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Speaker 1: I welcome to two oh five with Rodney Clawson, which

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Speaker 1: I guess we've we have spenty real time together. We've

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Speaker 1: met for the first time about six times, and people

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Speaker 1: always like, this is Ronnie. I'm like, yeah, we've met

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Speaker 1: like six times a lot through your wife. Um, because

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Speaker 1: your wife and I have have become friends. But I

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Speaker 1: would see I'd see you and I'd be like, hey, Ronnie,

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Speaker 1: I'd be like, have you guys met, Like, we've only met,

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Speaker 1: but we've met many, many times, so it's good to

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Speaker 1: have you. We were going over some of your some

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Speaker 1: of your stuff. We have a wall on the screen,

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Speaker 1: Ronnie that we put everybody's songs on. We couldn't fit

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Speaker 1: all your songs. You have so many number one songs. Well,

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Speaker 1: I mean, I know there's people out there that have

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Speaker 1: a lot more than me, but um, there isn't a

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Speaker 1: right response, right, I just kind of let it hang

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Speaker 1: in and see what they say. Yeah, that's what that's

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Speaker 1: what therapist has me to do. So you guys just

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Speaker 1: say thank you kind I'm shocked when I see it too,

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Speaker 1: so I'm like, how on the hell did that happen?

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Speaker 1: You know? And by and because each song the worth

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Speaker 1: of it. We have of estimated you're worth a billion dollars,

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Speaker 1: but all are you say over under a billion? I

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Speaker 1: would say, will well over got it? That means worth

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Speaker 1: two billions. Well, you are in the and I'll get

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Speaker 1: off this, but you are in the elite three. We

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Speaker 1: all we haven't something. We call the elite three artists

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Speaker 1: that have the most number ones that have been on

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Speaker 1: the podcast. And you are part of that. And if

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Speaker 1: there was there, if there was a room, we'd all

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Speaker 1: clap and probably give you a standing ovation. And there's

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Speaker 1: not a trophy, but we'll mail one to you and

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Speaker 1: may never come to you. But trust us, we we

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Speaker 1: we don't know yet. We haven't actually invented it. We

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Speaker 1: just say it and then we never send it out.

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Speaker 1: Act something to hold you know what, I'll tell you what.

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Speaker 1: It's a belt. It's a it's a championship belt. Yeah,

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Speaker 1: you'll be receiving it in the mail. Just just watch

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Speaker 1: for it. Um. So, what's interesting about your story is

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Speaker 1: you actually we're writing songs and they were having a

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Speaker 1: bit of success before you even moved to Nashville. So

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Speaker 1: you were in in Texas kind of up in the Panhandle. Yeah,

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Speaker 1: I got out of college and farm with my dad

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Speaker 1: for fifteen years, and U had some connections here in

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Speaker 1: Nashville and started, uh, started writing songs and had three

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Speaker 1: or four three or four hits before I moved out

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Speaker 1: here in two thousand and five, so I got I

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Speaker 1: had got a publishing deal in two thousand and went

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Speaker 1: back and forth for five or six years, and then

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Speaker 1: my dad retired and I moved out here full time.

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Speaker 1: So you got a publishing deal without living here, right,

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Speaker 1: which which at least I don't know about then, But

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Speaker 1: now that's pretty rare because part of the publishing dealing

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Speaker 1: people sign you as they want to set you up

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Speaker 1: on rights all the time. And if they're setting you

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Speaker 1: up on a publishing deal, I guess was part of

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Speaker 1: that that they wanted you to write not only in town,

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Speaker 1: but to pay you to keep writing at home too. Yeah.

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Speaker 1: I mean I would come to town one week a

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Speaker 1: month and I would have, you know, half written stuff.

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Speaker 1: I would write a few things by myself and uh,

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Speaker 1: you know, had hey, here, here's a verse, and of course,

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Speaker 1: you know, do you like it or not? And I

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Speaker 1: wrote a few a few hits like that. You know,

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Speaker 1: you were farming, you said fifteen years so you finished school.

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Speaker 1: What kind of farm, uh, cornwheat, soybeans, a big center

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Speaker 1: pivot sprinklers. You know in the Texas Panhandle where it

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Speaker 1: reigns like fifteen inches a year, so it's almost desert.

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Speaker 1: So you're living the country song, right, Yeah, I mean

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Speaker 1: out of school, you lived the adult country song. Yeah.

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Speaker 1: And I was the guy driving the tractor listening to

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Speaker 1: the country songs that now we're trying to try to

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Speaker 1: like plug in like, well the guy on the tractors.

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Speaker 1: Understand it's the guy on the tractors, not maybe the

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Speaker 1: core audience anymore. But but back when I started, it

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Speaker 1: was I think, as you were writing songs while living

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Speaker 1: on the farm and you're working, what's your what's your

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Speaker 1: dad think about? Maybe the ambition that you had to

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Speaker 1: be a songwriter. My what's funny is my family. My

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Speaker 1: mom and dad aren't musical at all. So they were supportive,

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Speaker 1: but I don't know if they even understood what I

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Speaker 1: was trying to do, which I mean after I had

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Speaker 1: had a publishing deal and had several hit songs, I

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Speaker 1: would come back home. I would come to Nashville and

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Speaker 1: right and come back home and they would say, like,

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Speaker 1: you sell any songs this week then, I mean, and

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Speaker 1: I explain the business to him so many times, and

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Speaker 1: I don't to this day. I don't know if they

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Speaker 1: still understand what I do. They they do know that

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Speaker 1: my songs get played on the radio, though. And you

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Speaker 1: grew up, like, what what town would you be closest to?

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Speaker 1: I grew up five miles west of Groover, Texas. Okay,

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Speaker 1: you gotta help me with groovy r U v R.

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Speaker 1: It's ninety miles north of Amarilla. I tell people to

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Speaker 1: get on, Get on I forty and go fourteen hours

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Speaker 1: west and you'll hit Amarillo and then go ninety miles north.

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Speaker 1: I know Amarella pretty but we just played a show

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Speaker 1: in Amarella. Think about Amarella too? Is it that's the

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Speaker 1: part of Texas that gets snow? Right? Yeah? Oh yeah,

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Speaker 1: and it's about the only part of Texas that really

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Speaker 1: gets snow. Yeah. We we've had some big snows. So

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Speaker 1: you guys at seasons in Texas. So you finished school,

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Speaker 1: you're you're you're working on the farm, you're writing songs,

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Speaker 1: um are you like, I'm just trying to understand what

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Speaker 1: that was like? Are you carrying a guitar as through

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Speaker 1: the day's downtime, I would I would maybe on the tractor.

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Speaker 1: I would get an idea in my head, and I mean,

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Speaker 1: it's it's so different than what I do now because

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Speaker 1: it's like we'll go you know, you go in and

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Speaker 1: meet a couple of buddies, somebody has an idea. You

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Speaker 1: try to write this song and like one day, well

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Speaker 1: I had like weeks to work on an idea, like

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Speaker 1: driving the tractor, you know. But I would mainly, you know,

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Speaker 1: put stuff down with a guitar, like go home at night,

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Speaker 1: you know, ten o'clock at night, going with a guitar

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Speaker 1: and try to write like that too for a couple

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Speaker 1: of hours. Where did that guitar, just the music come from?

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Speaker 1: If your parents weren't musical or that that influence wasn't

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Speaker 1: there every day? Um well, I mean I wasn't. I

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Speaker 1: played piano growing up and I was in bandon choir,

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Speaker 1: and I learned how to play guitar. Um. Probably I

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Speaker 1: think I bought a guitar when I was maybe twenty

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Speaker 1: years old later. Oh yeah, I mean I didn't try

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Speaker 1: to write my first song until I was I think

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Speaker 1: like twenty eight. Maybe it wasn't like four like most

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Speaker 1: people like I was four and I wrote my first song. Yeah, well,

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Speaker 1: my I had this. It's kind of a weird story

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Speaker 1: that I I don't like to share it with people

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Speaker 1: because it just sounds weird. But I had a friend

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Speaker 1: of mine who left group of Texas and came out

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Speaker 1: here to Nashville and went to Belmont and got in

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Speaker 1: the publishing world out here, and she randomly called me.

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Speaker 1: I hadn't talked to her in two or three years.

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Speaker 1: Randomly called me one night and said, hey, you're a

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Speaker 1: songwriter and you don't know it. And I was like,

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Speaker 1: what are you talking about? And she was, uh, she said,

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Speaker 1: I'm I'm hanging out with songwriters all the time here

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Speaker 1: in Nashville and they all remind me of you. So

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Speaker 1: you need to try to write a song and send

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Speaker 1: it to me. So she was seeing you and other people.

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Speaker 1: Yeah yeah, and so I mean it. My. It probably

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Speaker 1: took me a year to write a song and send

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Speaker 1: it to her, and it was horrible, but she like

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Speaker 1: picked out a couple of lines and said that this

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Speaker 1: right here, this is like, this is great, this is

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Speaker 1: what you need to do, and did that for a

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Speaker 1: couple of years, and then I knew, Um, I knew

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Speaker 1: John Rich from Lone Star. I was his UH. I

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Speaker 1: was his junior high basketball coach when I was going

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Speaker 1: to college, really, and so I knew John. And he

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Speaker 1: he was twelve and I was twenty. So I would

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Speaker 1: go to class all day and then I would go

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Speaker 1: coach at this UH. I went to West Texas A

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Speaker 1: and M I would go to class. Then I would

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Speaker 1: go coach at this Christian school and Amarilla San just

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Speaker 1: sento Christian Academy and he was his dad as a

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Speaker 1: Pentecostal preacher, so obviously his kid went to a private

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Speaker 1: Christian school. So, um, I knew John. I coached John

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Speaker 1: for three years. His parents got a divorce, ended up

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Speaker 1: moving back here to Tennessee, and he would call me

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Speaker 1: like once a year and'd be like, hey, coach, I'm

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Speaker 1: working at I'm I'm roy a Cuff opery Land, you know,

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Speaker 1: opery Land theme park. And then hey, coach, I'm in

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Speaker 1: a band UH called Texas E which turned into Loan Star,

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Speaker 1: you know. And then hey, and then the first time

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Speaker 1: I ever came to Nashville, he said, Hey, coach, we're

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Speaker 1: going in to cut our second record. You should come

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Speaker 1: hang out in the studio. So I flew out here

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Speaker 1: and he picked me up with the airport and I

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Speaker 1: went to I think it was called the sound Shop.

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Speaker 1: It was over there by the by the roundabout student

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Speaker 1: little studio there, and walked in and Don Cook and

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Speaker 1: Wally Wilson were producing the second Lone Star record. No,

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Speaker 1: it was actually it was the first lone Star record.

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Speaker 1: So I walked into studio and I heard, um, they

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Speaker 1: recorded no News come crying to me, like your three

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Speaker 1: hit songs. And I'm the first time in Nashville. An

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Speaker 1: hour after I get off the plane, I'm in a

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Speaker 1: studio watching Brent Mason and all these session guys cutting

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Speaker 1: these songs that we're gonna become hit songs in the

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Speaker 1: next year. It was like, I don't know, baptism by fire.

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Speaker 1: I don't know what you would call that. But it

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Speaker 1: was like, holy crap, you know this is cool. You

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Speaker 1: know maybe I can do this. So let me let

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Speaker 1: me back it up a second. That's such a good story.

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Speaker 1: But let's go into John Richard the ball player. First

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Speaker 1: of all, you as a ball player, let's let's just

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Speaker 1: start there. If you're coaching, Uh, were you athlete as

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Speaker 1: a kid? Yeah? I uh, I played, Um, I mean,

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Speaker 1: I went, you know, small town people. I played basketball, football,

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Speaker 1: ran track, played a year of college football. Quickly figured

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Speaker 1: out that if I was ever going to get through school,

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Speaker 1: I just needed to go to school. And uh so yeah,

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Speaker 1: I mean, but you know, small town you do everything.

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Speaker 1: I also did banned in choir too. So um but

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Speaker 1: John was um pretty good basketball player. But he was

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Speaker 1: five seven or five eight back in seventh grade and

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Speaker 1: he's still five seven or but he was pretty good.

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Speaker 1: But he was a five seven seventh grader. Was he

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Speaker 1: playing like underneath? Was? He was just a good guard.

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Speaker 1: He was like a forward. And then his position slowly

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Speaker 1: forward into a ship. He moved I think in nine

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Speaker 1: eighth or ninth grade he moved back here. So that

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Speaker 1: was the That was it for my coaching him. So

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Speaker 1: and you guys stay in contact, but I think is

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Speaker 1: pretty cool. So you must have had some sort of

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Speaker 1: impact on him in some way, even as a call.

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Speaker 1: I mean, I'm still close fish with my high school

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Speaker 1: football coach. You had a big impact on me, and so,

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Speaker 1: you know, and about once a year I reach out

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Speaker 1: and go, hey, I'm in Lone Star. I tell him

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Speaker 1: the same thing. I just said, Hey, I'm in Lone Star.

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Speaker 1: He never believes that. But so you come and you

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Speaker 1: hopped to the studio and you see this. Now, are

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Speaker 1: you thinking at that time when you see Lone Star

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Speaker 1: cutting a record, that they're going to be something? Or

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Speaker 1: are you like, wow, look at this guy that I

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Speaker 1: note like trying to make something. I don't know what's

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Speaker 1: happening here, um I or are you so overwhelmed by

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Speaker 1: I mean it might have been their second record, they

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Speaker 1: may have already had a hit. I can't. I mean

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Speaker 1: you could probably research that. What what songs? Um come

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Speaker 1: crown to me and um, what was it? It was

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Speaker 1: like the there was another song? I guess My point

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Speaker 1: is, is is that weird that John Richard made it? Is

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Speaker 1: that weird that he made it as an artist made it?

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Speaker 1: He's made it like three or I went through the

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Speaker 1: whole deal with him. It was like he was in

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Speaker 1: Lone Star, then he got kicked out Alone Star. Then

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Speaker 1: he got a record deal and at our c A

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Speaker 1: and I think he lost that record deal because he

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Speaker 1: dunked Joe Galani in a hot tub. But they see

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Speaker 1: him more and sout in Vega, what you don't want

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Speaker 1: to do? What? No, that's the wrong thing. And then

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Speaker 1: he ended up they started Music Mafia, and then he

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Speaker 1: ended up with Big and Rich. So he's had like

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Speaker 1: three different record deals and in between there he won

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Speaker 1: um as CAPS Songwriter of the Year just as a songwriter,

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Speaker 1: so that he was a he was a really you know,

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Speaker 1: musically he was he was someone good to know and

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Speaker 1: and good like, Okay, here's what I need to do,

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Speaker 1: Here's what I don't need to do. As far as

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Speaker 1: the songwriting part goes, cool, yeah, yeah, we uh we are.

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Speaker 1: We write a couple of times a year. We had

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Speaker 1: a cut on McGraw's last record called California that they

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Speaker 1: ended up putting out on their own as a Big

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Speaker 1: and Rich. But yeah, we still write some good songs together.

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Speaker 1: So let's focus on timograwth on one second. Here are

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Speaker 1: a couple of timograwl songs that you wrote. Here both

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Speaker 1: went number one Let's do a Southern Girl from Tim

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Speaker 1: McGraw Tolue little bit Crazy, and here is one of

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Speaker 1: those nights another Tim of gaw number one street term.

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Speaker 1: When you hear both of those, which one of those

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Speaker 1: can you actually remember hopping into the room more? Which

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Speaker 1: I remember both of those? Really? Well? Okay, Well, then

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Speaker 1: let's do a Southern Girl. Southern Girl was um the

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Speaker 1: first time I had written. When Jared Johnston and Lee

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Speaker 1: Miller brought a big chunk of that song already written.

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Speaker 1: I mean, hats off to Lee on that one, and

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Speaker 1: we finished. We we took what he kind of had

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Speaker 1: and finished it all the way out. He already had

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Speaker 1: the road map on that one. And then Jared um

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Speaker 1: to get home to his place and did like his

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Speaker 1: cool little um he does. He still does garage band.

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Speaker 1: He's never done road till. He's still moved up, has garage.

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Speaker 1: But you would think it's it's pro tools because it

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Speaker 1: sounds great. And he added that cool little post course

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Speaker 1: thing like Southern girl rock that he he added that

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Speaker 1: on his own after we wrote the song. So what

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Speaker 1: That's what I'm telling you is I didn't have a

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Speaker 1: whole lot to do with that one. But no, So

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Speaker 1: when when he sent us the demo, Lee called me said, hey,

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Speaker 1: what do you think about that post course thing? Like

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Speaker 1: do you like that? And I was like, dude, I

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Speaker 1: think that things it thinks it makes it big, that's

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Speaker 1: what makes it a hit. And he's like really like

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Speaker 1: Lee wasn't sure about it, but because it is a

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Speaker 1: bit progressive, And then like I was gonna say, there's

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Speaker 1: the effect that McGraw puts on it too here, which

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Speaker 1: you know, I think McGraw what he's often done consistently

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Speaker 1: but often done really right is do some cool, odd

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Speaker 1: progressive things inside of very traditional country type music. And

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Speaker 1: that was Jared did a kind of a version of that,

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Speaker 1: and then Tim took it like a whole mother step

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Speaker 1: into the kind of weird world with that little part,

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Speaker 1: who's the artist that as you write, you feel like

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Speaker 1: you right the best for for who like their sensibilities

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Speaker 1: and what they're gonna pick and not who you have

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Speaker 1: the most cuts with them? But but but you go man

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Speaker 1: like their life and what they sing about or they

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Speaker 1: they as an artist, like I get that. Who would

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Speaker 1: you say that artist is for you? I would probably

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Speaker 1: say Jason Aldan which four number one with Jason? And

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Speaker 1: why do you think you and Jason kind of relate

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Speaker 1: on a level? I mean, he he just he wants

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Speaker 1: to cut those kind of you know, rock tinged, redneck

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Speaker 1: driving down the back road, kind of out in the

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Speaker 1: country kind of tougher songs, I feel, tractors songs too,

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Speaker 1: Like when you talk about somebody writing a tractor like

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Speaker 1: you know, a lot of my family are gowing up

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Speaker 1: also worked on farms, and and I think about them,

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Speaker 1: like driving the the freaking truck, the big truck, you know,

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Speaker 1: if it's a dump truck or if it's a tractor

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Speaker 1: like those Audine songs remind me of that. You got

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Speaker 1: four and you're very first sever number ones with Jason right.

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Speaker 1: Why here's here's Jason Aldean. Why he sometimes I wonder

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Speaker 1: have to come down? Do you love? What's the story

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Speaker 1: with this one? And not so much the writing of it,

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Speaker 1: but because it was your first number one? How many

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Speaker 1: how many cuts on the record until they put it

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Speaker 1: out as a single? Um? That was the That was

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Speaker 1: his UM. I think his second single he ever put out.

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Speaker 1: Did you feel like when you wrote it, he cut

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Speaker 1: it not knowing yet if it was gonna be a

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Speaker 1: single that it would be a single. I didn't. I

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Speaker 1: didn't have any idea, and I didn't have any idea

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Speaker 1: Jason would be big. I mean, Michael Knox kept you know,

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Speaker 1: run into him and he said, hey, man, we're gonna

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Speaker 1: cut three your songs on Jason. I like, I knew Jason,

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Speaker 1: but you just never know and uh Um. I wrote

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Speaker 1: that song with John rich by the way and Vicky mcgeey,

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Speaker 1: but John had um Hicktown, which was the first single.

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Speaker 1: This was the second single, and this was a song

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Speaker 1: that I was kind of a little bit of a

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Speaker 1: head scratcher to me that I didn't really ever think

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Speaker 1: it'd be a single because it's about a guy being

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Speaker 1: mean to a girl and this song is like like

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Speaker 1: almost like well I want to be nice to you,

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Speaker 1: you know. And but for some reason women really liked

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Speaker 1: the song. I don't I don't know. I'll run the

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Speaker 1: audi and catalog of number one burning it down from

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Speaker 1: Audine when you guys wrote this, because I remember we

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Speaker 1: played this song on my show for the first time

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Speaker 1: and again we talked about progressive type music and there's

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Speaker 1: a lot of let you know, a lot of different

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Speaker 1: kind of based, a lot of effects that that maybe

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Speaker 1: Jason had used. Um. When you guys wrote it, you

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Speaker 1: picture as that kind of song you write it straight ahead.

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Speaker 1: We we wrote it more straight ahead. It had that

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Speaker 1: underneath it, which I think those are the actual um

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Speaker 1: the low end, like the base and the part of

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Speaker 1: that groove is was tracks that they took from when

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Speaker 1: we wrote that, but um, we had it more like

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Speaker 1: rock and roll version of it with harmonies on it

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Speaker 1: and stuff, and for whatever reason, they decided to take

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Speaker 1: it the other way that the direct I thought they

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Speaker 1: would take it even more the direction that we did it,

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Speaker 1: but they took it the other way, which surprised me,

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Speaker 1: and I was I was actually a little bit scared.

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Speaker 1: I didn't I didn't know how people would react to

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Speaker 1: that too, uh, to the way that they did it,

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Speaker 1: but it was it was kind of ahead of the

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Speaker 1: curve there a little bit. So yeah, and I think

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Speaker 1: actually opened up a lot of doors for those kind

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Speaker 1: of rocking country guys to experiment a bit with again

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Speaker 1: some of that deep base, some of that super percussion

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Speaker 1: type stuff. A couple more Outdeen tracks number one for

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Speaker 1: you take a little ride and we'll go back to

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Speaker 1: crazy Town. Here you go this, Yeah and still this

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Speaker 1: is as far as Jason goes. Really one of those

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Speaker 1: songs that when I think of Jason athing like, this

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Speaker 1: is one of those songs that that to me kind

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Speaker 1: of identifies him in my mind. So would you write

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Speaker 1: crazy Town with you? Remember? Um? A guy named Brett Jones. Um,

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Speaker 1: he's been in town for a while. He said, Um,

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Speaker 1: I think he had a big McGraw cut. I mean

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Speaker 1: a big, big McGraw number one back in the day. Um.

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Speaker 1: But yeah, he called me up and and we got

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Speaker 1: together and he had that idea and we wrote it

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Speaker 1: and demoed it. And I mean it's like those two

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Speaker 1: songs like take a Little Ride in crazy Town. That's

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Speaker 1: just kind of like my wheelhouse. Um or it was

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Speaker 1: for a long time anyway. Um, And Jason, that seems

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Speaker 1: like it's kind of his will in his wheelhouse too.

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Speaker 1: So does he ever hit you up? I go ahead,

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Speaker 1: I need a song. We've done it right so many times.

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Speaker 1: What you got? Um? I mean he I do have

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Speaker 1: an put him into invitation to send him anything at

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Speaker 1: any time. I have his number, but uh, like I

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Speaker 1: don't have anything on the new record. So um, I've

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Speaker 1: been uh recently, I don't know, I've just cant Maybe

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Speaker 1: at some point I felt like I've written all those

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Speaker 1: songs already, um man, I've I've been having a having

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Speaker 1: a blast trying to write stuff for um Morgan wall

385
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Speaker 1: In and have a couple on the new Dustin Lance

386
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Speaker 1: record that's fixing to come out. There's a new guy

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Speaker 1: over at Big Loud that's coming out named Ernest and

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Speaker 1: uh Man. He's a He's a really great songwriter and

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Speaker 1: fun guy write with. So there's some young guys that

390
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Speaker 1: I've really been clicking with and you know, just trying

391
00:20:45,040 --> 00:20:47,840
Speaker 1: to do something different, you know what's interesting to me.

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Speaker 1: And again we'll get back to your catalog. We're not

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Speaker 1: like I'll be able to touch it all. This is

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Speaker 1: not the documentary like Oh Boy did eighteen hours. It

395
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Speaker 1: could be. This could be that we could do like

396
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Speaker 1: it's eighteen hour podcast documentary on your tracks, So don't

397
00:21:01,280 --> 00:21:04,080
Speaker 1: be offenitive. We don't touch them all here. Um, okay,

398
00:21:04,119 --> 00:21:06,200
Speaker 1: so this is this is nuts because I want a

399
00:21:06,240 --> 00:21:09,680
Speaker 1: little deeper on you. And so you wrote a Nickelback song,

400
00:21:10,359 --> 00:21:13,800
Speaker 1: Oh yeah yeah, which is crazy. So and you have

401
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Speaker 1: another one another country with a Nickelback song, which Lullaby

402
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Speaker 1: from Nickelback. Mike play me because I didn't know this song.

403
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Speaker 1: I hope you're not offender, Rodney. All right, here we go.

404
00:21:27,640 --> 00:21:32,239
Speaker 1: It went number one in Poland. Now do you go

405
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Speaker 1: to the number one party in Poland? Is there one?

406
00:21:35,040 --> 00:21:37,679
Speaker 1: You know? That's that's the first time I had no

407
00:21:37,760 --> 00:21:40,520
Speaker 1: idea it went number one. We're breaking news here. Yeah,

408
00:21:40,560 --> 00:21:43,960
Speaker 1: you can add another number one your list. It went

409
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Speaker 1: number one in Poland. In the US, I went number

410
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Speaker 1: fifteen on the rock chart. But in Poland you have

411
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Speaker 1: a number one. You didn't have you ever seen the documentary, uh,

412
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Speaker 1: searching for Silverman. That's what you are in Poland. You

413
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Speaker 1: don't even know that. If you go back, you're this

414
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Speaker 1: huge rock god. How wild would that be? Mike, He goes,

415
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Speaker 1: but he didn't even know it. That's how many number

416
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Speaker 1: ones he has. He didn't even know he's huge. Another country. Yeah,

417
00:22:06,880 --> 00:22:08,560
Speaker 1: that was that was a fun one to write that

418
00:22:08,640 --> 00:22:11,280
Speaker 1: because we'd never we had that. We got the opportunity

419
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Speaker 1: to write with Chad Kroger because he was coming to

420
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Speaker 1: town wont to write country stuff, and we just stumbled

421
00:22:16,400 --> 00:22:20,199
Speaker 1: on that idea and he, uh, He's like, wait, this

422
00:22:20,240 --> 00:22:22,720
Speaker 1: could be a Nickelback song. So then we went totally

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Speaker 1: into like Nickelback world, like every line had to have

424
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Speaker 1: the exact same syllables, in the exact same interim, in

425
00:22:30,440 --> 00:22:33,719
Speaker 1: the same spot. You know that world. Um, but it

426
00:22:33,760 --> 00:22:36,440
Speaker 1: was kind of the beginning of the end of Nickelback too.

427
00:22:36,480 --> 00:22:40,160
Speaker 1: So it was in Poland, by the way, they were

428
00:22:40,240 --> 00:22:44,520
Speaker 1: just blowing up so Nickelback is just endy. But tell

429
00:22:44,520 --> 00:22:46,200
Speaker 1: me that Chad Kroker like he wanted to come in

430
00:22:46,320 --> 00:22:48,119
Speaker 1: right country or be a country artist. No, no no, no,

431
00:22:48,160 --> 00:22:51,879
Speaker 1: he just he He had actually had another song that

432
00:22:51,920 --> 00:22:54,359
Speaker 1: had been a single I can't remember, that did pretty

433
00:22:54,359 --> 00:22:57,520
Speaker 1: well on the soundtrack. Was it the um? No, he

434
00:22:57,560 --> 00:22:59,800
Speaker 1: got a cut cut. Oh, he wrote a song for

435
00:22:59,840 --> 00:23:03,920
Speaker 1: something else. I think he wrote a song with excuse

436
00:23:03,960 --> 00:23:07,040
Speaker 1: me with Brett James that somebody cutting. I think it

437
00:23:07,080 --> 00:23:10,240
Speaker 1: went top ten. So he was like, would come to town.

438
00:23:10,359 --> 00:23:12,600
Speaker 1: And when you know, when Nickelback was in between records

439
00:23:12,640 --> 00:23:16,480
Speaker 1: and and want to ride and we um we got

440
00:23:16,520 --> 00:23:22,760
Speaker 1: to know Joey Moy through Chad, and I ended up

441
00:23:22,880 --> 00:23:25,800
Speaker 1: calling jog Joey because I knew Joey was wanting to

442
00:23:26,080 --> 00:23:31,040
Speaker 1: maybe start doing some country stuff. Um. I talked Joey

443
00:23:31,080 --> 00:23:34,720
Speaker 1: into cutting a song on with UH that Jaco and

444
00:23:35,440 --> 00:23:38,760
Speaker 1: had of mine, and Joey and I went in and

445
00:23:38,800 --> 00:23:41,520
Speaker 1: cut that song on Jake and we ended up getting

446
00:23:41,560 --> 00:23:44,120
Speaker 1: to finish the whole record together. And that was Joey's

447
00:23:44,240 --> 00:23:48,640
Speaker 1: first country production in the US. And then the next

448
00:23:48,640 --> 00:23:53,800
Speaker 1: thing he did was FG so so that the whole

449
00:23:53,880 --> 00:23:56,959
Speaker 1: Chad thing turned into the f gl Joey moy thing.

450
00:23:58,960 --> 00:24:02,199
Speaker 1: That's kind of wild how it all shakes out. Yeah,

451
00:24:02,240 --> 00:24:04,560
Speaker 1: what song did you write where someone goes, I don't

452
00:24:04,600 --> 00:24:06,480
Speaker 1: think that's it, And then it ended up kind of

453
00:24:06,480 --> 00:24:08,080
Speaker 1: digging its way through it ended up being a big hit.

454
00:24:09,160 --> 00:24:12,199
Speaker 1: Maybe don't call anybody out here, No, I'm searching for that.

455
00:24:12,280 --> 00:24:14,920
Speaker 1: But someone goes. You know that, Ronnie, I don't think

456
00:24:14,920 --> 00:24:17,719
Speaker 1: this is this is got much got legs to it,

457
00:24:17,960 --> 00:24:22,840
Speaker 1: but you believed in it ended up doing something or

458
00:24:22,880 --> 00:24:25,120
Speaker 1: none of them. There's also good immediately when they hear them,

459
00:24:25,160 --> 00:24:27,760
Speaker 1: like my ears are just I don't know, I can't.

460
00:24:28,000 --> 00:24:30,600
Speaker 1: I mean usually it's more of the other way. I'm

461
00:24:30,640 --> 00:24:32,440
Speaker 1: going like, this is a hit, this is a hit,

462
00:24:32,760 --> 00:24:35,399
Speaker 1: it's not. You know, which of your songs were you

463
00:24:35,480 --> 00:24:41,200
Speaker 1: most surprised that it was a smash um because I

464
00:24:41,240 --> 00:24:45,800
Speaker 1: can rattle some of these off, man, I would say, um,

465
00:24:45,840 --> 00:24:48,400
Speaker 1: I would say, justin moo, we're letting an not roll.

466
00:24:49,240 --> 00:24:54,399
Speaker 1: That surprised men, because I don't know. I just didn't

467
00:24:55,080 --> 00:24:58,440
Speaker 1: he he Hadden up to that point. Cut anything kinda

468
00:24:59,119 --> 00:25:02,240
Speaker 1: that was a little more were progressive for him, and

469
00:25:02,280 --> 00:25:04,359
Speaker 1: we wrote it together. But I just didn't think you

470
00:25:04,440 --> 00:25:06,879
Speaker 1: would you know, I thought it would be kind of

471
00:25:06,880 --> 00:25:09,240
Speaker 1: at the back of the pack, you know, for singles

472
00:25:09,280 --> 00:25:12,919
Speaker 1: for him, So that one surprised me. So, you know,

473
00:25:13,000 --> 00:25:14,560
Speaker 1: sometimes I have buddies who will go you know, when

474
00:25:14,560 --> 00:25:17,280
Speaker 1: I wrote this song four years ago and heard about

475
00:25:17,280 --> 00:25:18,800
Speaker 1: it and forever, and then all of a sudden, I

476
00:25:18,800 --> 00:25:20,280
Speaker 1: get a call like, hey, we're gonna cut this song.

477
00:25:20,520 --> 00:25:21,639
Speaker 1: Do you ever have any of those that kind of

478
00:25:21,680 --> 00:25:23,199
Speaker 1: get stashed away for a bit or just kind of

479
00:25:23,200 --> 00:25:25,240
Speaker 1: float around and somebody goes, you know, I was going

480
00:25:25,280 --> 00:25:28,880
Speaker 1: to do some songs and found this one I've had. Um,

481
00:25:30,600 --> 00:25:33,280
Speaker 1: I actually just had. That happened with two different artists,

482
00:25:33,520 --> 00:25:37,280
Speaker 1: Um and knock on Wood. I don't know if either

483
00:25:37,320 --> 00:25:38,879
Speaker 1: one of them will end up making the record. But

484
00:25:39,040 --> 00:25:44,240
Speaker 1: Kenny Chesney has a song for his new record that

485
00:25:44,440 --> 00:25:46,840
Speaker 1: he cut in two thousand and fifteen and it didn't

486
00:25:46,880 --> 00:25:49,640
Speaker 1: make the record, and about a year ago he called

487
00:25:49,680 --> 00:25:51,320
Speaker 1: up me and David Lee Murphy. He said, hey, man,

488
00:25:51,400 --> 00:25:54,399
Speaker 1: I still love this song, but the first verse isn't right.

489
00:25:54,440 --> 00:25:56,359
Speaker 1: Can you rewrite the first verse? So we went in

490
00:25:56,440 --> 00:25:59,480
Speaker 1: and rewrote the first verse, and then I think Kenny

491
00:25:59,520 --> 00:26:02,320
Speaker 1: and and David Lee Murphy out on the road rewrote

492
00:26:02,400 --> 00:26:05,199
Speaker 1: it again, and um, Ken he just played it for

493
00:26:05,280 --> 00:26:07,720
Speaker 1: me out in l A and he's he's excited about it.

494
00:26:07,800 --> 00:26:09,600
Speaker 1: So I think it has a decent shot at making

495
00:26:09,600 --> 00:26:12,920
Speaker 1: the record. But that song was originally cut four years ago.

496
00:26:13,119 --> 00:26:15,960
Speaker 1: And then I had the same thing happened with Keith

497
00:26:16,040 --> 00:26:20,080
Speaker 1: urban So and both tracks aren't out yet. Keith I

498
00:26:20,119 --> 00:26:23,040
Speaker 1: wrote a song with Asty Gourley and Keith, and Keith

499
00:26:23,119 --> 00:26:27,359
Speaker 1: cut it four or five years ago, and then about

500
00:26:27,520 --> 00:26:29,679
Speaker 1: a year ago he told me he had re cut it.

501
00:26:29,720 --> 00:26:32,840
Speaker 1: And then about six months ago he told me he said, man,

502
00:26:32,880 --> 00:26:35,840
Speaker 1: the mix turned out really good. But who knows if

503
00:26:35,880 --> 00:26:38,720
Speaker 1: it will end up making the record. But it's funny

504
00:26:38,720 --> 00:26:41,680
Speaker 1: that song just like pop back up four years later.

505
00:26:42,040 --> 00:26:45,399
Speaker 1: You bring up Kenny Chesney. Have you been writing with Kenny? Um,

506
00:26:45,440 --> 00:26:47,720
Speaker 1: just a little bit. I've only written with him a

507
00:26:47,760 --> 00:26:51,199
Speaker 1: couple of other times, um, and then just got to

508
00:26:51,240 --> 00:26:54,760
Speaker 1: go out to California and write with him. Um. Just

509
00:26:55,000 --> 00:26:57,560
Speaker 1: I mean basically just trying to write up tempos for

510
00:26:57,600 --> 00:26:59,879
Speaker 1: Disney record. So so what is that like? Does he

511
00:27:00,320 --> 00:27:02,920
Speaker 1: you go everybody, we're gonna fly you out, or do

512
00:27:02,960 --> 00:27:04,399
Speaker 1: you have does he book you a ticket? Or do

513
00:27:04,400 --> 00:27:06,320
Speaker 1: they get to push on they we we bought our

514
00:27:06,359 --> 00:27:08,960
Speaker 1: own tickets, got us the house, but it was on

515
00:27:09,040 --> 00:27:11,640
Speaker 1: Malibu Beach, so it was a badass. So we got

516
00:27:11,680 --> 00:27:14,239
Speaker 1: you guys a house, and how many of you move

517
00:27:14,280 --> 00:27:18,960
Speaker 1: into the house? Um, there were six riders, and so

518
00:27:19,040 --> 00:27:22,040
Speaker 1: you go in and then is he a part of that? Yeah?

519
00:27:22,160 --> 00:27:23,280
Speaker 1: Or do you guys just kind of run and do

520
00:27:23,359 --> 00:27:25,600
Speaker 1: your thing and he checks out? We we would split

521
00:27:25,720 --> 00:27:28,080
Speaker 1: up and half of us would go right with Kenny

522
00:27:28,080 --> 00:27:30,040
Speaker 1: and half of us would stay at the house and

523
00:27:30,080 --> 00:27:32,920
Speaker 1: try to ride Kenny Chesney up tempo. And we did

524
00:27:32,920 --> 00:27:35,240
Speaker 1: that for three days. And how how does that turn out?

525
00:27:35,600 --> 00:27:39,200
Speaker 1: It turned out great. So when I mean, when you know,

526
00:27:39,359 --> 00:27:43,600
Speaker 1: like here's where you know Kenny Kenny's up tempo, you

527
00:27:43,640 --> 00:27:46,280
Speaker 1: know there's kind of a you know where the lines

528
00:27:46,320 --> 00:27:48,679
Speaker 1: are on that and what to keep it between. For

529
00:27:48,720 --> 00:27:52,399
Speaker 1: the most part, and all three of my Um Kenny

530
00:27:52,520 --> 00:27:54,920
Speaker 1: singles have been up tempo, So I guess that's why

531
00:27:54,920 --> 00:27:58,640
Speaker 1: I got the call um. But he uh, I mean,

532
00:27:58,720 --> 00:28:01,320
Speaker 1: you know kind of what the what he wants. So

533
00:28:01,520 --> 00:28:03,560
Speaker 1: if you sit down and there's no reason to do

534
00:28:03,560 --> 00:28:06,160
Speaker 1: anything else, it's kind of four. It's kind of good

535
00:28:06,160 --> 00:28:08,360
Speaker 1: because everybody's looking for an up tempo all the time,

536
00:28:08,440 --> 00:28:10,919
Speaker 1: so it forces you to have to write. Here is

537
00:28:11,040 --> 00:28:13,399
Speaker 1: American Kids. It's one of the one of your bagels

538
00:28:13,440 --> 00:28:17,119
Speaker 1: with Kenny Well, this is a monster, like just some

539
00:28:17,840 --> 00:28:19,560
Speaker 1: when I think of my time in Nashville, which has

540
00:28:19,560 --> 00:28:22,080
Speaker 1: been about six plus years, this is one of the

541
00:28:22,119 --> 00:28:24,720
Speaker 1: monsters that kind of just crept up. I remember seeing

542
00:28:24,760 --> 00:28:26,480
Speaker 1: the album art. It was like a bus on the

543
00:28:26,520 --> 00:28:29,439
Speaker 1: sand or something, or with blue sky behind it. I'm

544
00:28:29,440 --> 00:28:31,240
Speaker 1: just going from memory here and I was like, okay,

545
00:28:31,240 --> 00:28:32,680
Speaker 1: well let's see what Kenny has got and this one

546
00:28:32,720 --> 00:28:35,640
Speaker 1: just smashed. Yeah, it was. It was a fun when

547
00:28:35,640 --> 00:28:37,960
Speaker 1: this This is one of those kind of unicorn songs

548
00:28:38,000 --> 00:28:41,720
Speaker 1: that you don't you don't see it coming and you've

549
00:28:41,760 --> 00:28:45,280
Speaker 1: never written a song like that, and no matter how

550
00:28:45,320 --> 00:28:48,880
Speaker 1: hard you try afterwards, you can't. You know, it's you

551
00:28:48,920 --> 00:28:50,720
Speaker 1: can't write another one. What does it feel like when

552
00:28:50,720 --> 00:28:52,400
Speaker 1: you finish that, when you finish the song that ends

553
00:28:52,440 --> 00:28:55,040
Speaker 1: up being amazing? Do you feel amazing when you're done

554
00:28:55,080 --> 00:28:56,280
Speaker 1: with the writer or is it just like, oh you

555
00:28:56,360 --> 00:29:00,760
Speaker 1: did you? That was with Shane mcinnally and Uclared and

556
00:29:00,760 --> 00:29:04,160
Speaker 1: when we finished that song, we were like, holy crap,

557
00:29:04,240 --> 00:29:07,400
Speaker 1: who do we We need to be very strategic about

558
00:29:07,440 --> 00:29:11,360
Speaker 1: who we send it to first, because somebody that gets

559
00:29:11,400 --> 00:29:14,720
Speaker 1: it that you may not think would have as much

560
00:29:14,760 --> 00:29:17,320
Speaker 1: success with it because of who they are, could actually

561
00:29:17,480 --> 00:29:20,600
Speaker 1: hurt the song. Right. That's interesting because you do you

562
00:29:20,720 --> 00:29:23,400
Speaker 1: don't want to have a free for all, because some

563
00:29:23,560 --> 00:29:27,200
Speaker 1: artists that maybe doesn't have a prominent place at a

564
00:29:27,280 --> 00:29:29,560
Speaker 1: label where they'really gonna put the money behind promoting them

565
00:29:29,880 --> 00:29:33,600
Speaker 1: could get the song. Well yeah, yeah that and you know,

566
00:29:33,680 --> 00:29:36,280
Speaker 1: and another artist that it just might not be the

567
00:29:36,360 --> 00:29:39,560
Speaker 1: right song for. We'll think that's a big old hit

568
00:29:39,640 --> 00:29:42,080
Speaker 1: song and they'll try to do it, but it might not,

569
00:29:42,400 --> 00:29:45,239
Speaker 1: you know, it might not be there in the you know,

570
00:29:45,280 --> 00:29:47,840
Speaker 1: in their strength category doing a song like that. But

571
00:29:48,400 --> 00:29:50,360
Speaker 1: it was kind of a it was kind of one

572
00:29:50,360 --> 00:29:53,560
Speaker 1: of those, you know, a little bit down a different

573
00:29:53,600 --> 00:29:55,800
Speaker 1: path for Kenny. He had never cut anything with that

574
00:29:55,880 --> 00:29:58,240
Speaker 1: kind of a field before, and yet it sounded like

575
00:29:59,400 --> 00:30:02,160
Speaker 1: it sounded like he'd always done a song like that. Yeah,

576
00:30:02,160 --> 00:30:04,960
Speaker 1: it's still sounded when I remember hearing that song, you knowing, well,

577
00:30:05,000 --> 00:30:06,760
Speaker 1: this is a bit different, but it's very Kenny. At

578
00:30:06,760 --> 00:30:08,880
Speaker 1: the same time, it didn't feel like he was trying

579
00:30:08,880 --> 00:30:12,959
Speaker 1: to tackle some new musical ground. And again I think

580
00:30:12,960 --> 00:30:14,640
Speaker 1: a lot of that too was the packaging of the song,

581
00:30:15,360 --> 00:30:17,760
Speaker 1: like it just all the way around the video the yard,

582
00:30:18,240 --> 00:30:20,880
Speaker 1: you know how Kenny was talking about this song. Yeah,

583
00:30:20,920 --> 00:30:22,920
Speaker 1: and and we got to all go in and sing

584
00:30:22,960 --> 00:30:25,560
Speaker 1: on it too. We did all the I mean us

585
00:30:25,600 --> 00:30:29,239
Speaker 1: and our wives and other people went in and you know,

586
00:30:29,320 --> 00:30:31,200
Speaker 1: one one day and did a bunch of the background

587
00:30:31,280 --> 00:30:32,680
Speaker 1: vocals on this. So that was cool to get to

588
00:30:32,720 --> 00:30:36,400
Speaker 1: have a part of it like that too. And I

589
00:30:36,440 --> 00:30:41,640
Speaker 1: would say probably I know his get along song that

590
00:30:41,680 --> 00:30:44,400
Speaker 1: he just said out last year, which is I love

591
00:30:44,480 --> 00:30:46,400
Speaker 1: that song. I think it's a great song. It's to me,

592
00:30:46,480 --> 00:30:49,000
Speaker 1: it was kind of like an American kid cousin, which

593
00:30:49,000 --> 00:30:55,280
Speaker 1: Shane wrote it. But that's yeah, it's probably the you know,

594
00:30:55,840 --> 00:30:58,720
Speaker 1: four or five years later, it's another it's like a

595
00:30:59,000 --> 00:31:01,640
Speaker 1: you know, a distant cousin to American kids. But when

596
00:31:01,680 --> 00:31:04,120
Speaker 1: I heard it, I was like, oh, yeah, Shane, Shane

597
00:31:04,160 --> 00:31:06,760
Speaker 1: was able to kind of catch that groove again. So

598
00:31:12,520 --> 00:31:14,520
Speaker 1: tell me if this is true. You wrote Sunshine and

599
00:31:14,600 --> 00:31:17,800
Speaker 1: Summertime specifically for Kenny but ended up being a top

600
00:31:17,800 --> 00:31:20,400
Speaker 1: five for Faith. So how do you write a song

601
00:31:20,440 --> 00:31:22,520
Speaker 1: specifically for someone? Like how did that come into you

602
00:31:22,680 --> 00:31:27,040
Speaker 1: to write that song. Um, well, we had that idea,

603
00:31:27,200 --> 00:31:29,120
Speaker 1: just in the idea and the feel of it. And

604
00:31:29,160 --> 00:31:32,360
Speaker 1: once again that was with John Rich and uh, it

605
00:31:32,440 --> 00:31:34,720
Speaker 1: just sounded like when we got through I mean when

606
00:31:34,720 --> 00:31:37,760
Speaker 1: we when we uh, when knew Kenny was cut and

607
00:31:37,800 --> 00:31:39,880
Speaker 1: we could we had people who could just you know,

608
00:31:40,160 --> 00:31:44,640
Speaker 1: hand the song to him or buddy and we um

609
00:31:44,840 --> 00:31:47,360
Speaker 1: had that idea and we tried to write it for Kenny.

610
00:31:48,000 --> 00:31:50,280
Speaker 1: And so when he says it's not for me, or

611
00:31:50,320 --> 00:31:51,600
Speaker 1: maybe it doesn't get back to you that it's not

612
00:31:51,680 --> 00:31:54,040
Speaker 1: for him, not sure, No, I mean we got somebody

613
00:31:54,040 --> 00:31:56,320
Speaker 1: you know, he passed on it. Okay, So then do

614
00:31:56,400 --> 00:31:58,360
Speaker 1: you go, well, let's just see who likes it, or

615
00:31:58,360 --> 00:32:01,480
Speaker 1: do you then target Faith well, because it seems quite

616
00:32:01,480 --> 00:32:04,400
Speaker 1: the transition to go from Kenny Big Big and Rich

617
00:32:04,880 --> 00:32:10,719
Speaker 1: was opening was on the road, Um, they were opening

618
00:32:10,720 --> 00:32:14,880
Speaker 1: for Tim and Faith tour and I think John handed

619
00:32:14,920 --> 00:32:17,719
Speaker 1: it to Faith. So I kind of have the inside

620
00:32:17,720 --> 00:32:19,640
Speaker 1: track on that. Yeah, like that, that's a good one.

621
00:32:20,000 --> 00:32:22,800
Speaker 1: Which on that record, John had Mississippi Girl, which is

622
00:32:22,840 --> 00:32:25,080
Speaker 1: the first single, and then he had this single also,

623
00:32:26,800 --> 00:32:28,360
Speaker 1: I just you know, I have so many of your

624
00:32:28,360 --> 00:32:30,560
Speaker 1: songs up here at do you have to sometimes study

625
00:32:30,600 --> 00:32:33,720
Speaker 1: what songs went number one until you can remember. Because

626
00:32:33,760 --> 00:32:35,920
Speaker 1: I and you know you're being humble. I'll give you.

627
00:32:35,960 --> 00:32:38,720
Speaker 1: I'll relate just a bit. I've written a couple of books,

628
00:32:38,800 --> 00:32:40,640
Speaker 1: and sometimes I forget the stories wrote in my books,

629
00:32:40,800 --> 00:32:42,200
Speaker 1: and people will bring them up and be like, hey,

630
00:32:42,280 --> 00:32:43,840
Speaker 1: and I know the stories because I'm from my life,

631
00:32:43,880 --> 00:32:45,560
Speaker 1: but I have to like see what I wrote again.

632
00:32:46,480 --> 00:32:50,000
Speaker 1: I wonder to remember. This is like times ten with

633
00:32:50,040 --> 00:32:51,480
Speaker 1: all these songs. Do you ever just look at it

634
00:32:51,480 --> 00:32:53,000
Speaker 1: before you hop in and be like, oh, yeah, that's right,

635
00:32:53,000 --> 00:32:54,840
Speaker 1: I wrote Blake Shelton should be cool if you did,

636
00:32:56,440 --> 00:32:59,760
Speaker 1: you have to freshen up. Um. I mean I have

637
00:32:59,840 --> 00:33:01,959
Speaker 1: a pretty good memory of which ones went number one

638
00:33:01,960 --> 00:33:03,840
Speaker 1: on which ones didn't. Do you have a room in

639
00:33:03,880 --> 00:33:08,520
Speaker 1: your house while your plaques, yeah, I mean I do,

640
00:33:08,680 --> 00:33:12,200
Speaker 1: but they're rapidly becoming more of my wife's plaques in mind, So,

641
00:33:13,360 --> 00:33:16,800
Speaker 1: which is also an interesting wrinkle into this. So Nicole Galleon,

642
00:33:17,560 --> 00:33:21,680
Speaker 1: your wife, Nicole Clawston, whichever you know, uh Galleon, since

643
00:33:21,720 --> 00:33:25,920
Speaker 1: we're yeah music, yeah, of course. Um, you guys don't

644
00:33:25,920 --> 00:33:29,560
Speaker 1: write together that often. We were. We ride maybe once

645
00:33:29,640 --> 00:33:33,360
Speaker 1: or twice a year. That's not that often when you

646
00:33:33,440 --> 00:33:35,560
Speaker 1: go home, I'm sure you have to talk about music

647
00:33:35,600 --> 00:33:38,080
Speaker 1: a bit like, Hey, how did day go? Um? You

648
00:33:38,120 --> 00:33:40,480
Speaker 1: know what songwriters you guys like writing with? What songwriters

649
00:33:40,480 --> 00:33:44,520
Speaker 1: you don't? Um? How what's that competitive feeling there? We talked,

650
00:33:44,520 --> 00:33:47,840
Speaker 1: We talked about music all the time. But we've kind

651
00:33:47,840 --> 00:33:51,880
Speaker 1: of strategically over the years. Um, just because it's so

652
00:33:53,720 --> 00:33:56,360
Speaker 1: when we first got when we first got married, I'd

653
00:33:56,400 --> 00:33:59,840
Speaker 1: had quite a bit of success and she hadn't you

654
00:34:00,120 --> 00:34:03,960
Speaker 1: ever even had a cut? She had she had, Um,

655
00:34:04,000 --> 00:34:06,680
Speaker 1: she got a publishing deal right after we got married.

656
00:34:06,760 --> 00:34:11,520
Speaker 1: So we strategically she kept her name, and we strategically

657
00:34:11,560 --> 00:34:17,160
Speaker 1: tried to write with other people because, um, if we

658
00:34:17,360 --> 00:34:19,200
Speaker 1: if we wrote a song together, and I've seen it

659
00:34:19,239 --> 00:34:21,600
Speaker 1: happen with other couples, if we wrote a song together,

660
00:34:21,840 --> 00:34:25,080
Speaker 1: people would just presume that it was me, even though

661
00:34:25,120 --> 00:34:28,520
Speaker 1: she's she's awesome and she I mean, she's doing way

662
00:34:28,520 --> 00:34:31,600
Speaker 1: better than me right now in the last couple of years. UM.

663
00:34:31,680 --> 00:34:34,680
Speaker 1: So just as far as career building and branding and

664
00:34:34,719 --> 00:34:39,000
Speaker 1: all that goes, UM, we tried to We tried to

665
00:34:39,080 --> 00:34:41,680
Speaker 1: help I tried to help her build her career to

666
00:34:41,760 --> 00:34:44,320
Speaker 1: where if she had success, she would get the credit

667
00:34:44,360 --> 00:34:47,880
Speaker 1: for it, and we've been lucky enough. It's it's worked

668
00:34:47,880 --> 00:34:50,840
Speaker 1: out that way. So what is her favorite song that

669
00:34:50,880 --> 00:34:53,959
Speaker 1: you have written? And I must switch it up after

670
00:34:53,960 --> 00:34:55,560
Speaker 1: this and ask you the something about her, But what

671
00:34:55,719 --> 00:34:59,600
Speaker 1: is her favorite song that you have written? Mm hmm,

672
00:35:00,760 --> 00:35:02,640
Speaker 1: She's like, man, that's the one I love. That's why

673
00:35:02,640 --> 00:35:04,080
Speaker 1: I fell in love with you, because you wrote crash

674
00:35:04,160 --> 00:35:06,839
Speaker 1: My Party from Luke Bryan. How's that a bar and play?

675
00:35:07,680 --> 00:35:12,120
Speaker 1: I would guess, um, I would guess either I saw

676
00:35:12,160 --> 00:35:15,480
Speaker 1: a guy today or American kids. Okay, if you ask

677
00:35:15,560 --> 00:35:20,000
Speaker 1: her that, So George Straight I saw God today? Number one? Boy?

678
00:35:20,040 --> 00:35:21,839
Speaker 1: What a big one? What I mean? How about getting

679
00:35:21,880 --> 00:35:25,120
Speaker 1: George Straight to sing words that you thought in your mind?

680
00:35:25,760 --> 00:35:27,880
Speaker 1: That's a yeah. I mean that's a thing. When I

681
00:35:27,960 --> 00:35:30,360
Speaker 1: grew up in Texas and I've never That's the only

682
00:35:30,400 --> 00:35:33,320
Speaker 1: George Straight cut I ever got because I, like I said,

683
00:35:33,360 --> 00:35:36,960
Speaker 1: I wrote stuff that I felt like my wheelhouse was

684
00:35:37,200 --> 00:35:40,480
Speaker 1: like Jason al Dean and so you know, I never

685
00:35:40,520 --> 00:35:43,160
Speaker 1: thought I would get a George Straight cup. So that

686
00:35:43,239 --> 00:35:45,960
Speaker 1: was that was pretty amazing. That song, by the way,

687
00:35:46,000 --> 00:35:47,799
Speaker 1: c m a Single of the Year and was not

688
00:35:47,800 --> 00:35:49,839
Speaker 1: only for Best Country Song at the two thousand nine

689
00:35:49,840 --> 00:35:53,480
Speaker 1: Grammy Awards. And although all that happened, I would argue,

690
00:35:53,800 --> 00:35:55,359
Speaker 1: and again I don't really come from a good place

691
00:35:55,360 --> 00:35:57,120
Speaker 1: to argue this, but just having George Straight cut a

692
00:35:57,160 --> 00:35:59,880
Speaker 1: song would be as equal to actually getting a CMAS

693
00:36:00,040 --> 00:36:03,880
Speaker 1: Glove the Year nomination, like or or an award. Would

694
00:36:03,880 --> 00:36:06,120
Speaker 1: you rather let me bring this down? Would you rather

695
00:36:06,200 --> 00:36:09,040
Speaker 1: have random artist you he sings a song that you

696
00:36:09,040 --> 00:36:11,239
Speaker 1: have written and it wins for CMA Single of the Year,

697
00:36:11,320 --> 00:36:14,000
Speaker 1: or gett a George Straight number one without that that

698
00:36:14,080 --> 00:36:17,760
Speaker 1: award you win the award? I would say, George Straight,

699
00:36:18,320 --> 00:36:21,680
Speaker 1: George Straight number one. I'm glad you said that. I

700
00:36:21,760 --> 00:36:23,719
Speaker 1: like you better because you did. Just just let you know.

701
00:36:24,239 --> 00:36:25,560
Speaker 1: Uh here, I need you to con miss me on

702
00:36:25,680 --> 00:36:30,800
Speaker 1: something because I haven't started it yet. But Succession is

703
00:36:30,840 --> 00:36:33,520
Speaker 1: what my co host is watching. What you here A

704
00:36:33,560 --> 00:36:36,040
Speaker 1: lot of friends talk about. You're watching the show? The

705
00:36:36,080 --> 00:36:38,279
Speaker 1: show okay, one of my favorite shows. Tell me why

706
00:36:38,440 --> 00:36:42,080
Speaker 1: I will would like Succession, Like, what what is the deal? Like,

707
00:36:42,160 --> 00:36:43,880
Speaker 1: what's the hook of this show that's gonna make me go?

708
00:36:43,920 --> 00:36:47,000
Speaker 1: All right? That's my show? Um, I think it's got

709
00:36:47,239 --> 00:36:50,279
Speaker 1: I think it really has great acting it's got great. Um,

710
00:36:50,440 --> 00:36:54,000
Speaker 1: the script storyline has been really great. What's it even about.

711
00:36:54,160 --> 00:37:01,359
Speaker 1: It's about um billionaire multimedia family like yours. So that's

712
00:37:01,360 --> 00:37:02,920
Speaker 1: why it did. You see a lot of your family

713
00:37:02,920 --> 00:37:09,080
Speaker 1: and get it um anyway that the dad had. There's

714
00:37:09,120 --> 00:37:12,799
Speaker 1: four kids, they're all you until they've all been brought

715
00:37:12,920 --> 00:37:17,480
Speaker 1: up kind of spoiled trust fund kids, and they think

716
00:37:17,600 --> 00:37:21,319
Speaker 1: dad's about about to pull the rip chord, and they're

717
00:37:21,360 --> 00:37:25,399
Speaker 1: all angling to try to position to see if they

718
00:37:25,440 --> 00:37:30,160
Speaker 1: can get the company. But they're all every every characters

719
00:37:30,280 --> 00:37:33,440
Speaker 1: like flawed. There's not one redeeming character in the whole thing.

720
00:37:34,040 --> 00:37:36,399
Speaker 1: And you like the show, I love you like enough

721
00:37:36,400 --> 00:37:38,800
Speaker 1: to recommend it to me, Like, alright here, I publicly

722
00:37:39,040 --> 00:37:43,640
Speaker 1: highly recommend it. I quit. I quit watching Billions when

723
00:37:43,680 --> 00:37:47,120
Speaker 1: Succession came on because I was just like, which, the

724
00:37:47,160 --> 00:37:50,560
Speaker 1: first couple of seasons of Billions was really good, but

725
00:37:50,760 --> 00:37:52,680
Speaker 1: like by season three it was just kind of like

726
00:37:52,719 --> 00:37:55,319
Speaker 1: you could tell like they'd only thought the storyline out

727
00:37:55,400 --> 00:37:58,520
Speaker 1: through a couple of seasons, and when when I watched

728
00:37:58,520 --> 00:38:00,759
Speaker 1: the first couple of episodes of six Session, it was

729
00:38:00,800 --> 00:38:02,959
Speaker 1: just like Billions was such a letdown. At that point,

730
00:38:02,960 --> 00:38:05,800
Speaker 1: I was quit watching it. So I'm gonna as I

731
00:38:05,840 --> 00:38:07,400
Speaker 1: forgot to ask this side of this question, what's your

732
00:38:07,400 --> 00:38:09,560
Speaker 1: favorite song that Nicole's written to ended up being a

733
00:38:09,560 --> 00:38:16,320
Speaker 1: big one? Um? I would say automatic, early, yeah, early

734
00:38:16,360 --> 00:38:20,040
Speaker 1: for her? Why why that? Why that song? I don't

735
00:38:20,040 --> 00:38:22,600
Speaker 1: remember the not she she brought that song home and

736
00:38:22,640 --> 00:38:25,080
Speaker 1: she played me that when she played me the demo

737
00:38:25,200 --> 00:38:27,600
Speaker 1: of it, and I kind of got teary eyed and

738
00:38:27,640 --> 00:38:30,960
Speaker 1: I was like, you did it, you did it. That's

739
00:38:30,960 --> 00:38:34,360
Speaker 1: a smash. That's the number one song. And we didn't

740
00:38:34,360 --> 00:38:37,760
Speaker 1: even know, you know, if it would make Miranda's record

741
00:38:37,760 --> 00:38:41,000
Speaker 1: at that point, but it was. I mean, that's a

742
00:38:41,000 --> 00:38:42,920
Speaker 1: no brainer. When you hear it, it just sounds like

743
00:38:42,960 --> 00:38:47,799
Speaker 1: a big old hit song. Your son and I know

744
00:38:47,960 --> 00:38:50,640
Speaker 1: this because not to brag on both of us, but

745
00:38:50,680 --> 00:38:52,319
Speaker 1: we're both in the Country music Call of Fame right now.

746
00:38:52,320 --> 00:38:55,239
Speaker 1: As an exhibit. UM, I have my exhibit and you

747
00:38:55,280 --> 00:38:59,160
Speaker 1: have an exhibit. It's you, your son, Brad, and Nicole,

748
00:38:59,800 --> 00:39:01,200
Speaker 1: and you're all in this together. We were all at

749
00:39:01,200 --> 00:39:04,200
Speaker 1: the big award, you have the big opening ceremony. UM.

750
00:39:04,320 --> 00:39:06,719
Speaker 1: So your son has a number one as well up

751
00:39:06,719 --> 00:39:09,719
Speaker 1: down Morgan Wallen, what kind of advice do you give him?

752
00:39:09,800 --> 00:39:11,640
Speaker 1: First of all, not day to day, but were you

753
00:39:11,640 --> 00:39:13,160
Speaker 1: ever like, I don't know about this long right, because

754
00:39:13,160 --> 00:39:14,640
Speaker 1: I would never want somebody that I know to get

755
00:39:14,680 --> 00:39:17,120
Speaker 1: involved in what I do. I try. I I did

756
00:39:17,160 --> 00:39:22,879
Speaker 1: everything I could steer um in other directions. But with

757
00:39:22,920 --> 00:39:25,160
Speaker 1: the success that I was having, it was hard for

758
00:39:25,200 --> 00:39:27,920
Speaker 1: me to say, no, you can't, this is impossible, you

759
00:39:27,960 --> 00:39:32,120
Speaker 1: can't do this, because you know I was. I was

760
00:39:32,200 --> 00:39:35,640
Speaker 1: doing it. So. Um, when he told me he wanted

761
00:39:35,680 --> 00:39:39,400
Speaker 1: to be a songwriter, he was. He was working at

762
00:39:39,400 --> 00:39:42,319
Speaker 1: the north Face store at the Mall and Valley and

763
00:39:42,360 --> 00:39:46,960
Speaker 1: cars at the Omni Hotel downtown. He was probably he

764
00:39:47,120 --> 00:39:50,960
Speaker 1: just gotten out of college. He's probably twenty four, and um,

765
00:39:52,400 --> 00:39:54,279
Speaker 1: he said, I think I want to be a songwriter. Dad.

766
00:39:54,560 --> 00:39:56,840
Speaker 1: And so I had a pro tools rigg in my

767
00:39:56,920 --> 00:40:00,680
Speaker 1: office that I had kind of started using and quickly

768
00:40:00,719 --> 00:40:02,800
Speaker 1: figured out like I should probably just stick to writing

769
00:40:02,880 --> 00:40:05,080
Speaker 1: songs and not waste five years in my life trying

770
00:40:05,120 --> 00:40:08,560
Speaker 1: to figure this out. Um, I said, hey, there's pretels

771
00:40:08,600 --> 00:40:10,160
Speaker 1: rigged up in my office, come by and get it.

772
00:40:10,760 --> 00:40:12,799
Speaker 1: And and I basically told him like, if you want

773
00:40:12,800 --> 00:40:16,360
Speaker 1: to write songs, start writing songs. And we kind of

774
00:40:16,360 --> 00:40:18,680
Speaker 1: played played his deal the same way that we did

775
00:40:18,760 --> 00:40:21,879
Speaker 1: with Nicole. I didn't you know. I told him, I said,

776
00:40:21,880 --> 00:40:24,439
Speaker 1: I could walk you could write twenty songs. I could

777
00:40:24,440 --> 00:40:26,600
Speaker 1: walk you into publisher and get you a deal just

778
00:40:26,680 --> 00:40:30,200
Speaker 1: because of my track record. But that doesn't help you

779
00:40:30,239 --> 00:40:33,319
Speaker 1: any at all. Like we could write every day and

780
00:40:33,360 --> 00:40:35,680
Speaker 1: you could get some cuts, but that wouldn't doesn't help

781
00:40:35,800 --> 00:40:39,920
Speaker 1: your career, Like as far as the longevity um and

782
00:40:40,080 --> 00:40:43,359
Speaker 1: your brand, that doesn't help you. So he kind of,

783
00:40:43,440 --> 00:40:45,880
Speaker 1: you know, he went out there and he found his buddies.

784
00:40:45,920 --> 00:40:48,440
Speaker 1: He write songs, and he built his friend group and

785
00:40:48,880 --> 00:40:52,920
Speaker 1: he's in the he's in this whole young wave of guys.

786
00:40:52,960 --> 00:40:55,320
Speaker 1: You know. He wrote that song with Michael Hardy. He's

787
00:40:55,480 --> 00:40:58,480
Speaker 1: uh got another buddy named Grantly James that they've just

788
00:40:58,560 --> 00:41:01,640
Speaker 1: been killing it. They've got two or three cuts on

789
00:41:01,680 --> 00:41:04,040
Speaker 1: the Christ Jansen record that's fixing to come out. I

790
00:41:04,080 --> 00:41:07,319
Speaker 1: think they have the title cut, Um Blake, Chris and

791
00:41:07,320 --> 00:41:12,360
Speaker 1: Blake the Real Friends, Real Friends. Yeah? Is that genetic?

792
00:41:12,719 --> 00:41:14,480
Speaker 1: Or did he see you do it? Like? How does

793
00:41:14,480 --> 00:41:18,080
Speaker 1: that even happen? I don't know. I mean, our personalities

794
00:41:18,120 --> 00:41:19,919
Speaker 1: are a lot of like we're kind of laid back

795
00:41:19,960 --> 00:41:22,520
Speaker 1: and kind of you know, we can hang out in

796
00:41:22,560 --> 00:41:26,000
Speaker 1: the ring with people. So walk me through. What's the

797
00:41:26,080 --> 00:41:28,799
Speaker 1: key to writing a great opening line? Like is there

798
00:41:28,840 --> 00:41:31,080
Speaker 1: something where you're going? All right, we gotta start this

799
00:41:31,160 --> 00:41:34,200
Speaker 1: song strong, Like, what what's the key to writing a

800
00:41:34,280 --> 00:41:37,680
Speaker 1: great opening? Because this is the Country Songwriter's Podcast, they're

801
00:41:37,719 --> 00:41:39,960
Speaker 1: all listening. I get so many message from people, one

802
00:41:40,040 --> 00:41:42,040
Speaker 1: trying to get on this and the two going. I

803
00:41:42,120 --> 00:41:44,040
Speaker 1: love when you have people on that actually talk about

804
00:41:44,080 --> 00:41:48,080
Speaker 1: the weeds of songwriting. So an opening line of us,

805
00:41:48,160 --> 00:41:51,640
Speaker 1: how important is it? It's it's very important, and it's

806
00:41:51,640 --> 00:41:55,520
Speaker 1: hard to It's hard to do. UM. You always try

807
00:41:55,560 --> 00:41:59,160
Speaker 1: to kind of you know, it just depends on the song.

808
00:41:59,280 --> 00:42:01,560
Speaker 1: Sometimes you go for a little bit of shock values.

809
00:42:01,680 --> 00:42:08,560
Speaker 1: Sometimes you go for the um trying to set up

810
00:42:08,600 --> 00:42:12,000
Speaker 1: the hook here early in the song. People won't real

811
00:42:12,080 --> 00:42:15,399
Speaker 1: until you until you get down to the chorus, they

812
00:42:15,400 --> 00:42:18,280
Speaker 1: won't realize what that first line of the song was about.

813
00:42:18,719 --> 00:42:22,360
Speaker 1: Like Fast, let's go back to Fast, all right, Luke Bryant. Fast.

814
00:42:22,960 --> 00:42:25,879
Speaker 1: You know that song kind of goes all over the place, right,

815
00:42:25,960 --> 00:42:27,880
Speaker 1: like it's a lot of It starts out with the

816
00:42:27,920 --> 00:42:31,160
Speaker 1: title of the song, go ahead. The first line song

817
00:42:31,360 --> 00:42:34,879
Speaker 1: is Fast. That's the kind of car you want. That's

818
00:42:34,880 --> 00:42:37,480
Speaker 1: the kind of car you want when you're eight team fast.

819
00:42:37,600 --> 00:42:39,000
Speaker 1: That's the kind of boys that you want on the

820
00:42:39,080 --> 00:42:42,240
Speaker 1: home team that That's the only song I've ever written

821
00:42:42,239 --> 00:42:46,479
Speaker 1: that has the title all through the the verse. Let's

822
00:42:46,480 --> 00:42:48,799
Speaker 1: hear this. Let's make sure you're telling the truth. There

823
00:42:48,840 --> 00:42:52,279
Speaker 1: you go. You got me telling her? All right? Let

824
00:42:52,320 --> 00:42:53,799
Speaker 1: me switch it up. Then I was gonna pick one

825
00:42:53,800 --> 00:42:56,000
Speaker 1: of random up here on the list of ten million songs.

826
00:42:56,280 --> 00:43:00,400
Speaker 1: How about Blake Shelton Drink on It? You remember the

827
00:43:00,440 --> 00:43:07,840
Speaker 1: first line of that song? Um, I just thought of

828
00:43:07,880 --> 00:43:09,719
Speaker 1: the first line, of course, sure be cool? She did,

829
00:43:09,760 --> 00:43:13,040
Speaker 1: all right, I don't. I don't remember the first line

830
00:43:13,040 --> 00:43:15,040
Speaker 1: of drink on it? What's the first line of should

831
00:43:15,080 --> 00:43:17,040
Speaker 1: be cool? If you did, I was gonna keep it real,

832
00:43:17,160 --> 00:43:21,080
Speaker 1: act chill, lock, only have a drink or two? Okay,

833
00:43:21,080 --> 00:43:24,560
Speaker 1: So talk about that in a room. How does that?

834
00:43:24,760 --> 00:43:26,680
Speaker 1: What does that started? You get to start with the title,

835
00:43:26,719 --> 00:43:29,320
Speaker 1: the idea and then kind of work back and explain

836
00:43:29,440 --> 00:43:33,440
Speaker 1: that to me. Well, we had the we had the

837
00:43:33,520 --> 00:43:38,239
Speaker 1: idea which came from Dazed and Confused, the movie Matthew McConaughey,

838
00:43:38,280 --> 00:43:43,920
Speaker 1: were um a drink? Are you telling the truth. I

839
00:43:43,960 --> 00:43:46,239
Speaker 1: don't doubt you anymore. I don't know you got me.

840
00:43:46,640 --> 00:43:48,120
Speaker 1: There was a there was a part in the movie

841
00:43:48,120 --> 00:43:51,400
Speaker 1: where Matthew McConaughey's like driving a car. He looks in

842
00:43:51,440 --> 00:43:54,480
Speaker 1: the backseat as this kid if he's got any any weed,

843
00:43:54,600 --> 00:43:57,600
Speaker 1: and they kiss said, oh, man, um, I don't have any,

844
00:43:57,640 --> 00:44:00,200
Speaker 1: and Matthew McConaughey's, man, it'd be a whole lot or

845
00:44:00,239 --> 00:44:02,160
Speaker 1: if you did. And that's where we got the idea

846
00:44:02,200 --> 00:44:04,760
Speaker 1: for the song. And I had actually written that idea

847
00:44:04,840 --> 00:44:08,080
Speaker 1: down a couple of different times over the years, and

848
00:44:08,400 --> 00:44:11,279
Speaker 1: it just seemed to be that day Chris I told

849
00:44:11,320 --> 00:44:13,000
Speaker 1: that I do that idea out to the room and

850
00:44:13,080 --> 00:44:16,000
Speaker 1: Chris toomp He was like, man, what if we write

851
00:44:16,000 --> 00:44:18,200
Speaker 1: it like and he kind of figured out the angle

852
00:44:18,280 --> 00:44:20,600
Speaker 1: on it, and then and then some we had the

853
00:44:20,640 --> 00:44:22,880
Speaker 1: angle for the chorus, and then we went back and

854
00:44:23,040 --> 00:44:27,320
Speaker 1: uh so the first verse is about a guy basically

855
00:44:27,360 --> 00:44:29,080
Speaker 1: like man, I was just planning on coming out and

856
00:44:29,080 --> 00:44:33,920
Speaker 1: having one drink tonight, but just kind of sets up

857
00:44:33,920 --> 00:44:38,240
Speaker 1: the hook like a how who did you see? Early

858
00:44:38,280 --> 00:44:41,959
Speaker 1: on it started as a writer or was writing before

859
00:44:41,960 --> 00:44:44,320
Speaker 1: they get the artist deal. That ended up being a

860
00:44:44,400 --> 00:44:49,120
Speaker 1: big deal, big star an artist or song Yeah, an

861
00:44:49,239 --> 00:44:52,600
Speaker 1: artist an artist because most we'll start with a publishing

862
00:44:52,640 --> 00:44:55,120
Speaker 1: deal and come down to write songs and learn how

863
00:44:55,120 --> 00:44:57,279
Speaker 1: to write for themselves and you get in a room

864
00:44:57,320 --> 00:44:59,319
Speaker 1: and there early. But then they ended up being a

865
00:44:59,320 --> 00:45:01,880
Speaker 1: big star later that when when you met them, they

866
00:45:01,920 --> 00:45:05,600
Speaker 1: really weren't. Um, I would say. I mean Luke Bryan.

867
00:45:05,760 --> 00:45:09,000
Speaker 1: I wrote with him right um, right about the time.

868
00:45:09,040 --> 00:45:13,160
Speaker 1: It's his uh now, his first single hadn't come out,

869
00:45:13,239 --> 00:45:16,040
Speaker 1: but he had had as a writer, he had had

870
00:45:16,040 --> 00:45:20,279
Speaker 1: good directions on Billy Currington, and we wrote a couple

871
00:45:20,280 --> 00:45:24,200
Speaker 1: of things. Um. I think one of those songs made

872
00:45:24,200 --> 00:45:29,600
Speaker 1: his second record maybe, Um. But he was you know,

873
00:45:29,640 --> 00:45:31,680
Speaker 1: he was just writing and he had a record deal

874
00:45:31,840 --> 00:45:34,959
Speaker 1: and he you know, had a single fixing and come out.

875
00:45:35,000 --> 00:45:36,759
Speaker 1: But you you know, you had no idea whether he

876
00:45:36,800 --> 00:45:38,680
Speaker 1: was going to be bigger or not. So but we've

877
00:45:38,680 --> 00:45:42,360
Speaker 1: written off and on over the over the last fifteen years.

878
00:45:42,400 --> 00:45:45,080
Speaker 1: So when he when you're writing with him, are you like,

879
00:45:45,080 --> 00:45:48,440
Speaker 1: I guess pretty sharp he is. I mean most of

880
00:45:48,480 --> 00:45:52,120
Speaker 1: the most of these guys are you know, they're like

881
00:45:53,440 --> 00:45:55,360
Speaker 1: I don't know if you would say they're in there

882
00:45:56,080 --> 00:45:59,400
Speaker 1: as a whole their genius personalities, but they have parts

883
00:45:59,440 --> 00:46:04,960
Speaker 1: of their personality that they're like borderline genius and and

884
00:46:05,040 --> 00:46:07,680
Speaker 1: that's why they're so good at what they do. I mean,

885
00:46:08,840 --> 00:46:11,280
Speaker 1: I mean the crazy thing for me is like riding

886
00:46:11,320 --> 00:46:14,479
Speaker 1: with Luke that first time. I would have never thought

887
00:46:14,560 --> 00:46:17,680
Speaker 1: I would ever seem on TV on American Idol. Would

888
00:46:17,719 --> 00:46:21,200
Speaker 1: be like, He's just he just keeps surprising everybody with

889
00:46:21,320 --> 00:46:24,000
Speaker 1: what he can do. He walks into a room and

890
00:46:24,040 --> 00:46:26,120
Speaker 1: it's like, oh, that got a star. You can tell

891
00:46:26,120 --> 00:46:28,640
Speaker 1: you just even in the room because I work on

892
00:46:28,680 --> 00:46:31,239
Speaker 1: auto with him, and even in the room where there's

893
00:46:31,280 --> 00:46:34,320
Speaker 1: a lot of stars, Luke is the dominant force in

894
00:46:34,360 --> 00:46:36,520
Speaker 1: the room because he just comes in. And I'll say

895
00:46:36,520 --> 00:46:39,200
Speaker 1: this about Luke to heat, Luke and I are basically

896
00:46:39,440 --> 00:46:41,759
Speaker 1: to the wrong time every time. You know, everybody gets

897
00:46:41,800 --> 00:46:43,520
Speaker 1: there at their own. First of all, Holly was way

898
00:46:43,520 --> 00:46:46,759
Speaker 1: different than Nashville. Like when it's one thirty and the

899
00:46:46,800 --> 00:46:48,600
Speaker 1: call times one thirty. First of all, I'm gonna be

900
00:46:48,640 --> 00:46:50,080
Speaker 1: there because I'm by far the least star of the

901
00:46:50,160 --> 00:46:52,440
Speaker 1: whole thing. But Luke is there too, and he's like,

902
00:46:52,520 --> 00:46:56,319
Speaker 1: all right, let's go to work. It's like, as much

903
00:46:56,360 --> 00:46:58,440
Speaker 1: as you know Luke is now a big star and

904
00:46:58,560 --> 00:47:02,160
Speaker 1: and playing you know stadiums. The dude shows up at

905
00:47:02,160 --> 00:47:05,560
Speaker 1: one third and he showed up back back then too,

906
00:47:05,920 --> 00:47:08,080
Speaker 1: when he didn't have much going on. He showed up

907
00:47:08,239 --> 00:47:11,520
Speaker 1: on time. You know. Was were you ever wanted to

908
00:47:11,520 --> 00:47:14,279
Speaker 1: be an artist? Is that everything for you? I want to?

909
00:47:14,360 --> 00:47:15,920
Speaker 1: I mean I was a little bit. I mean, like

910
00:47:15,960 --> 00:47:18,080
Speaker 1: I said, when I first started coming to Nashville, I

911
00:47:18,120 --> 00:47:21,880
Speaker 1: was in my thirties already, and I never you know,

912
00:47:21,920 --> 00:47:25,160
Speaker 1: I'm not the people that I've known that wanted to

913
00:47:25,200 --> 00:47:27,840
Speaker 1: do it. It's almost like you gotta be willing to

914
00:47:27,880 --> 00:47:29,640
Speaker 1: sell your soul the devil to do it, you know.

915
00:47:29,760 --> 00:47:33,080
Speaker 1: And I was never that. I was like, oh, you know,

916
00:47:33,200 --> 00:47:35,359
Speaker 1: every once in a while, I'd becoming maybe I should

917
00:47:35,360 --> 00:47:37,759
Speaker 1: won't try to be an artist, but like, that's definitely not.

918
00:47:37,840 --> 00:47:40,399
Speaker 1: You have to have way more fire behind it than that.

919
00:47:40,600 --> 00:47:45,400
Speaker 1: So I I love songwriting, I love staying in town.

920
00:47:46,640 --> 00:47:49,080
Speaker 1: I loved to hunting fish. I tell people I'd rather

921
00:47:49,120 --> 00:47:51,760
Speaker 1: spend a hundred and fifty days a year on my boat,

922
00:47:51,840 --> 00:47:55,840
Speaker 1: not on a bus, which I rarely get to spend

923
00:47:55,840 --> 00:48:00,319
Speaker 1: time on my boat anymore. But I wanted every town.

924
00:48:01,200 --> 00:48:04,719
Speaker 1: I have this imaginary land of you just dominating all um.

925
00:48:04,880 --> 00:48:08,359
Speaker 1: How about you ever written a song and realized that

926
00:48:08,719 --> 00:48:11,440
Speaker 1: you act? And I'll preface it by saying this before

927
00:48:11,880 --> 00:48:15,960
Speaker 1: it seems any sort of accusation. I sometimes will write

928
00:48:16,040 --> 00:48:18,200
Speaker 1: jokes and go, oh, I can't do that joke because

929
00:48:18,200 --> 00:48:20,040
Speaker 1: I think I was inspired by another joke. I didn't

930
00:48:20,040 --> 00:48:22,160
Speaker 1: even realize that when I wrote this joke, And I go,

931
00:48:22,280 --> 00:48:23,920
Speaker 1: I can't go out on stage and do it because

932
00:48:24,480 --> 00:48:27,040
Speaker 1: I didn't do it on purpose. But I think, if

933
00:48:27,080 --> 00:48:30,239
Speaker 1: I'm looking back, I probably heard Chris Rock or someone

934
00:48:30,280 --> 00:48:31,960
Speaker 1: do a joke that inspired this joke, and I go,

935
00:48:31,960 --> 00:48:33,440
Speaker 1: gotta pull it. Not sure if I gotta pull it.

936
00:48:33,520 --> 00:48:36,480
Speaker 1: That ever happened with a song where you go, oh,

937
00:48:36,560 --> 00:48:38,319
Speaker 1: didn't do it on purpose, but I think I might

938
00:48:38,360 --> 00:48:40,880
Speaker 1: have been influenced. And what do you do in that case?

939
00:48:42,200 --> 00:48:45,880
Speaker 1: You just have to be diligent. You know, if you think, like, oh, crap,

940
00:48:46,400 --> 00:48:49,600
Speaker 1: I'm on something I've already written or somebody else, that

941
00:48:49,840 --> 00:48:52,440
Speaker 1: somebody else might have said something I'm you know that

942
00:48:52,840 --> 00:48:55,000
Speaker 1: they might think I got this idea from them. He's

943
00:48:55,120 --> 00:48:57,160
Speaker 1: I mean, that's the thing too. That's not even stealing

944
00:48:57,160 --> 00:48:59,520
Speaker 1: a song. That's just somebody else talking, huh, get on

945
00:48:59,560 --> 00:49:03,399
Speaker 1: the phone, talk to him. Figured out, Um, I had

946
00:49:03,440 --> 00:49:07,279
Speaker 1: one song one time that we finished. We went in,

947
00:49:07,440 --> 00:49:11,320
Speaker 1: we demoed the song. I brought it home. I'd already

948
00:49:11,360 --> 00:49:14,560
Speaker 1: I'd already sent it to I think. I sent it

949
00:49:14,600 --> 00:49:16,960
Speaker 1: to Dirk's Bentley and he liked, He's like, dude, I

950
00:49:17,000 --> 00:49:19,120
Speaker 1: love that. I want to hold it. And I got

951
00:49:19,160 --> 00:49:20,799
Speaker 1: home and I played it for Nicole. I said, hey,

952
00:49:20,800 --> 00:49:22,480
Speaker 1: listen to this song. I sent it to Dirks and

953
00:49:22,480 --> 00:49:25,680
Speaker 1: he loves it, and she said, that's a Darius Rucker song.

954
00:49:26,440 --> 00:49:28,640
Speaker 1: And I went back and it was. It was I

955
00:49:28,719 --> 00:49:31,600
Speaker 1: can't remember what single it was, but it was literally

956
00:49:31,600 --> 00:49:34,919
Speaker 1: the chorus was like note for note a Darius Rucker song.

957
00:49:35,040 --> 00:49:39,040
Speaker 1: And I had to call Dirks and say, hey, that

958
00:49:39,840 --> 00:49:41,960
Speaker 1: we're all over the top of a Darius song. I

959
00:49:41,960 --> 00:49:45,080
Speaker 1: didn't realize it. Let me try to, let me try

960
00:49:45,120 --> 00:49:47,359
Speaker 1: to tweak the melody out to change it so it's

961
00:49:47,400 --> 00:49:49,880
Speaker 1: not on top of a Darius song. And then and

962
00:49:50,160 --> 00:49:52,040
Speaker 1: then that that was the end of it, you know,

963
00:49:52,120 --> 00:49:54,359
Speaker 1: because then it's not the same anymore. That just kind

964
00:49:54,360 --> 00:49:56,200
Speaker 1: of runs it. So why do you think that happens?

965
00:49:56,200 --> 00:49:58,680
Speaker 1: Do you think that that's our subconscious storing something. We

966
00:49:58,719 --> 00:50:00,560
Speaker 1: just kind of fall on it, or did you accidentally

967
00:50:00,600 --> 00:50:04,279
Speaker 1: fall on it? You think, Oh I I yeah, i'd

968
00:50:04,320 --> 00:50:08,600
Speaker 1: probably heard the song and it just came back out.

969
00:50:08,840 --> 00:50:12,600
Speaker 1: I mean, I, I mean, I definitely didn't didn't say like, hey,

970
00:50:12,680 --> 00:50:15,000
Speaker 1: let's write a song like this Darius song. I just didn't.

971
00:50:15,480 --> 00:50:17,520
Speaker 1: I'm maybe maybe I heard it on the radio on

972
00:50:17,560 --> 00:50:19,440
Speaker 1: the way into town and it was in there and

973
00:50:19,600 --> 00:50:22,200
Speaker 1: it came back out. I don't. I don't know, but

974
00:50:22,239 --> 00:50:25,319
Speaker 1: you gotta be diligent about it. And when you when

975
00:50:25,320 --> 00:50:29,120
Speaker 1: you think, you gotta communicate with people about it too.

976
00:50:29,160 --> 00:50:32,560
Speaker 1: If you think you're on top of somebody or you

977
00:50:32,680 --> 00:50:34,560
Speaker 1: gotta get on the phone and talk to them. And

978
00:50:34,600 --> 00:50:36,719
Speaker 1: they might still be pissed, but they're not gonna be

979
00:50:36,800 --> 00:50:39,000
Speaker 1: nearest pissed as they would be if they found out

980
00:50:39,040 --> 00:50:41,239
Speaker 1: and you didn't tell them. So well, then I should

981
00:50:41,320 --> 00:50:43,680
Speaker 1: let you know that. Um. I wrote a song yesterday

982
00:50:43,719 --> 00:50:46,759
Speaker 1: called that I Met a bartender. It's a little sounds

983
00:50:46,760 --> 00:50:49,239
Speaker 1: a little similar to yours, but I'm glad we're having

984
00:50:49,239 --> 00:50:51,040
Speaker 1: this talk right now because there's a number one of

985
00:50:51,040 --> 00:50:54,000
Speaker 1: yours bartender. UM, it's not not exactly the same, but

986
00:50:54,040 --> 00:50:58,319
Speaker 1: it's Yeah, I met bartender. Yeah, it's it's it's just

987
00:50:59,040 --> 00:51:01,440
Speaker 1: it's again. Some people would confuse it if they heard it,

988
00:51:01,440 --> 00:51:03,239
Speaker 1: but just me to you, it just happened to fall out.

989
00:51:03,960 --> 00:51:08,040
Speaker 1: But listen, you have all these Luke Brian drunk on you,

990
00:51:08,080 --> 00:51:10,839
Speaker 1: Luke Brian fast Look Brian crashed my party. Florida Georgia line,

991
00:51:10,880 --> 00:51:12,680
Speaker 1: dirt Florida Georgia line, gets a shine on, shine on

992
00:51:12,719 --> 00:51:15,320
Speaker 1: Florida Georgia line. Around here, lady a bartender. Big and

993
00:51:15,440 --> 00:51:17,200
Speaker 1: Rich lost in this moment. By the way, their first

994
00:51:17,280 --> 00:51:20,680
Speaker 1: number one. How about that? Coming back you right, John

995
00:51:20,760 --> 00:51:22,920
Speaker 1: Richards first number one and Big and Rich after you

996
00:51:22,920 --> 00:51:26,560
Speaker 1: were as basketball coach. That was pretty cool. Yeah, and

997
00:51:26,600 --> 00:51:28,760
Speaker 1: they had had that song for a while. We wrote

998
00:51:28,760 --> 00:51:31,880
Speaker 1: that song with Keith Anderson, who also had a record

999
00:51:31,880 --> 00:51:34,239
Speaker 1: deal and was having hits at the same time, and

1000
00:51:34,320 --> 00:51:36,480
Speaker 1: neither one of them cut it for their first record,

1001
00:51:37,280 --> 00:51:39,600
Speaker 1: and then when it rolled around time for record two,

1002
00:51:39,640 --> 00:51:41,640
Speaker 1: they both cut it, and then they were kind of

1003
00:51:41,640 --> 00:51:44,080
Speaker 1: in a race to see who could get it out first.

1004
00:51:44,120 --> 00:51:46,160
Speaker 1: So it's funny. That's a song that sat around for

1005
00:51:46,880 --> 00:51:49,120
Speaker 1: three years and nobody wanted it, and then all of

1006
00:51:49,200 --> 00:51:53,000
Speaker 1: a sudden, two different people were kind of fighting over it.

1007
00:51:53,080 --> 00:51:55,160
Speaker 1: So we're gonna end with this. I give you three

1008
00:51:55,239 --> 00:51:57,520
Speaker 1: random questions we have here. I gotta do is answer

1009
00:51:57,520 --> 00:51:59,279
Speaker 1: to these to the best that you can, and we'll

1010
00:51:59,320 --> 00:52:01,680
Speaker 1: move on with light. What is the last movie you

1011
00:52:01,680 --> 00:52:09,719
Speaker 1: saw in theaters? Uh? Tarantino movie Thewood Mike, you saw that? Huh? Yeah,

1012
00:52:09,719 --> 00:52:11,959
Speaker 1: it's a good movie. Did you like it? I'm gonna

1013
00:52:11,960 --> 00:52:14,759
Speaker 1: go watch The Joker tonight. Have you seen Joker yet? No?

1014
00:52:14,880 --> 00:52:16,439
Speaker 1: I guess that would be the answer if you had

1015
00:52:17,160 --> 00:52:20,960
Speaker 1: stupid question. But it looks good. Yeah, I know, Okay,

1016
00:52:21,000 --> 00:52:24,359
Speaker 1: what is Let's just what's one thing under hundred under

1017
00:52:24,360 --> 00:52:26,960
Speaker 1: a hundred bucks? Everyone should own one thing under a

1018
00:52:27,000 --> 00:52:32,279
Speaker 1: hundred bucks that everyone should own. Oh man, that's a

1019
00:52:32,280 --> 00:52:43,719
Speaker 1: tough one. You know what My new one is? Squatty? Yeah, yeah,

1020
00:52:43,800 --> 00:52:45,920
Speaker 1: I have one downstairs. This is not an endorsement. I

1021
00:52:45,960 --> 00:52:47,279
Speaker 1: was just thinking about, you know, in my head, like,

1022
00:52:47,280 --> 00:52:50,040
Speaker 1: what would I recommend right now? Not the most glamorous

1023
00:52:50,040 --> 00:52:51,480
Speaker 1: thing to recommend, By the way, you don't want to

1024
00:52:51,480 --> 00:52:53,799
Speaker 1: talk about taking a dump, right That's not something that

1025
00:52:53,960 --> 00:52:56,759
Speaker 1: really is like. But yeah, I would not throw the

1026
00:52:56,800 --> 00:52:59,600
Speaker 1: squatty potty out there is if I'm jumping in this

1027
00:52:59,680 --> 00:53:01,879
Speaker 1: the thing nder a hundred bucks that I think everybody should.

1028
00:53:02,160 --> 00:53:04,640
Speaker 1: Yeah what he got? I got some shorts. I have

1029
00:53:04,800 --> 00:53:09,520
Speaker 1: some workout shorts. I think they're called ten thousand. I

1030
00:53:09,560 --> 00:53:12,879
Speaker 1: think they're like seventy bucks. That's workout shorts up every

1031
00:53:13,920 --> 00:53:15,759
Speaker 1: line or an them already. You know that there was

1032
00:53:15,760 --> 00:53:18,400
Speaker 1: a swimming trunks riding and sorry they feel like panties.

1033
00:53:18,520 --> 00:53:20,880
Speaker 1: One wasten this one time running talk the shorts of

1034
00:53:20,880 --> 00:53:23,640
Speaker 1: the liner. I was I gotta have a pool back here,

1035
00:53:24,040 --> 00:53:25,960
Speaker 1: and I was in the pool. I was swimming around,

1036
00:53:25,960 --> 00:53:27,920
Speaker 1: and I was like, what is that feeling? And so

1037
00:53:27,960 --> 00:53:30,759
Speaker 1: I read I'm so stupid, I'm very telling the story.

1038
00:53:31,000 --> 00:53:33,239
Speaker 1: I reach in and I forget I have some trunks on,

1039
00:53:33,880 --> 00:53:36,080
Speaker 1: and that line or you know, it feels like, you know, soft,

1040
00:53:36,400 --> 00:53:38,359
Speaker 1: and I felt it and I was like, oh my god,

1041
00:53:38,360 --> 00:53:40,160
Speaker 1: did I put on some girls panties? And I didn't

1042
00:53:40,160 --> 00:53:42,279
Speaker 1: realize it. And for a minute I was like, oh

1043
00:53:42,280 --> 00:53:43,960
Speaker 1: my god, oh my god, I can't believe I'm wear inside.

1044
00:53:44,120 --> 00:53:46,280
Speaker 1: But it was a liner. It's a really trivial story,

1045
00:53:46,360 --> 00:53:47,960
Speaker 1: but that's a that was a real life thing that

1046
00:53:47,960 --> 00:53:49,560
Speaker 1: happened to me. I thought I had some girl panties on.

1047
00:53:49,840 --> 00:53:52,680
Speaker 1: They got mixed up Withers can feel weird sometimes, but

1048
00:53:52,800 --> 00:53:55,719
Speaker 1: sometimes they can feel like the compression shorts that you

1049
00:53:55,719 --> 00:53:57,960
Speaker 1: put on when you work out. There was no compression here.

1050
00:53:58,080 --> 00:54:00,080
Speaker 1: This was just panty. This is a straight panty. One

1051
00:54:00,160 --> 00:54:02,520
Speaker 1: final thing, let's go the last concert you had to

1052
00:54:02,600 --> 00:54:06,840
Speaker 1: buy tickets for? Last concert I had to buy tickets

1053
00:54:06,880 --> 00:54:10,000
Speaker 1: for would have been um when the Eagles came to

1054
00:54:10,000 --> 00:54:13,439
Speaker 1: town with vents. Yeah, it was that the year before last,

1055
00:54:13,480 --> 00:54:14,800
Speaker 1: about a year and a half ago. I went to

1056
00:54:14,880 --> 00:54:21,040
Speaker 1: about Bridgeton. Yeah, and you bought tickets because because I

1057
00:54:21,080 --> 00:54:24,960
Speaker 1: don't know, you don't know anybody, anybody in the well. Listen,

1058
00:54:25,440 --> 00:54:28,160
Speaker 1: we've we've we've we've done it, We've talked about it.

1059
00:54:28,400 --> 00:54:32,879
Speaker 1: Rodney Lama on Instagram? How active are you over there? Um?

1060
00:54:33,000 --> 00:54:36,399
Speaker 1: I tried to post at least once a week, so,

1061
00:54:36,520 --> 00:54:40,040
Speaker 1: which is pretty good for someone my age, I'd say,

1062
00:54:40,200 --> 00:54:42,800
Speaker 1: which is about like one tenth of what my wife.

1063
00:54:42,960 --> 00:54:45,960
Speaker 1: I don't know if one tenth is fair. She's she's

1064
00:54:46,000 --> 00:54:50,919
Speaker 1: the greatest on Instagram. Rodney, why why Lama? That's back

1065
00:54:50,960 --> 00:54:52,880
Speaker 1: to John Rich. She used to call me the Rodney

1066
00:54:52,960 --> 00:54:58,520
Speaker 1: Lama because spit on them kind of calm, Dolly Lama

1067
00:54:58,640 --> 00:55:01,960
Speaker 1: Rodney lama Um. I don't even know if that's the

1068
00:55:02,360 --> 00:55:05,240
Speaker 1: religion or not, but yeah, I think they all down

1069
00:55:05,280 --> 00:55:09,439
Speaker 1: this Rodney lam is dismemorable. Yeah, all right, well there

1070
00:55:10,080 --> 00:55:11,960
Speaker 1: that you have more songs and we could fit on

1071
00:55:12,000 --> 00:55:14,399
Speaker 1: the wall, so that should be your biggest honor. We're

1072
00:55:14,400 --> 00:55:16,719
Speaker 1: gonna send you the championship belt that we talk check

1073
00:55:16,760 --> 00:55:20,320
Speaker 1: the mail like so when recording this. It's on the eleventh,

1074
00:55:20,680 --> 00:55:23,680
Speaker 1: but start checking your mail about the twenty every day,

1075
00:55:23,719 --> 00:55:25,920
Speaker 1: go out to the mailbox, check your mailency if that

1076
00:55:25,960 --> 00:55:27,920
Speaker 1: championship belts there. Okay, can we send it to the

1077
00:55:27,920 --> 00:55:29,840
Speaker 1: top three. I'll post it on my Instagram when you

1078
00:55:29,880 --> 00:55:33,560
Speaker 1: get it posted, and then we'll all right. That's it.

1079
00:55:34,160 --> 00:55:36,120
Speaker 1: We really appreciate Listen. We recorded this on a Friday,

1080
00:55:36,520 --> 00:55:39,360
Speaker 1: and you know, I know that you're a busy person

1081
00:55:39,600 --> 00:55:41,480
Speaker 1: and this I was literally intent like a day and

1082
00:55:41,480 --> 00:55:43,320
Speaker 1: a half. So I'm so glad that you you agree

1083
00:55:43,360 --> 00:55:45,000
Speaker 1: to come over and do this. I'm big, I'm busy,

1084
00:55:45,080 --> 00:55:49,040
Speaker 1: but I'm not near as business not accurate. However, I'm

1085
00:55:49,200 --> 00:55:51,040
Speaker 1: very appreciative of you coming over on a Friday and

1086
00:55:51,040 --> 00:55:52,480
Speaker 1: doing this with me, something we've been looking forward to

1087
00:55:52,560 --> 00:55:54,000
Speaker 1: for a while and I know you and I've been

1088
00:55:54,040 --> 00:55:57,080
Speaker 1: in passing many times, but now we have many things

1089
00:55:57,080 --> 00:55:58,759
Speaker 1: to talk about next time we see each other. When

1090
00:55:58,760 --> 00:56:01,440
Speaker 1: I watched Succession and go, dude, you were right? Or

1091
00:56:01,800 --> 00:56:03,400
Speaker 1: why did you make me buy all those episodes? What

1092
00:56:03,560 --> 00:56:06,520
Speaker 1: network is that on? Already? Have it? Already? Have it? Okay,

1093
00:56:06,520 --> 00:56:09,320
Speaker 1: alright there, alrighty there is Rodney Clausen at Rodney Lama

1094
00:56:09,320 --> 00:56:10,920
Speaker 1: on Instagram. We'll see you guys next time.