaker 1: going to be the new and she already kind of

1436
01:14:29,439 --> 01:14:33,560
Speaker 1: is because our record was so critically acclaimed because it

1437
01:14:33,680 --> 01:14:36,200
Speaker 1: was so good. Sometimes records get big because they're just big.

1438
01:14:36,240 --> 01:14:38,599
Speaker 1: They're big on the radio. But her record was critically

1439
01:14:38,640 --> 01:14:42,559
Speaker 1: acclaimed because it was so good. And like my Church

1440
01:14:42,720 --> 01:14:46,840
Speaker 1: wasn't a number one song, and AI's Mercedes probably thinking

1441
01:14:46,960 --> 01:14:48,960
Speaker 1: be number one song, but the record is so good,

1442
01:14:49,280 --> 01:14:51,320
Speaker 1: like it doesn't matter. It's like when we go back

1443
01:14:51,400 --> 01:14:54,000
Speaker 1: to you know, talking about in color, like you don't

1444
01:14:54,000 --> 01:14:56,320
Speaker 1: even know remember what was number one? My daughter is

1445
01:14:56,360 --> 01:14:59,160
Speaker 1: no ever song on that record, ever word of ever song. Yeah,

1446
01:14:59,240 --> 01:15:02,200
Speaker 1: me too, And I don't listen records. I'm they I

1447
01:15:02,280 --> 01:15:06,080
Speaker 1: just don't know what I mean. Really, nobody does anymore

1448
01:15:06,160 --> 01:15:10,479
Speaker 1: unless it's your favorite artist. Yeah. But it's also that

1449
01:15:10,640 --> 01:15:13,880
Speaker 1: it's a generational thing because we're able to get music

1450
01:15:13,960 --> 01:15:15,840
Speaker 1: one at a time. When I was young, young, you

1451
01:15:15,880 --> 01:15:17,160
Speaker 1: didn't get music one of a time when you went

1452
01:15:17,200 --> 01:15:18,439
Speaker 1: to the storm and bought the single on tape and

1453
01:15:18,439 --> 01:15:20,400
Speaker 1: there was another side of it too, and that was

1454
01:15:20,640 --> 01:15:22,760
Speaker 1: when I was young. But if you give someone the

1455
01:15:22,800 --> 01:15:25,120
Speaker 1: option to not buy thirteen songs, we're not We're gonna

1456
01:15:25,120 --> 01:15:26,439
Speaker 1: buy them one at a time. Of what we like

1457
01:15:26,520 --> 01:15:27,920
Speaker 1: that would we like the next one? It would we

1458
01:15:27,960 --> 01:15:30,000
Speaker 1: like the next one? Oh, we like the next one?

1459
01:15:30,680 --> 01:15:33,479
Speaker 1: And so you end up not buying every song unless

1460
01:15:33,520 --> 01:15:35,519
Speaker 1: it's your favorite artist. But Marin's record, yeah, I know

1461
01:15:35,560 --> 01:15:37,479
Speaker 1: all the songs too. It's fantastic. She also is one

1462
01:15:37,520 --> 01:15:41,639
Speaker 1: of those artists too. We have a pretty good text relationships.

1463
01:15:41,680 --> 01:15:43,280
Speaker 1: I just have textual That's what I talked I talked

1464
01:15:43,280 --> 01:15:45,360
Speaker 1: to about the text. I don't like talking on the phone, don't.

1465
01:15:46,000 --> 01:15:48,240
Speaker 1: I mean, I an't talked about Lindsay on the phone.

1466
01:15:48,560 --> 01:15:50,840
Speaker 1: It's spacetime or it's I'll see you you know, wherever.

1467
01:15:51,560 --> 01:15:54,479
Speaker 1: But Marin's so cool, like a appreciate you're not coddling

1468
01:15:54,840 --> 01:15:59,519
Speaker 1: me ever, appreciate you like because she's real, Like it's

1469
01:15:59,560 --> 01:16:03,240
Speaker 1: real as she's seems. That's her. Did I see there's

1470
01:16:03,240 --> 01:16:06,240
Speaker 1: anything else up here? How about a little with his

1471
01:16:06,360 --> 01:16:13,360
Speaker 1: hands Ken Melon's build man, Well you know about that, right, definitely.

1472
01:16:14,640 --> 01:16:20,840
Speaker 1: That's one of my first cuts up or that's like, yeah,

1473
01:16:21,479 --> 01:16:29,280
Speaker 1: he'll never be a lawyer college. I think that might

1474
01:16:29,320 --> 01:16:32,040
Speaker 1: have been my first cut. Ever, he'll never be a lawyer.

1475
01:16:33,160 --> 01:16:36,960
Speaker 1: Be star, but he'll never be a lawyer. College game

1476
01:16:37,200 --> 01:16:40,280
Speaker 1: passive bar, Come on, is that coming back? That sound

1477
01:16:40,360 --> 01:16:43,360
Speaker 1: coming back? That's funny for some. My theory is, and

1478
01:16:43,520 --> 01:16:48,360
Speaker 1: what's happening with the format musically is country, first of all,

1479
01:16:48,439 --> 01:16:51,160
Speaker 1: is getting so big that it's going to turn into

1480
01:16:51,280 --> 01:16:53,559
Speaker 1: what Top forty is. Not not a style because Top

1481
01:16:53,600 --> 01:16:56,240
Speaker 1: forty is always evolving, but what it's going to happen

1482
01:16:56,400 --> 01:16:59,559
Speaker 1: is country. As Top forty has done, Top forty has

1483
01:16:59,600 --> 01:17:01,599
Speaker 1: a couple of best pop songs, while the couple best

1484
01:17:01,640 --> 01:17:03,479
Speaker 1: hip hop song is a couple of best rock songs.

1485
01:17:03,800 --> 01:17:07,240
Speaker 1: And that's the the mesh that is Top forty. Country

1486
01:17:07,280 --> 01:17:08,280
Speaker 1: is gonna be the same way. You're gonna have a

1487
01:17:08,280 --> 01:17:09,920
Speaker 1: couple of the best guys that sound classic, the classic

1488
01:17:09,920 --> 01:17:11,200
Speaker 1: country sound. You can have a couple of the guys

1489
01:17:11,200 --> 01:17:14,320
Speaker 1: that sound way progressive like the Sam's of the world.

1490
01:17:14,479 --> 01:17:16,720
Speaker 1: You're gonna have a couple of the females and it's

1491
01:17:16,760 --> 01:17:19,360
Speaker 1: they're gonna be all these little lanes and it's gonna

1492
01:17:19,400 --> 01:17:21,000
Speaker 1: be the top couple to three of each lane is

1493
01:17:21,040 --> 01:17:24,960
Speaker 1: gonna be what makes it onto the country radio. No, no,

1494
01:17:25,040 --> 01:17:27,840
Speaker 1: but it's happening. Well, they're not gonna split it right

1495
01:17:27,880 --> 01:17:29,439
Speaker 1: now that they've split it into two in the last

1496
01:17:29,479 --> 01:17:34,200
Speaker 1: few years of older. With the Legends and Icon brand,

1497
01:17:34,240 --> 01:17:36,280
Speaker 1: they have older stations, and what's funny is older tations

1498
01:17:36,320 --> 01:17:38,680
Speaker 1: are awesome, Like it's like the good stuff, you know,

1499
01:17:38,840 --> 01:17:41,400
Speaker 1: the nineties stuff. It's not even like the fifties stuff

1500
01:17:41,400 --> 01:17:44,120
Speaker 1: because they had classic country stations. But now these older

1501
01:17:44,160 --> 01:17:47,720
Speaker 1: stations are nineties and some eighties and a little early

1502
01:17:47,800 --> 01:17:50,519
Speaker 1: two thousands, and those are like my favorite of the thing.

1503
01:17:51,080 --> 01:17:53,599
Speaker 1: You have a Randy Travis cutt on that Yeah, here

1504
01:17:53,720 --> 01:17:57,040
Speaker 1: is hold on, here's leaves, Randy Travis cut you want

1505
01:17:57,040 --> 01:17:59,360
Speaker 1: to set it up. It's just it's one of the

1506
01:17:59,439 --> 01:18:01,400
Speaker 1: only ones that ever heard that. When they called me

1507
01:18:01,439 --> 01:18:03,560
Speaker 1: into the label to play it for me, stop but

1508
01:18:08,000 --> 01:18:11,920
Speaker 1: I was gonna say it made me cry. You know what,

1509
01:18:12,040 --> 01:18:15,560
Speaker 1: you stomped spy Family Bible and the Farmer's alving that

1510
01:18:16,200 --> 01:18:18,840
Speaker 1: I don't have that one, only Randy Travis Cut, but

1511
01:18:19,240 --> 01:18:23,280
Speaker 1: I got one. My was my grandma's favorite artist, Randy

1512
01:18:23,360 --> 01:18:25,960
Speaker 1: Travis Johnny Cash because it was from Arkansas. So this

1513
01:18:26,040 --> 01:18:28,080
Speaker 1: is what rubbed alph on me. You know what your

1514
01:18:28,120 --> 01:18:31,040
Speaker 1: parents listened to. And I have a strong parental system,

1515
01:18:31,120 --> 01:18:32,920
Speaker 1: so my grandma did a lot of the raising of me.

1516
01:18:33,479 --> 01:18:35,799
Speaker 1: And so my grandma with my mom basically even adopt

1517
01:18:35,880 --> 01:18:37,760
Speaker 1: me for a while as a kid. But she it

1518
01:18:37,960 --> 01:18:41,160
Speaker 1: was Johnny Cash. Here is from Arkansas, and if you're

1519
01:18:41,200 --> 01:18:43,759
Speaker 1: from Arkansas, people from marketsall that make it, they're your heroes.

1520
01:18:44,479 --> 01:18:46,080
Speaker 1: So it was Johnny and she would tell me stories

1521
01:18:46,080 --> 01:18:49,040
Speaker 1: about how people would protest Johnny Cash because that's not country,

1522
01:18:49,080 --> 01:18:52,240
Speaker 1: that's rock and roll, and people would be out just furious.

1523
01:18:52,680 --> 01:18:54,120
Speaker 1: It just reminds me of what people are doing on

1524
01:18:54,200 --> 01:18:57,280
Speaker 1: blogs now about what's happening at country music, everything sexical,

1525
01:18:57,400 --> 01:19:03,360
Speaker 1: every constantly that Randy Travis, Ray Charles and Andy Griffith

1526
01:19:03,520 --> 01:19:06,320
Speaker 1: gospel albums. I mean as I wasn't to do all.

1527
01:19:06,640 --> 01:19:08,320
Speaker 1: I mean all that, I hear it and it makes

1528
01:19:08,360 --> 01:19:09,800
Speaker 1: me a lot of my grandma so much. But then

1529
01:19:09,800 --> 01:19:11,920
Speaker 1: I remember being so just annoyed, like can we place

1530
01:19:12,000 --> 01:19:15,000
Speaker 1: us into something else on records? But yet now I

1531
01:19:15,080 --> 01:19:17,519
Speaker 1: appreciate it. Then I was like, is this all we got?

1532
01:19:18,040 --> 01:19:20,080
Speaker 1: You know? I was a teenager through all the great

1533
01:19:20,160 --> 01:19:23,240
Speaker 1: eighties music, all the great eighties pop music, and uh

1534
01:19:23,800 --> 01:19:27,599
Speaker 1: I was listening to Gene Watson and Alabama and even

1535
01:19:27,720 --> 01:19:32,960
Speaker 1: now we'll be somewhere and some you know, amazing song

1536
01:19:33,040 --> 01:19:37,679
Speaker 1: from five will come on somewhere and some print song

1537
01:19:38,400 --> 01:19:40,240
Speaker 1: or some band that I've never even heard of. There

1538
01:19:40,320 --> 01:19:42,800
Speaker 1: was a huge hit. My wife on aever word and

1539
01:19:42,960 --> 01:19:46,519
Speaker 1: she'll say, do you seriously not know this song? It's

1540
01:19:46,520 --> 01:19:48,720
Speaker 1: just it's just this was probably the theme to your

1541
01:19:48,800 --> 01:19:52,080
Speaker 1: prom and I'm like, I was listening to Gene Watson, babe.

1542
01:19:52,720 --> 01:19:57,320
Speaker 1: I'm sorry. So just to recap, we have lots of

1543
01:19:57,360 --> 01:20:01,640
Speaker 1: good songs, and you're pretty funny. You did a lot

1544
01:20:01,680 --> 01:20:06,120
Speaker 1: of show prep too. I'm impressed. Yeah, yeah, I mean

1545
01:20:06,200 --> 01:20:07,879
Speaker 1: this is the thing I do. This is like my profession.

1546
01:20:08,600 --> 01:20:11,160
Speaker 1: You know how you write songs today? That's what you do.

1547
01:20:11,320 --> 01:20:13,760
Speaker 1: That's what I do. You look tired when I came out.

1548
01:20:13,800 --> 01:20:15,800
Speaker 1: I'm tired, all done? What if I ever not looked tired?

1549
01:20:15,920 --> 01:20:17,759
Speaker 1: Are you tired all the time? But you never sleep?

1550
01:20:17,880 --> 01:20:22,960
Speaker 1: Is there any way? That's why I'm always tired. You'll

1551
01:20:23,000 --> 01:20:24,640
Speaker 1: text me at ten o'clock and I'm like, You've got

1552
01:20:24,720 --> 01:20:28,120
Speaker 1: to get up like now. But if I didn't do

1553
01:20:28,360 --> 01:20:32,680
Speaker 1: I loved, I wouldn't be able to do it like this.

1554
01:20:32,960 --> 01:20:34,439
Speaker 1: I love what I do because like you love what

1555
01:20:34,520 --> 01:20:38,160
Speaker 1: you do. Why were you dressed like an elf? Last week?

1556
01:20:40,760 --> 01:20:42,559
Speaker 1: I wasn't Was that what it like Elf. Last week

1557
01:20:43,600 --> 01:20:46,680
Speaker 1: for something you were somewhere doing it was like a

1558
01:20:46,720 --> 01:20:48,519
Speaker 1: brad Pitt. I was weekly cover or something. It was

1559
01:20:48,560 --> 01:20:51,439
Speaker 1: either you're Brad Pitt dressed like an ELF doing something

1560
01:20:51,560 --> 01:20:54,680
Speaker 1: in somewhere because you're gone all the time. You were

1561
01:20:54,760 --> 01:20:57,000
Speaker 1: because you sent me back something funny about being and Elf.

1562
01:20:58,320 --> 01:21:00,840
Speaker 1: I don't know. There's a lot of days ago. Well,

1563
01:21:01,520 --> 01:21:05,280
Speaker 1: I appreciate you coming in and sharing your stories. Are

1564
01:21:05,320 --> 01:21:08,080
Speaker 1: good ones? Are They're good? Yeah, they're good. My favorite

1565
01:21:08,080 --> 01:21:09,599
Speaker 1: one you didn't tell. I want to tell this one

1566
01:21:10,000 --> 01:21:14,679
Speaker 1: and if a normal story, tell this that ad because

1567
01:21:14,880 --> 01:21:18,479
Speaker 1: running out of time, you go up, let me tell

1568
01:21:18,520 --> 01:21:21,160
Speaker 1: it fast. Now it's I don't even want to give

1569
01:21:21,200 --> 01:21:24,519
Speaker 1: any sort of spoiler here, but tell the story about

1570
01:21:24,560 --> 01:21:26,800
Speaker 1: how the soup. I'll just say the soup and let

1571
01:21:26,880 --> 01:21:30,120
Speaker 1: you tell the story the soup. Yeah, the TV show

1572
01:21:30,160 --> 01:21:32,560
Speaker 1: the soup. That'd be fun of you. Oh. So, I

1573
01:21:35,200 --> 01:21:37,120
Speaker 1: we get to our seats at the a c M Awards.

1574
01:21:37,160 --> 01:21:40,920
Speaker 1: I was still thinking we might win for uh because

1575
01:21:40,960 --> 01:21:42,560
Speaker 1: again I had two two songs up the Song of

1576
01:21:42,600 --> 01:21:45,040
Speaker 1: the Year they c MS in Vegas. And I get

1577
01:21:45,080 --> 01:21:46,960
Speaker 1: to my seat and we're on the twentie row in

1578
01:21:47,080 --> 01:21:50,960
Speaker 1: the middle right and talk soup. That's what you're saying.

1579
01:21:51,200 --> 01:21:52,640
Speaker 1: And um oh yeah, to not call the sup you

1580
01:21:52,680 --> 01:21:56,320
Speaker 1: should be all talking. So m I'm like, we're not

1581
01:21:56,360 --> 01:21:58,120
Speaker 1: gonna win. There's what we're gonna win because there's no

1582
01:21:58,160 --> 01:22:01,000
Speaker 1: way they would put the winner here because terrible seats right.

1583
01:22:01,080 --> 01:22:04,000
Speaker 1: And I'm bommed, and I'm like, this is so depressing

1584
01:22:04,080 --> 01:22:08,479
Speaker 1: and and and uh. I kind of worked through my

1585
01:22:08,600 --> 01:22:10,400
Speaker 1: mind because I always like to be prepared if I

1586
01:22:10,520 --> 01:22:12,360
Speaker 1: if I don't want to, I'm not afraid to do

1587
01:22:12,439 --> 01:22:14,479
Speaker 1: public speaking, but I need to know what I'm gonna

1588
01:22:14,520 --> 01:22:16,880
Speaker 1: say and just in case I win. So so then

1589
01:22:17,800 --> 01:22:21,240
Speaker 1: Jennifer Lovewett is giving the award away and she calls

1590
01:22:21,280 --> 01:22:23,120
Speaker 1: her name and we want in color one song or

1591
01:22:23,160 --> 01:22:25,080
Speaker 1: the year, and she calls my name and I run,

1592
01:22:25,160 --> 01:22:26,920
Speaker 1: you know. I go down there and I'm so pumped.

1593
01:22:26,920 --> 01:22:30,360
Speaker 1: I'm so excited, and I'm so nervous, and I'm on stage.

1594
01:22:30,400 --> 01:22:32,479
Speaker 1: I'm standing next to Jennifer love You and Jamie Johnson

1595
01:22:32,520 --> 01:22:34,320
Speaker 1: does this little spiel and usually they don't give you

1596
01:22:34,439 --> 01:22:36,040
Speaker 1: much time, but they let Jamie speak, and then they

1597
01:22:36,160 --> 01:22:39,320
Speaker 1: let James speak, and so then I step up and

1598
01:22:39,400 --> 01:22:42,880
Speaker 1: in front of all the world, and National Television. I said,

1599
01:22:43,520 --> 01:22:46,639
Speaker 1: I want to thank my wife. I want to thank

1600
01:22:46,760 --> 01:22:53,280
Speaker 1: my kids. Levi Noah, Levi, No that's not right. Everybody laughs.

1601
01:22:54,360 --> 01:22:56,800
Speaker 1: So then I continued my speech. I walk off stage.

1602
01:22:56,840 --> 01:22:59,519
Speaker 1: I'm nervous, I'm freaking out. In the next morning, um,

1603
01:22:59,800 --> 01:23:03,080
Speaker 1: the soup people were doing the the Yahoo Entertainment clip

1604
01:23:03,120 --> 01:23:04,960
Speaker 1: of the week and it was like eight thirty the

1605
01:23:05,040 --> 01:23:08,400
Speaker 1: next morning, gets everywhere right. Country Music Awards were held

1606
01:23:08,479 --> 01:23:11,280
Speaker 1: last night in Las Vegas, Nevada. Check this guy out.

1607
01:23:12,280 --> 01:23:14,519
Speaker 1: It's me. I wanna I want to thank my wife.

1608
01:23:15,320 --> 01:23:18,120
Speaker 1: I want to thank my kids. Levi no, Levi, No,

1609
01:23:18,320 --> 01:23:22,559
Speaker 1: that's not right. This guy is so country. He has

1610
01:23:22,680 --> 01:23:28,760
Speaker 1: not one but two kids named Levi. Hey, here my

1611
01:23:28,880 --> 01:23:33,360
Speaker 1: gay question before we jump. You're good. All of it

1612
01:23:33,880 --> 01:23:40,600
Speaker 1: squeezed out. Lee Thomas Miller, that's his name, I just

1613
01:23:40,720 --> 01:23:44,600
Speaker 1: call him. Hey, dude. Well, thank you for having me.

1614
01:23:44,720 --> 01:23:47,400
Speaker 1: Thanks man, I appreciate it. Thanks for the stories. All right.

1615
01:23:47,479 --> 01:23:49,720
Speaker 1: So that's episode twenty five. Thanks for hanging out here

1616
01:23:49,800 --> 01:23:52,599
Speaker 1: on the Bobby Cast. I hope you'll learn a little

1617
01:23:52,600 --> 01:23:54,080
Speaker 1: something and we'll see you guys next night. Thanks guys,