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Speaker 1: Ladies and gentlemen, we are experiencing technical difficulties.

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Speaker 2: This is the Bobby Cast.

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Speaker 3: Welcome to Part two of The Bobby Cast that it's

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Speaker 3: all about behind the scenes of the music industry. In

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Speaker 3: this episode, you're gonna hear stories from legendary music executive

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Speaker 3: Joe Galante, who is now in the Country Music Hall

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Speaker 3: of Fame. From producer Nathan Chapman, maybe you would know

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Speaker 3: him from some Taylor Swift, the general manager of Garth

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Speaker 3: and Trisha's record labels, Leslie Simon, and then a.

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Speaker 2: Whole lot more. So let's get right into it.

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Speaker 3: Kicking off Part two of Behind the Scenes of the

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Speaker 3: Music Industry, Marcus K.

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Speaker 2: Dowling.

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Speaker 3: Marcus is a country music reporter. He's a journalist for

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Speaker 3: the Tennessee and he talks about his process for writing

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Speaker 3: stories that are compelling and what he learned from Ronnie Dunn,

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Speaker 3: the lead singer of Brooks and Dunn. For me, a

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Speaker 3: good writer or even a good curator, they don't have

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Speaker 3: an agenda, but they haven't a agenda at the same

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Speaker 3: time to give people a different outlook or maybe expose

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Speaker 3: them in a different way.

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Speaker 4: Yeah, you're dead on with that, So.

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Speaker 3: There's no agenda in that you're going to create a story.

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Speaker 3: But maybe, and I'm not saying you, I'm just gonna

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Speaker 3: do an universal you. Yeah, I'll do me. I'll do me.

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Speaker 4: No, we can do me. It doesn't matter either way.

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Speaker 3: So I don't want to feed you some bull crap

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Speaker 3: and make and give you some false facts. But I

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Speaker 3: definitely have a perspective constantly and consistently about how I

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Speaker 3: feel about this genre. And I've been praised and ridiculed

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Speaker 3: at the highest points. I'm both ye and I've always

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Speaker 3: had this perspective in its mind and I own it

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Speaker 3: now here you you're here now and you're writing. You

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Speaker 3: are writing for the biggest, the most powerful publication that

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Speaker 3: writes on country music. So you have to have that

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Speaker 3: not an agenda to make things happen, but an agenda

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Speaker 3: to cover it from your perspective.

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Speaker 1: It's a thing with like so Ben God is my

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Speaker 1: boss at the paper. We got to sit down conversation

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Speaker 1: like first day and he's like, well, what do you

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Speaker 1: think about the job, And I'm like, well, we just

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Speaker 1: have to cover the best music, And to me, that's

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Speaker 1: like so great greatest side. Like I saw Morgan Wallen

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Speaker 1: twice at the Bridgetone Arena. This is after I spent

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Speaker 1: most of last year like writing like honest, hard hitting, brutal,

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Speaker 1: real pieces about racism. But I'm like, he also has

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Speaker 1: four billion streams on Spotify. So like, yeah, I'm gonna

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Speaker 1: sit there for two nights because I need to understand,

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Speaker 1: and partially because I care more about the job, and

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Speaker 1: I care more about the readership of the Tennessee and

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Speaker 1: and I care about what anybody thinks about me because

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Speaker 1: I know, at the end of the day, I have

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Speaker 1: to have an unbiased, unfettered opinion about all of this.

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Speaker 1: If my opinion stops at ninety nine point ninety seven

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Speaker 1: percent of country music and there's point three of it

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Speaker 1: that sells outsells twenty five artists who I think are great,

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Speaker 1: then I'm not doing my job.

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Speaker 4: So like, for me, that's the thing. It's like, I'll

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Speaker 4: do that.

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Speaker 1: I'll also write about Joy Clark, who's an amazing virtuo

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Speaker 1: so like black lesbian guitarist who like you know, I

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Speaker 1: met at Americana Fest last year and she's now playing

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Speaker 1: with Alice and Russell's band. Oh right, if I heard

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Speaker 1: in the same space, that's what you do, because it's

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Speaker 1: like to me, I look at it.

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Speaker 4: I have a week, like I have a whiteboard. It's

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Speaker 4: like the week of country music.

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Speaker 1: And if I'm not covering, to me, what are the

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Speaker 1: most compelling stories that week? Even once, it pushed me

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Speaker 1: and stretch me and make me have to like step

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Speaker 1: outside of myself or reconsider things or notions that I

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Speaker 1: would have outside of me having this job. That's what

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Speaker 1: I do, you know, I get, like I guessid I

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Speaker 1: went to Whiskey Jams, Like you know, like a lot

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Speaker 1: of my friends who like you know, look at me

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Speaker 1: from DC or wherever else and they're like, so you

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Speaker 1: like went to like Whiskey Jam for like four hours

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Speaker 1: and like sat there and like watch these guys play

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Speaker 1: country music. I'm like yeah, And they're like why, and

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Speaker 1: I'm like, well, it's the culture of the city. I'm like,

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Speaker 1: if you actually go to Lower Broadway, the music that

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Speaker 1: Hardy and Earnest and Ben Burgers are making kind of

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Speaker 1: like defines the top one percent of what Nashville's doing

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Speaker 1: on some level, and I wouldn't be doing my job,

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Speaker 1: Like yeah, is it a fascinating thing to do? Of course,

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Speaker 1: but that's the job, So of course I'm gonna do

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Speaker 1: the job. So it's a rule to have with new artists,

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Speaker 1: right because nobody's knew a country. Everybody takes like, you know,

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Speaker 1: a decade to become new.

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Speaker 4: It's a beautiful thing.

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Speaker 1: But to me, it's like, if you're new and you're

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Speaker 1: making the best music in my unbiased opinion, then I'm

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Speaker 1: going to have something to say about the music that

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Speaker 1: you were making, like unquestionably, And that's the thing. It's like, like,

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Speaker 1: for like, right now, I have like two stories I'm

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Speaker 1: working on about Pillbox Patty because Nicolette is an A

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Speaker 1: plus level writer and her music is expanding the expectations

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Speaker 1: of what women do in the genre in a way

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Speaker 1: that hasn't been expanded in like fifty years.

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Speaker 4: And I'm like, I have to cover that.

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Speaker 1: And she's new, you know, she's if I walked down

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Speaker 1: the street to the public's one percent of the people

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Speaker 1: in public, sino she is.

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Speaker 4: But am I gonna put her into Tennessee?

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Speaker 1: And absolutely like, she's making great music and she's on

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Speaker 1: the Ashley McBride album, and you know, she's got her

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Speaker 1: stuff and you know she's she's working and relevant.

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Speaker 4: So that's why I look at it.

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Speaker 3: I saw he did a story on Ronnie done absolutely

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Speaker 3: because he has a new record out. Yeah, what's your

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Speaker 3: experience personally like with Ronnie, Like you go to a

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Speaker 3: room and you meet him, how does Ronnie come off

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Speaker 3: to you?

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Speaker 1: Well, for me, Ronnie Dunn is like essential to country

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Speaker 1: because people, if you don't know country music, you would

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Speaker 1: really wonder why I would give a million craps about

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Speaker 1: somebody from Oklahoma, Like, to me, Oklahoma, Texas, that area,

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Speaker 1: that red dirt area, that to me is like the

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Speaker 1: bread and butter of the genre. And Ronnie understands that

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Speaker 1: space better than almost anybody. He's like unquestionably, people want

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Speaker 1: to ask why Neon Moon is one of the greatest

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Speaker 1: songs of all time because it for a large part

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Speaker 1: of enormous genre in music.

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Speaker 4: That song.

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Speaker 1: Best defines what that look, sound feel, a texture of

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Speaker 1: a culture feels like. And when you talk to him,

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Speaker 1: it's just like, it's funny. He's the only person I've

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Speaker 1: ever met who, if you put him on too high

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Speaker 1: of a pedestal, will immediately lower himself to your level

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Speaker 1: by talking like we were talking and he's like yeah, yeah,

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Speaker 1: yeah this, but you you're a Parker McCollum he's on

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Speaker 1: my record, and he's like that guy. He looks verter,

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Speaker 1: he looks like stepped out of the gym, and I

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Speaker 1: like his look, and because he's got that Texas thing

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Speaker 1: going on, and you're just like wow. Because it's the

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Speaker 1: funny thing I learned from him, was like and especially

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Speaker 1: it's the thing that I love about country is that

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Speaker 1: you could be at the pinnacle of the space. But

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Speaker 1: because you feel competition every day because Nashville's that kind

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Speaker 1: of town where like somebody could have forty five number

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Speaker 1: one hits and somebody has fifty that walks in the

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Speaker 1: room right after them. Like you're always competing. You're always working,

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Speaker 1: so you're always comparing yourself to whatever you feel is

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Speaker 1: the newest, hottest, youngest, most relevant thing, because you're almost

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Speaker 1: like trying to figure out, well, where do I compare

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Speaker 1: and am I better? Am I worse? Or what could

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Speaker 1: I do to like meet or exceed that level.

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Speaker 3: I don't want you to say any names, because I

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Speaker 3: wouldn't say names if you asked me this question either,

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Speaker 3: But you ever, because you get to sit down and

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Speaker 3: get intimate with these folks. Yeah, usually go to place

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Speaker 3: where they're comfortable and when they're comfortable, they get comfortable faster. Yeah,

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Speaker 3: you ever sit with someone and go, all right, this

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Speaker 3: person's not even really in this. They're they're putting on

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Speaker 3: something that's completely false just to make a buck, or

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Speaker 3: because they couldn't they couldn't hit it somewhere else.

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Speaker 4: Okay.

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Speaker 1: It's it's a funny thing with me when it comes in interviewing,

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Speaker 1: because you I've interviewed you, so you've been in or

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Speaker 1: you've sat across from me.

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Speaker 4: My job.

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Speaker 1: Is to pull down your barrier before we even ask

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Speaker 1: the first serious question. If I can't pull down the barrier,

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Speaker 1: then I know that, like I know something about this

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Speaker 1: person is not at all legitimate or relevant in what

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Speaker 1: they're trying to do or trying to accomplish. And I

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Speaker 1: find ways to make sure that I meet my subject

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Speaker 1: wherever they are in their creative process and what they're doing.

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Speaker 1: Like that, to me is more important than anything like understanding. Like, Okay,

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Speaker 1: you make music because you just want to meet cool girls.

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Speaker 1: There are a lot of people who make country music

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Speaker 1: because they want to meet cool girls. They want to

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Speaker 1: meet a wife, they want to have three kids in

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Speaker 1: a you know, four car garage, and that's it. And

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Speaker 1: if I could find that in that person and we

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Speaker 1: dive in on that and then I'll work back whereund

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Speaker 1: to the music and all the other stuff I need,

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Speaker 1: then that's an interview of value because I've found something

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Speaker 1: about this person where I know that I'm going to

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Speaker 1: get pure, honest, unadulterated facts. And for them, when I

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Speaker 1: come at them at that level half of the interview,

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Speaker 1: sometimes I feel like they're like off put because they're like, wait,

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Speaker 1: how does this guy know that about me? That is

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Speaker 1: strange and weird? And I've never really told anybody that,

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Speaker 1: but and that just comes from me from years of

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Speaker 1: just like observing people. Like music is people. You know,

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Speaker 1: It's like if you sing a song or you write

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Speaker 1: a song, something of yourself is in that song, and me,

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Speaker 1: as a journalist, my job is to like figure that

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Speaker 1: thing out and expose it to the whole world and

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Speaker 1: hopefully that impacts their development or their fan base or

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Speaker 1: their economic bottom line or whatever.

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Speaker 3: I don't know if it was strategy by you, because

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Speaker 3: if it was, it was an awesome wonder if it

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Speaker 3: just happened to be the luck of the day. But

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Speaker 3: you know, you were here and you interviewed me and

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Speaker 3: I had done fifty five interviews in a row, and

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Speaker 3: so I came in and I had no my barrier

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Speaker 3: had be eating away any barrier that I even wanted house.

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Speaker 3: I was exhausted, but it's the best place to get me. Yeah,

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Speaker 3: because I just don't care anymore. I don't care for

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Speaker 3: the most part. Anyway, for the most part.

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Speaker 1: I when it comes to you and me were the

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Speaker 1: same person. We're opposite sides of the same coin. And

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Speaker 1: it took me like a day of just like looking

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Speaker 1: at the YouTube channel and going, oh, I think I

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Speaker 1: know Bobby Bo's pretty well like and then I realized

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Speaker 1: you were forty two and I'm forty four. So and

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Speaker 1: then I realized you're a cultural influences in mine. And

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Speaker 1: I'm like, there's a lot of similarities here. And I'm like,

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Speaker 1: if I just talk to you point plank streight, there's

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Speaker 1: something about like the way that you create magic.

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Speaker 4: When you interview people.

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Speaker 1: Any way, I try to create magic where I read people,

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Speaker 1: where I'm like, something really special could occur.

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Speaker 3: Well, you asked me something no one's ever asked me before.

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Speaker 3: And again, as you've done three thousand interviews and I've

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Speaker 3: done many, and myself. I've been interviewed many times. It's

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Speaker 3: rare when something new happens. Yeah, and so I'm sitting

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Speaker 3: here and we're talking a good time. I like you great,

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Speaker 3: and most interviews go, ah, look at this, you did

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Speaker 3: best sellers, look at you, you did this show you

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Speaker 3: did and are like, which one which favorite? And you

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Speaker 3: went what do you what do you not have? And

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Speaker 3: I was like, oh, that's refreshing. Okay, yeah, set up

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Speaker 3: straighter and I just get I remember getting like fired up,

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Speaker 3: not at you, at the fact that I'd never get

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Speaker 3: to host the ACMORC and Mace because I lived with that.

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Speaker 2: Joe Galante is a.

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Speaker 3: Legendary music executive who became the youngest person ever to

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Speaker 3: be head of a record label and he's now in

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Speaker 3: the Country Music Hall of Fame, which is crazy. And

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Speaker 3: he talks about signing artists like Kenny Chesney and the Judds.

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Speaker 3: This one was really cool for me. So you're in

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Speaker 3: your early thirties when you come to Nashville. Actually twenty four, Wow,

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Speaker 3: you're in your early twenties. Yeah, so you moved down

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Speaker 3: and you're working at RCA, But what is your job

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Speaker 3: when you move here?

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Speaker 4: First?

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Speaker 3: Because of No, you're you know, one of the youngest,

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Speaker 3: if not the youngest person to take over a major label.

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Speaker 3: So you move here in your twenties, what do you do?

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Speaker 5: I had the glorious title of Manager of Administration, which

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Speaker 5: really meant whatever Jerry wanted me to do, I did.

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Speaker 5: But it really was trying to bring some semblance of

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Speaker 5: order to the various departments, trying to get them involved

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Speaker 5: with the corporation overall, the RCA corporation. I mean, I

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Speaker 5: had been in the company number of years. I had

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Speaker 5: a lot of friends in the promotion department and sales department.

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Speaker 5: So Jerry was, Hey, go up there and meet with them,

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Speaker 5: see what you can do for our records.

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Speaker 4: And that was part of what.

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Speaker 3: I did when I come back to that in a minute.

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Speaker 3: And that's where we are. You've just arrived in Nashville

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Speaker 3: and you have a job that sounds like I don't

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Speaker 3: know what it is because the words are so vague. Right,

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Speaker 3: you're doing it all. Let's move over a bin and

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Speaker 3: go to another artist, Kenny Chesney. So you met Kenny

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Speaker 3: around what year ninety and what did he have going

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Speaker 3: for him when you met him?

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Speaker 5: Well, the story is Dale Morris coming back to the

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Speaker 5: same person, Dale Morris.

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Speaker 4: I was getting ready to move back.

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Speaker 5: To Nashville running the company in New York, and Dale

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Speaker 5: called me over the weekend and said, I've got this kid,

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Speaker 5: Kenny Chesney. I said, who's Kenny Chesney. Well, he's on Capricorn.

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Speaker 5: I think you'd really like him. I said, well, send

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Speaker 5: me the record, you know, and we'll have a conversation.

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Speaker 5: So I got the record, and I thought it was

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Speaker 5: interesting in what way as a songwriter. I thought he

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Speaker 5: had a unique perspective. He was a country singer, which

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Speaker 5: at that point, from looking at the roster, we certainly

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Speaker 5: could use a few more of those. And he had

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Speaker 5: been out working the road, you know. I mean he

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Speaker 5: had been working through the whole process. I had a

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Speaker 5: respect for Capricorn Records, and Dale said, I think I

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Speaker 5: can get them off.

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Speaker 4: So that's what we went down the road.

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Speaker 3: So Capricorn Records. My assumption is I have never heard

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Speaker 3: of Capricorn. I'm assuming they're not around anymore.

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Speaker 4: Maybe they are Walman Brothers and those kind of guys.

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Speaker 5: That's the Phil Walden was the original guy that ran

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Speaker 5: that company.

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Speaker 2: Small.

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Speaker 3: Yeah, so Kenny's on a small independent label and so

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Speaker 3: you guys identify him as someone that you think you

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Speaker 3: could make into a major star. So you have the records,

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Speaker 3: you listen to it. He has an interesting perspective and

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Speaker 3: a ninching way to present things. So you call him up,

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Speaker 3: you go see him. What happens.

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Speaker 5: Actually we met months later in the office, and you know,

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Speaker 5: I mean he was young. I mean he came in,

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Speaker 5: you know, was it was almost like George straight light.

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Speaker 5: I mean he was really trying that was.

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Speaker 3: One was a cowboy hat then yeah, yeah, yeah, yeah,

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Speaker 3: that's crazy to think about. Had at Kenny, he's just

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Speaker 3: not that anymore and hasn't been for a long time.

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Speaker 2: And so he says to you, what's Kenny Chesney's goal?

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Speaker 3: Because he's on Capricorn and you think there's a nice

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Speaker 3: relationship that can happen there. What does Kenny Chasney tell

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Speaker 3: he wants to do with his career at that point?

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Speaker 5: He wants to be one of those guys that everybody

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Speaker 5: you know, Phil small Stadiums weren't in the conversation at

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Speaker 5: that point. So it's Phil Arenas and I want to

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Speaker 5: be one of the biggest stars out there.

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Speaker 3: And I'm sure a lot of people say that I mean,

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Speaker 3: I think pretty much everybody probably says that I want

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Speaker 3: to be a big star. Why was Kenny different as

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Speaker 3: far as aside from the record that you heard and

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Speaker 3: you thought his presentation was interesting and his songwriting, But

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Speaker 3: why Kenny? And why did you think he could be

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Speaker 3: the massive star that he is now?

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Speaker 5: He worked his ass off, and I mean he really

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Speaker 5: whatever he didn't have as a skill as an entertainer

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Speaker 5: or as a writer, he would go out and find

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Speaker 5: those guys and spend the time to learn. I always

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Speaker 5: thought it was interesting when he was in town, he

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Speaker 5: was always going to see shows, something he continued on

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Speaker 5: much later on.

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Speaker 4: You know, he went out and.

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Speaker 5: Toured with Alabama when he didn't need to tour with Alabama.

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Speaker 5: He'd go out and open for George Jones when he

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Speaker 5: didn't need to open for George. He just wanted to

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Speaker 5: learn how do you entertain? What are you doing that

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Speaker 5: makes it so different? And they were, you know, his

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Speaker 5: heroes at the same time.

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Speaker 3: When did can he go from being a guy that

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Speaker 3: had some moderate to good radio success to being a superstar?

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Speaker 2: In your mind?

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Speaker 4: Early two thousands.

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Speaker 3: And what was it a song?

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Speaker 4: Was it Forever Feels?

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Speaker 3: That was the one and you can you're where you are.

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Speaker 3: I'm sure there are certain songs where you can just

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Speaker 3: feel it. You're like, Okay, we're looking at sales or

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Speaker 3: we're looking at concert tickets, like this is the element

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Speaker 3: that is changing it.

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Speaker 5: He actually was doing better business concert wise than we

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Speaker 5: were doing on records at that point.

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Speaker 3: So he was making more money at live shows than

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Speaker 3: you were selling he was selling records.

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Speaker 5: Yeah, but I mean what you had where people think

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Speaker 5: about back then in the late ninety there's no Internet.

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Speaker 4: People were just showing up.

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Speaker 5: It's word of mouth, and so people are going out

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Speaker 5: to see him, and what we needed to do was

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Speaker 5: connect the dots he had. You know, we'd have a hit,

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Speaker 5: then we'd have a miss. We'd have a hit, we'd

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Speaker 5: have a miss. How forever Fuel was the first time

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Speaker 5: we started a string where we just kept going at it.

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Speaker 3: Well, that string, the consistency of the string, what you

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Speaker 3: say you started to hit him in a row. What

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Speaker 3: was the consistent I mean in terms of numbers or

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Speaker 3: you know, in terms of you started to put them together.

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Speaker 3: But this was that a certain texture of the song's

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Speaker 3: a tempo, an idea. What it was he beach Kenny

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Speaker 3: yet was like, what was it?

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Speaker 5: No, he hadn't reached beach Kenny. Yet he was getting there,

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Speaker 5: and he was developing the identity, you know, coming out

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Speaker 5: with the rock and roll T shirts, the type jeans,

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Speaker 5: the whole routine, working out physically getting there because it

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Speaker 5: was a physically demanding job that he had, and really

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Speaker 5: spending the money on the production. He knew that he

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Speaker 5: needed to make a bigger and bigger show. But you know,

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Speaker 5: when we made ords, we pulled four singles off, sometimes

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Speaker 5: five singles, and left singles on the album that we

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Speaker 5: could have pulled out. So the quality of the music

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Speaker 5: was there, and it was it was everything from the beach.

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Speaker 5: But then you'd go through, there goes my life, you know,

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Speaker 5: I mean, you know, it just it covered the gamut.

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Speaker 5: And occasionally he would write them, but most of the

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Speaker 5: time they were outside writers.

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Speaker 4: You know.

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Speaker 3: I often say that I love slow Kenny, like I

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Speaker 3: connect with slow Kinny anytime Kenny's doing a ballad or

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Speaker 3: slightly slower than mid like those are my Kenny Chesney songs.

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Speaker 3: Tequila yeah, oh man, that's one of my favorite songs

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Speaker 3: ever him. And so like slow Kenny, that's my jam.

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Speaker 3: Sometimes when he does the beach stuff in the fast step.

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Speaker 3: I don't even like the beach, So I'm like, you

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Speaker 3: know what, I'll pass on this one. But like, man,

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Speaker 3: the guy's got an emotional catalog. Let's go back to

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Speaker 3: New York. You moved to Nashville, you're working as some

384
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Speaker 3: administration position, and so do you start to climb here?

385
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Speaker 3: It was that a goal of yours to climb here

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Speaker 3: or was it a goal of New York's for you

387
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Speaker 3: to climb here.

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Speaker 5: New York At that point, I think I was off

389
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Speaker 5: the radar in New York for that two year period.

390
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Speaker 5: We'd check in occasionally with each other, but I think

391
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Speaker 5: the turning point for me was that Jerry began to

392
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Speaker 5: see Jerry Bradley began to see when I go to

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Speaker 5: New York, I'd bring something back that helped us. And

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Speaker 5: I had this conversation with him one day because I

395
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Speaker 5: kept I was not in charge of promotion, but I

396
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Speaker 5: was trying to figure everything out in terms.

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Speaker 4: Of country radio.

398
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Speaker 5: I really had not been involved with the format, and

399
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Speaker 5: we kept getting these records that didn't quite compete with

400
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Speaker 5: everybody else on the charts. But I mean to the

401
00:19:35,680 --> 00:19:38,280
Speaker 5: most of us, it sounded like we should be competing.

402
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Speaker 5: So I dove into promotion and tried to start figuring

403
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Speaker 5: out meeting with people, going out with the promotion, guys,

404
00:19:44,680 --> 00:19:47,280
Speaker 5: hitting radio stations, and you know, I came into Jerry

405
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Speaker 5: one day. I said, you know, we're not we're not

406
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Speaker 5: doing what we need to be doing. And he looked

407
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Speaker 5: at me and he said, well, go goddamn it, go

408
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Speaker 5: figure it out. I said, well, I'm not in charge

409
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Speaker 5: of promotion. He said, you just go figure it out.

410
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Speaker 5: I'll take care of.

411
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Speaker 4: It from there.

412
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Speaker 5: So I came back and I said, well, here are

413
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Speaker 5: the things that we need to do. You said, okay,

414
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Speaker 5: I'll put you in charge.

415
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Speaker 4: And I wait, wait, wait, wait.

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Speaker 5: Wait wait. I haven't run a staff. You know, I've

417
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Speaker 5: been in promotion, but I haven't run a staff. And

418
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Speaker 5: so that was the trial by fire.

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Speaker 2: And that fire.

420
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Speaker 3: As you're in the fire, do you realize that it's

421
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Speaker 3: easier or harder, or that you're naturally good at it,

422
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Speaker 3: or it's something that maybe you didn't have the instinct

423
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Speaker 3: for but you could work really hard and figure it out.

424
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Speaker 3: Like where did you fall when you got into this

425
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Speaker 3: promotions world and now you're running it?

426
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Speaker 5: I felt like I could do it, but I needed

427
00:20:33,960 --> 00:20:36,880
Speaker 5: the experience, you know. I was surrounded by other labels

428
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Speaker 5: where guys have been doing this stuff for ten or

429
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Speaker 5: fifteen years. I've been doing it for fifteen or twenty months.

430
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Speaker 5: So it took me time to build those relationships and

431
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Speaker 5: understand the system.

432
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Speaker 4: But then I went after it.

433
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Speaker 3: Did you feel like a little bit that you were

434
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Speaker 3: at the right age at a time when things were

435
00:20:52,680 --> 00:20:55,360
Speaker 3: changing and you had the right vision and mindset, because again,

436
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Speaker 3: if you're working with guys that have been doing it

437
00:20:57,000 --> 00:21:02,040
Speaker 3: fifteen years, I mean even you know, and eighty three,

438
00:21:02,160 --> 00:21:06,440
Speaker 3: eighty forty five, it's a significant change since seventy five

439
00:21:06,520 --> 00:21:10,520
Speaker 3: seventy six as far as technology. You know, I think

440
00:21:10,520 --> 00:21:12,119
Speaker 3: I got lucky be in this age because I was

441
00:21:12,200 --> 00:21:15,040
Speaker 3: using the internet and do you know, doing podcasting stuff

442
00:21:15,080 --> 00:21:16,639
Speaker 3: before everybody was doing it. But I happened to be

443
00:21:16,960 --> 00:21:21,080
Speaker 3: very young at the right time, and sever was like, wow,

444
00:21:21,119 --> 00:21:22,840
Speaker 3: look at this guy's doing all this revolutionary stuff. No,

445
00:21:22,880 --> 00:21:25,560
Speaker 3: I was just twenty two. It really wasn't revolutionary. I

446
00:21:25,600 --> 00:21:28,280
Speaker 3: just was young doing it. Did you find that a

447
00:21:28,440 --> 00:21:30,520
Speaker 3: bit of that was because you were younger and you

448
00:21:30,560 --> 00:21:35,199
Speaker 3: were actually using the technology of the day instead of

449
00:21:35,200 --> 00:21:37,120
Speaker 3: having to learn it at an older age.

450
00:21:37,359 --> 00:21:38,040
Speaker 4: That was part of it.

451
00:21:38,080 --> 00:21:41,680
Speaker 5: But I also think just like you, you given an opportunity,

452
00:21:41,720 --> 00:21:44,119
Speaker 5: you went after it, and you were not afraid of

453
00:21:44,160 --> 00:21:47,000
Speaker 5: trying things, and that gave you the entree.

454
00:21:47,119 --> 00:21:47,840
Speaker 4: Same thing with me.

455
00:21:48,000 --> 00:21:50,720
Speaker 5: I was not afraid of trying, failing if I need,

456
00:21:51,119 --> 00:21:53,399
Speaker 5: but I was going to go after it. And you know,

457
00:21:53,480 --> 00:21:56,399
Speaker 5: anytime I needed to be on airplane, out in La

458
00:21:56,640 --> 00:21:58,560
Speaker 5: out in New York, out in Dallas, I just went.

459
00:21:59,000 --> 00:22:02,119
Speaker 5: And you build the relationships and you begin to understand

460
00:22:02,480 --> 00:22:04,879
Speaker 5: the stations and the personalities and the markets. And that

461
00:22:04,960 --> 00:22:07,159
Speaker 5: really did help me when I went back to the

462
00:22:07,720 --> 00:22:11,080
Speaker 5: artists and said, look, this is what's coming back about

463
00:22:11,080 --> 00:22:13,960
Speaker 5: the music and why we're not succeeding, or if we

464
00:22:13,960 --> 00:22:16,920
Speaker 5: were succeeding, this is all the good news, and there's

465
00:22:16,960 --> 00:22:19,040
Speaker 5: not really a lot of bad news. And at that

466
00:22:19,160 --> 00:22:23,320
Speaker 5: point we had not developed a system. We were just

467
00:22:23,359 --> 00:22:25,720
Speaker 5: getting to the point of the tracking systems like the

468
00:22:25,760 --> 00:22:28,359
Speaker 5: BDS and media base that was just coming on. You

469
00:22:28,400 --> 00:22:32,320
Speaker 5: were still dealing in archaic systems where people were yeah, hey,

470
00:22:32,480 --> 00:22:34,280
Speaker 5: it's yeah, it's in power.

471
00:22:34,640 --> 00:22:36,159
Speaker 3: They would just say how many times they played it,

472
00:22:36,160 --> 00:22:39,640
Speaker 3: and you had to believe them absolutely wow. So you're

473
00:22:39,640 --> 00:22:44,239
Speaker 3: credited with really changing the formula of how promotion has

474
00:22:44,320 --> 00:22:48,640
Speaker 3: done to sell records. What did you do in your

475
00:22:48,720 --> 00:22:50,120
Speaker 3: mind that was so different.

476
00:22:50,760 --> 00:22:54,960
Speaker 5: Well, one of the things was bringing the new artists out.

477
00:22:55,080 --> 00:22:57,600
Speaker 5: I mean we created the original promo tour. I mean,

478
00:22:57,640 --> 00:23:00,600
Speaker 5: Loretto was the person that did it. I mean, we

479
00:23:00,600 --> 00:23:03,000
Speaker 5: would just use the same model. It started with the juds,

480
00:23:03,000 --> 00:23:04,640
Speaker 5: and we went out with the juds and took them

481
00:23:04,640 --> 00:23:08,280
Speaker 5: into studios and brought radio people into studios.

482
00:23:08,720 --> 00:23:10,119
Speaker 4: And that worked.

483
00:23:10,119 --> 00:23:13,160
Speaker 5: But what we found out later on when we did

484
00:23:13,280 --> 00:23:15,760
Speaker 5: KT and Clint was that if we went to the

485
00:23:15,800 --> 00:23:19,600
Speaker 5: actual stations, then people went in there, you met everybody

486
00:23:19,600 --> 00:23:22,680
Speaker 5: in the station. They you know, they'd cut jingles, they'd

487
00:23:22,680 --> 00:23:26,159
Speaker 5: cut liners. So there was an advantage to going to

488
00:23:26,320 --> 00:23:30,080
Speaker 5: the marketplace. Prior to that, people didn't really travel around

489
00:23:30,240 --> 00:23:31,040
Speaker 5: to radio stations.

490
00:23:31,119 --> 00:23:33,440
Speaker 3: Is it crazy to you that's that's still the thing.

491
00:23:33,680 --> 00:23:34,760
Speaker 4: It's a personal business.

492
00:23:34,840 --> 00:23:37,120
Speaker 5: You know, it's nice to play it, but you want

493
00:23:37,160 --> 00:23:40,639
Speaker 5: to know something about them. Sometimes that personal relationship is

494
00:23:40,680 --> 00:23:43,359
Speaker 5: what gets you over the hump to heading a record.

495
00:23:43,840 --> 00:23:46,840
Speaker 3: So what I hear you saying is people.

496
00:23:47,440 --> 00:23:49,600
Speaker 5: Always a people of business, whether it be a songwriter,

497
00:23:49,720 --> 00:23:51,879
Speaker 5: a producer, or manager, it's always.

498
00:23:51,640 --> 00:23:54,879
Speaker 3: People, let's go to the jugs for a second. Growing

499
00:23:54,960 --> 00:23:59,399
Speaker 3: up for me massive because my mom loved them. She

500
00:23:59,440 --> 00:24:01,320
Speaker 3: would sing them all the time. Like one of the

501
00:24:01,359 --> 00:24:04,480
Speaker 3: memories I have of my mother is her singing why

502
00:24:04,520 --> 00:24:07,480
Speaker 3: not me? Or just it was all Judds all the time.

503
00:24:08,200 --> 00:24:09,760
Speaker 3: And you know, you have a mom and a daughter

504
00:24:09,840 --> 00:24:13,200
Speaker 3: and I don't know that I have seen that before,

505
00:24:13,240 --> 00:24:15,960
Speaker 3: a straight mom and a daughter that made it to

506
00:24:16,080 --> 00:24:17,960
Speaker 3: a level like the judge or even a mid level.

507
00:24:18,000 --> 00:24:20,800
Speaker 3: So you're signing him you got invest money in them?

508
00:24:20,920 --> 00:24:23,000
Speaker 3: Like what did you see about those two that made

509
00:24:23,040 --> 00:24:24,600
Speaker 3: you think that was something to put a bunch of

510
00:24:24,640 --> 00:24:25,040
Speaker 3: money into?

511
00:24:25,119 --> 00:24:27,800
Speaker 5: And well, believe in We used to when we go

512
00:24:27,920 --> 00:24:31,160
Speaker 5: out to La we'd stay at this little hotel called

513
00:24:31,200 --> 00:24:33,399
Speaker 5: the Park. And the guy that was in charge of

514
00:24:33,440 --> 00:24:36,399
Speaker 5: Curve Productions, Dick Whitehouse, who passed away about a year

515
00:24:36,400 --> 00:24:38,320
Speaker 5: and a half ago. He and I have been trying

516
00:24:38,359 --> 00:24:40,960
Speaker 5: to do business for a while, just had never hit

517
00:24:41,000 --> 00:24:43,520
Speaker 5: on anything. So we had breakfast and we were in

518
00:24:43,560 --> 00:24:46,280
Speaker 5: the suite talking and he was getting ready to leave and.

519
00:24:46,200 --> 00:24:47,679
Speaker 4: He's I said to him, you got anything from me?

520
00:24:48,119 --> 00:24:50,960
Speaker 5: He said, well, I've got this mother daughter, and I've

521
00:24:50,960 --> 00:24:52,920
Speaker 5: got a work tape, but it's not ready.

522
00:24:52,960 --> 00:24:54,760
Speaker 3: I'll wait, wait till we get back. I said, what

523
00:24:54,840 --> 00:24:56,880
Speaker 3: do you think throwing your mother daughter before anything else?

524
00:24:57,320 --> 00:25:00,960
Speaker 3: It's magic if you hear I have a mother daughter,

525
00:25:01,040 --> 00:25:03,480
Speaker 3: Are you like? That's so original that if they're good,

526
00:25:03,640 --> 00:25:06,080
Speaker 3: I want it absolutely because I don't I've never heard

527
00:25:06,160 --> 00:25:08,719
Speaker 3: mother you know before them, and I don't know and

528
00:25:08,720 --> 00:25:10,399
Speaker 3: have the experience you have of being around I just

529
00:25:10,440 --> 00:25:12,359
Speaker 3: haven't heard a mother daughter do it on a level

530
00:25:12,359 --> 00:25:13,480
Speaker 3: of contemporary.

531
00:25:13,920 --> 00:25:16,680
Speaker 4: And they were even on the demos, they were great.

532
00:25:16,720 --> 00:25:18,960
Speaker 5: So I said, look, I'm going to be back in

533
00:25:19,040 --> 00:25:22,600
Speaker 5: Nashville on Monday. Why don't we get together anytime next week?

534
00:25:22,640 --> 00:25:24,959
Speaker 5: You tell me when. So I think it was Wednesday

535
00:25:25,040 --> 00:25:26,879
Speaker 5: or Thursday. That week went on in.

536
00:25:26,960 --> 00:25:30,520
Speaker 4: Naomi came in, three songs, they walk out. I go.

537
00:25:31,240 --> 00:25:33,440
Speaker 5: I called Dick and said, we've got to we got

538
00:25:33,480 --> 00:25:34,040
Speaker 5: to make a deal.

539
00:25:34,680 --> 00:25:35,720
Speaker 4: And we did that day.

540
00:25:36,080 --> 00:25:38,840
Speaker 3: What do they maybe you don't remember, what are they

541
00:25:38,840 --> 00:25:39,360
Speaker 3: coming and sing?

542
00:25:39,400 --> 00:25:39,880
Speaker 4: Do they have a guitar?

543
00:25:39,880 --> 00:25:41,040
Speaker 3: Are they doing acapella stuff?

544
00:25:41,119 --> 00:25:43,400
Speaker 4: No, they had a guitar. And you know why.

545
00:25:43,400 --> 00:25:46,040
Speaker 5: I was playing and singing and they were doing the harmony,

546
00:25:46,040 --> 00:25:49,640
Speaker 5: and Naomi is entertaining telling you the stories and honestly

547
00:25:49,680 --> 00:25:50,960
Speaker 5: don't remember at this point.

548
00:25:50,920 --> 00:25:53,640
Speaker 3: So why not of them must have been? How old

549
00:25:53,680 --> 00:25:56,280
Speaker 3: was she a teenage robbing you see? Yeah, sixteen seventeen.

550
00:25:56,520 --> 00:25:58,840
Speaker 3: I think sixteen fifty is crazy.

551
00:25:59,280 --> 00:26:00,600
Speaker 4: Yeah.

552
00:26:00,640 --> 00:26:02,800
Speaker 3: And to have a you know, you hear about stage

553
00:26:02,920 --> 00:26:05,119
Speaker 3: parents a lot. That's a literal stage parent, that's a

554
00:26:05,160 --> 00:26:07,320
Speaker 3: parent on stage with you and you're doing it together.

555
00:26:07,480 --> 00:26:09,840
Speaker 3: What was that dynamic like for them early? Because they're

556
00:26:09,880 --> 00:26:15,520
Speaker 3: equal stars, yeah, but they're not equal in the house,

557
00:26:16,640 --> 00:26:20,399
Speaker 3: So I would assume that's managing that dynamic would have

558
00:26:20,400 --> 00:26:20,840
Speaker 3: been tough.

559
00:26:21,760 --> 00:26:22,639
Speaker 4: It took a moment.

560
00:26:23,440 --> 00:26:27,720
Speaker 5: I think that, you know, why was beginning to see

561
00:26:27,760 --> 00:26:31,560
Speaker 5: that she was the center of attention, but she did

562
00:26:31,680 --> 00:26:35,280
Speaker 5: need her mom for the harmony part and also for

563
00:26:35,320 --> 00:26:39,520
Speaker 5: the entertainment part. And why just was really good talking

564
00:26:39,520 --> 00:26:43,280
Speaker 5: to people, you know what I mean? NAILI was Why

565
00:26:43,480 --> 00:26:46,359
Speaker 5: was still she was a kid? Yeah, but she was.

566
00:26:46,560 --> 00:26:48,240
Speaker 5: She was gaining the experience rapidly.

567
00:26:49,080 --> 00:26:52,280
Speaker 3: So you're going station to station, You're doing you're figuring

568
00:26:52,320 --> 00:26:55,600
Speaker 3: it out. Your data is happening because you found a

569
00:26:55,640 --> 00:26:58,040
Speaker 3: new technique, right, and you're starting to slowly see it.

570
00:26:58,560 --> 00:27:00,760
Speaker 3: When do other companies start to see what you're doing

571
00:27:00,800 --> 00:27:02,359
Speaker 3: and how it's working, and they start to mimic what

572
00:27:02,359 --> 00:27:03,040
Speaker 3: you're doing.

573
00:27:02,840 --> 00:27:05,280
Speaker 5: Several years later, but you just you know. Then we

574
00:27:05,359 --> 00:27:07,720
Speaker 5: went from you know, those promo visits to the bus tour.

575
00:27:07,800 --> 00:27:10,320
Speaker 5: We would go around the country on a bus, and

576
00:27:10,520 --> 00:27:13,440
Speaker 5: at first we did it just as a label, going

577
00:27:13,440 --> 00:27:16,480
Speaker 5: into radio stations you know and hitting them and taking

578
00:27:16,480 --> 00:27:18,480
Speaker 5: them on the bus, showing the videos playing on the

579
00:27:18,560 --> 00:27:22,000
Speaker 5: music talking for a while, you know, three cities a day,

580
00:27:22,119 --> 00:27:25,080
Speaker 5: just kept going around the country for four or five months,

581
00:27:25,880 --> 00:27:27,720
Speaker 5: and then we got the idea to start doing bus

582
00:27:27,760 --> 00:27:29,960
Speaker 5: tours where you would bring the artists to the radio

583
00:27:30,000 --> 00:27:32,639
Speaker 5: station on the bus and again take.

584
00:27:32,520 --> 00:27:35,600
Speaker 4: Them on spend the time just and that.

585
00:27:35,800 --> 00:27:38,040
Speaker 5: We had that lockdown for a couple of years before

586
00:27:38,040 --> 00:27:40,000
Speaker 5: somebody said, oh, we'll do that too.

587
00:27:40,720 --> 00:27:43,240
Speaker 3: It's also a costly yeah, I mean, it costs a

588
00:27:43,240 --> 00:27:44,800
Speaker 3: lot of money to move an artists around for months

589
00:27:44,800 --> 00:27:45,600
Speaker 3: in a bus.

590
00:27:45,320 --> 00:27:49,679
Speaker 5: And it's time consuming for your staff coordinating everything, you know,

591
00:27:49,760 --> 00:27:52,480
Speaker 5: getting everything together and making sure that you've got everything

592
00:27:52,520 --> 00:27:54,760
Speaker 5: you need. And at the same time, promo guys have

593
00:27:54,880 --> 00:27:57,280
Speaker 5: it to keep you know, working on those records.

594
00:27:57,440 --> 00:28:02,400
Speaker 3: So you're promo touring, your head of promotions when does

595
00:28:02,560 --> 00:28:06,120
Speaker 3: that turn into or maybe there's a couple steps in between,

596
00:28:06,119 --> 00:28:08,320
Speaker 3: but when do you actually take the helm? Uh?

597
00:28:09,080 --> 00:28:11,960
Speaker 5: Jerry stepped down in eighty two, so I took it

598
00:28:12,040 --> 00:28:12,560
Speaker 5: right after that.

599
00:28:12,880 --> 00:28:15,120
Speaker 3: And how did that feel to you? Like it's my time?

600
00:28:15,240 --> 00:28:16,000
Speaker 4: Or like holy crap?

601
00:28:16,280 --> 00:28:16,359
Speaker 3: No?

602
00:28:16,560 --> 00:28:19,880
Speaker 5: I think well, I know at that time the company

603
00:28:20,480 --> 00:28:23,520
Speaker 5: was kind of like, are you ready for this?

604
00:28:24,720 --> 00:28:24,960
Speaker 4: Yeah?

605
00:28:25,080 --> 00:28:25,920
Speaker 3: Was it because your age?

606
00:28:26,160 --> 00:28:26,480
Speaker 4: Yeah?

607
00:28:26,560 --> 00:28:28,280
Speaker 3: More than anything else, because it sounds like you've done

608
00:28:28,320 --> 00:28:30,000
Speaker 3: things that nobody else has done. You've seen things and

609
00:28:30,040 --> 00:28:31,560
Speaker 3: ways that haven't been seen, and had you maybe been

610
00:28:31,560 --> 00:28:33,960
Speaker 3: forty five, they wouldn't have asked a question. Possibly, So

611
00:28:34,000 --> 00:28:36,679
Speaker 3: you're thirty two and they say you're ready for this?

612
00:28:36,720 --> 00:28:37,439
Speaker 3: And what do you say?

613
00:28:37,640 --> 00:28:38,120
Speaker 4: Yeah?

614
00:28:38,480 --> 00:28:39,880
Speaker 3: What did you feel though? Inside your heart?

615
00:28:40,200 --> 00:28:41,680
Speaker 4: Yeah? I felt like I could do it? You know.

616
00:28:41,720 --> 00:28:45,080
Speaker 5: I mean again, just as I said before about running

617
00:28:45,080 --> 00:28:47,680
Speaker 5: a staff, running a label is a different thing than

618
00:28:47,720 --> 00:28:50,760
Speaker 5: being like the GM you know at the buck stops there.

619
00:28:51,960 --> 00:28:55,040
Speaker 3: What new responsibility did you have running a label that

620
00:28:55,200 --> 00:28:56,840
Speaker 3: maybe you didn't know you were going to have.

621
00:28:56,880 --> 00:28:58,400
Speaker 4: When running a label, when.

622
00:28:58,240 --> 00:29:02,040
Speaker 5: You start building a roster, that's a completely different experience

623
00:29:02,080 --> 00:29:06,800
Speaker 5: than just working records, because you're painting a picture what

624
00:29:06,960 --> 00:29:10,560
Speaker 5: you really do see should represent this label? And where

625
00:29:10,560 --> 00:29:13,600
Speaker 5: are the holes in the marketplace? What has the competition got?

626
00:29:13,760 --> 00:29:14,480
Speaker 4: What do you have?

627
00:29:15,400 --> 00:29:18,120
Speaker 5: Can you do better than they are in the various areas.

628
00:29:18,400 --> 00:29:20,360
Speaker 5: You could have three women on the on the roster,

629
00:29:21,040 --> 00:29:24,440
Speaker 5: but maybe they weren't better than Trisha Yearworth. You know,

630
00:29:24,480 --> 00:29:26,880
Speaker 5: you got to find where and so we had the jugs,

631
00:29:26,920 --> 00:29:30,560
Speaker 5: you know you could crack through and you know, moved

632
00:29:30,560 --> 00:29:33,120
Speaker 5: on to Laurie Morgan and you know, it was just

633
00:29:34,080 --> 00:29:37,080
Speaker 5: working through that process of trying to find When you

634
00:29:37,120 --> 00:29:41,360
Speaker 5: build a label, you build a catalog and you have

635
00:29:41,440 --> 00:29:43,280
Speaker 5: to have those artists that are going to have a

636
00:29:43,360 --> 00:29:45,640
Speaker 5: long tail, be able to sell for a long period

637
00:29:45,640 --> 00:29:47,280
Speaker 5: of time. If you just have a series of one

638
00:29:47,360 --> 00:29:49,880
Speaker 5: hit wonders, you're just constantly spending.

639
00:29:49,880 --> 00:29:50,920
Speaker 4: You're on a Durbim wheel.

640
00:29:51,040 --> 00:29:54,520
Speaker 5: But building, yeah, you know you have to be consistent

641
00:29:54,520 --> 00:29:57,040
Speaker 5: about the music, consistent about the moves with the manager.

642
00:29:57,080 --> 00:29:59,120
Speaker 5: In terms of touring. What are you doing on the

643
00:29:59,160 --> 00:30:01,440
Speaker 5: TV personnel? How do you get them on the shows?

644
00:30:02,040 --> 00:30:03,440
Speaker 5: Moving through the entire process.

645
00:30:03,960 --> 00:30:14,200
Speaker 6: Hang tight the Bobby Cast. We'll be right back. Welcome

646
00:30:14,280 --> 00:30:15,920
Speaker 6: back to the Bobby Cast.

647
00:30:16,720 --> 00:30:19,960
Speaker 3: Jesse Fraser is a Grammy nominated songwriter and producer. He

648
00:30:20,000 --> 00:30:21,800
Speaker 3: talks about the number one hits he wrote for Thomas

649
00:30:21,840 --> 00:30:26,200
Speaker 3: Rhett and what that songwriting process was. Like, here's some

650
00:30:26,640 --> 00:30:30,520
Speaker 3: of the Thomas red stuff. So this is let's see

651
00:30:30,760 --> 00:30:32,600
Speaker 3: you produce die happy Man by the way, which is

652
00:30:32,600 --> 00:30:34,400
Speaker 3: not on the new record, but you produce this song here.

653
00:30:35,840 --> 00:30:38,200
Speaker 3: When you produce this song, are you getting any points

654
00:30:38,200 --> 00:30:38,800
Speaker 3: on that forever?

655
00:30:39,200 --> 00:30:39,520
Speaker 4: Yeah?

656
00:30:39,600 --> 00:30:42,240
Speaker 3: Okay, you are. So it's not just a producer fee

657
00:30:42,320 --> 00:30:43,280
Speaker 3: up front and then you're done.

658
00:30:43,400 --> 00:30:45,600
Speaker 2: We have gett advance and we get points on the record.

659
00:30:45,720 --> 00:30:48,840
Speaker 3: Yes, oh you're printing money. Just wait till you hear

660
00:30:48,920 --> 00:30:50,720
Speaker 3: this other stuff. And like, I'm happy for you. ILL

661
00:30:50,720 --> 00:30:52,320
Speaker 3: love to see people make it. I love to see

662
00:30:52,320 --> 00:30:55,840
Speaker 3: people be successful, especially if they're working hard. So here's

663
00:30:55,840 --> 00:30:58,600
Speaker 3: some songs that Europe for t are life Changes, which

664
00:30:58,600 --> 00:31:03,400
Speaker 3: is the current single. Here, such a good song. He

665
00:31:04,800 --> 00:31:06,440
Speaker 3: text me about two months ago. And I don't know

666
00:31:06,480 --> 00:31:09,160
Speaker 3: how much I factored into any decision, but he goes, hey, man,

667
00:31:09,200 --> 00:31:11,920
Speaker 3: you think life Changes is too personal? And I said,

668
00:31:11,920 --> 00:31:14,800
Speaker 3: for what? He goes for a radio song, and I said,

669
00:31:15,040 --> 00:31:17,560
Speaker 3: I don't think there's a such thing as too personal ever, right,

670
00:31:17,800 --> 00:31:20,000
Speaker 3: And then he's sort of if you let people into

671
00:31:20,040 --> 00:31:21,960
Speaker 3: your life, but in a world when things don't matter

672
00:31:22,000 --> 00:31:25,120
Speaker 3: to anybody anymore because there's so many things yeap like

673
00:31:25,160 --> 00:31:29,320
Speaker 3: you're basically putting out a biography in three minutes, right,

674
00:31:29,360 --> 00:31:32,000
Speaker 3: and people get to know you with a super catchy hook.

675
00:31:32,120 --> 00:31:32,280
Speaker 4: Right.

676
00:31:32,760 --> 00:31:35,120
Speaker 3: This song encapsulates tom Trip perfectly. You guys did a

677
00:31:35,160 --> 00:31:35,880
Speaker 3: great job of the song.

678
00:31:36,000 --> 00:31:36,360
Speaker 4: Thank you.

679
00:31:36,400 --> 00:31:38,600
Speaker 3: But he knows you'd be honest too. Oh for sure

680
00:31:38,600 --> 00:31:40,080
Speaker 3: I would have said no, I don't think so, and

681
00:31:40,160 --> 00:31:40,600
Speaker 3: he does.

682
00:31:40,760 --> 00:31:41,040
Speaker 4: You know.

683
00:31:41,280 --> 00:31:42,840
Speaker 2: Is for someone being as.

684
00:31:42,720 --> 00:31:45,880
Speaker 7: Confident as he is in his place and taking risks

685
00:31:45,880 --> 00:31:49,840
Speaker 7: and pushing boundaries, he does think about that. What is

686
00:31:49,880 --> 00:31:52,440
Speaker 7: the next fan going to think? Is this a fan song?

687
00:31:52,560 --> 00:31:55,600
Speaker 7: Or is this a universal song? And those kind of concepts.

688
00:31:55,640 --> 00:31:58,080
Speaker 7: So I'm sure he knows you're gonna shoot him straight

689
00:31:58,120 --> 00:31:58,320
Speaker 7: on that.

690
00:31:58,440 --> 00:32:00,400
Speaker 3: When you guys write that, though, is that a conversation

691
00:32:00,520 --> 00:32:02,920
Speaker 3: in the room too, like? Ooh, is this too personal.

692
00:32:02,560 --> 00:32:02,920
Speaker 2: Of a song?

693
00:32:02,960 --> 00:32:04,640
Speaker 3: And then is it a conversation before you put on

694
00:32:04,680 --> 00:32:07,480
Speaker 3: the record. Yeah, I mean to be honest with you,

695
00:32:07,520 --> 00:32:09,040
Speaker 3: I don't think any of us expected it to be

696
00:32:09,040 --> 00:32:09,480
Speaker 3: a single.

697
00:32:09,560 --> 00:32:10,920
Speaker 7: It was one of the last songs we wrote. We

698
00:32:10,960 --> 00:32:13,160
Speaker 7: wrote at the farm his dad was there, was me

699
00:32:13,200 --> 00:32:16,120
Speaker 7: and Ashley and Rhett and Thomas, and we were in

700
00:32:16,160 --> 00:32:17,680
Speaker 7: the little guest house there and.

701
00:32:19,160 --> 00:32:20,240
Speaker 4: He was going through a lot.

702
00:32:20,320 --> 00:32:23,680
Speaker 7: I mean literally, I think there was nerves that life

703
00:32:23,720 --> 00:32:27,840
Speaker 7: was about to get turned upside down. So it was

704
00:32:27,920 --> 00:32:29,920
Speaker 7: a little bit of a unknown and I think we

705
00:32:29,920 --> 00:32:31,360
Speaker 7: were just sort of having fun and it was just

706
00:32:32,360 --> 00:32:35,440
Speaker 7: we figured we already had the whole record written and

707
00:32:35,840 --> 00:32:37,760
Speaker 7: you know, take a stab at it.

708
00:32:37,800 --> 00:32:40,640
Speaker 3: So it's such a smart move if that play works,

709
00:32:40,800 --> 00:32:44,440
Speaker 3: to put out something that people would like to consume

710
00:32:44,520 --> 00:32:46,360
Speaker 3: while they learn about you at the same time, right,

711
00:32:46,440 --> 00:32:49,240
Speaker 3: just for the Thomas red brand. Sure, because and I

712
00:32:49,320 --> 00:32:50,280
Speaker 3: learned this, I put out a book.

713
00:32:50,280 --> 00:32:52,000
Speaker 2: I think was gonna read that thing Ohnest to God.

714
00:32:52,000 --> 00:32:52,520
Speaker 2: I wrote a book.

715
00:32:52,520 --> 00:32:54,840
Speaker 3: I thought, no, he's gonna read this was bestseller for

716
00:32:54,920 --> 00:32:57,120
Speaker 3: four weeks. And I didn't know what I was doing

717
00:32:57,120 --> 00:32:59,480
Speaker 3: when I was, but I learned, Wow, if I can

718
00:32:59,520 --> 00:33:02,560
Speaker 3: make something good that also people relate to and learn

719
00:33:02,680 --> 00:33:05,760
Speaker 3: about me, it helps my message. Sure, And so I

720
00:33:05,760 --> 00:33:07,360
Speaker 3: think you guys captured up with the song I got.

721
00:33:07,320 --> 00:33:09,120
Speaker 3: I think the song is really thank you. It really

722
00:33:09,160 --> 00:33:12,280
Speaker 3: good and really cool for an artist to do, to

723
00:33:12,360 --> 00:33:14,160
Speaker 3: put like what if Luke puts out a song goes

724
00:33:14,200 --> 00:33:15,719
Speaker 3: like it's for Osborne. I mean, it's just so it's

725
00:33:15,720 --> 00:33:17,280
Speaker 3: just a perfect thing for a brand when you're trying

726
00:33:17,320 --> 00:33:19,120
Speaker 3: to brand yourself right now, right because it's so hard

727
00:33:19,160 --> 00:33:21,760
Speaker 3: to be No, we actually changed the lyric in the

728
00:33:21,800 --> 00:33:25,440
Speaker 3: second verse just to go to radio with just because

729
00:33:25,440 --> 00:33:27,080
Speaker 3: he had already had the.

730
00:33:27,080 --> 00:33:28,280
Speaker 4: Other baby, so it was you.

731
00:33:28,320 --> 00:33:30,760
Speaker 2: Know what was the original verse? The original was.

732
00:33:32,560 --> 00:33:34,640
Speaker 7: One on the way, and now we've changed it to

733
00:33:34,680 --> 00:33:36,280
Speaker 7: the you know another sweet baby.

734
00:33:36,120 --> 00:33:40,160
Speaker 3: James, Ah, how about this one? This he's from the

735
00:33:40,200 --> 00:33:50,200
Speaker 3: record Unforgettable. And then so before the record came out,

736
00:33:51,080 --> 00:33:53,920
Speaker 3: Tom's right, Kim in the studio and he played like

737
00:33:54,120 --> 00:33:56,760
Speaker 3: five or six songs in a row from the record.

738
00:33:56,840 --> 00:33:59,160
Speaker 3: He came in the studio and he was playing this

739
00:34:00,040 --> 00:34:02,040
Speaker 3: and I said, Hey, is that really about Lauren. He's like, no,

740
00:34:02,120 --> 00:34:03,960
Speaker 3: it's not. And he doesn't say that a lot now

741
00:34:03,960 --> 00:34:06,440
Speaker 3: because he said it early. Sure, I don't scream because

742
00:34:06,480 --> 00:34:09,000
Speaker 3: it care I like for people. But he's like, not really,

743
00:34:09,040 --> 00:34:10,960
Speaker 3: we just kind of wrote a song, right, What can

744
00:34:11,000 --> 00:34:12,279
Speaker 3: you add to that? What he told me?

745
00:34:12,560 --> 00:34:13,239
Speaker 2: No, that's true.

746
00:34:13,480 --> 00:34:18,080
Speaker 7: This was a bus song, Unforgettable, Marry me kind of

747
00:34:18,120 --> 00:34:21,080
Speaker 7: happened in the same two week period on bus trips.

748
00:34:21,239 --> 00:34:23,480
Speaker 7: It's amazing that we had this amazing run. There's actually

749
00:34:23,480 --> 00:34:26,200
Speaker 7: a song called eighty that was on a Target exclusive that.

750
00:34:26,520 --> 00:34:27,040
Speaker 3: The number two.

751
00:34:27,280 --> 00:34:31,239
Speaker 7: Yeah, so we had this amazing two week run, which,

752
00:34:31,280 --> 00:34:34,920
Speaker 7: by the way, side note we most of Thomas's records come.

753
00:34:34,760 --> 00:34:35,600
Speaker 2: From bus trips.

754
00:34:35,880 --> 00:34:38,040
Speaker 7: He writes on the road more. It feels like that's

755
00:34:38,120 --> 00:34:40,520
Speaker 7: like his office, so he doesn't write as much in

756
00:34:40,560 --> 00:34:42,279
Speaker 7: town as he used to, just because when he's home

757
00:34:42,320 --> 00:34:42,960
Speaker 7: he's with family.

758
00:34:43,680 --> 00:34:45,439
Speaker 2: But yeah, it's just kind of one of those things.

759
00:34:45,440 --> 00:34:47,400
Speaker 7: I think the Mango Margarita thing came out and it

760
00:34:47,480 --> 00:34:49,959
Speaker 7: just sort of felt like a fun up tempo because

761
00:34:50,000 --> 00:34:53,560
Speaker 7: sometimes we struggle with up tempos and Thomas brand when

762
00:34:53,560 --> 00:34:56,000
Speaker 7: we're writing for him. It's because naturally he kind of

763
00:34:56,480 --> 00:35:00,520
Speaker 7: gets drawn to those singer songwriter ballads. And it just

764
00:35:00,600 --> 00:35:02,680
Speaker 7: was sort of a high energy thing with Ashley banging

765
00:35:02,680 --> 00:35:04,200
Speaker 7: out on piano while we were on the bus. We

766
00:35:04,239 --> 00:35:06,440
Speaker 7: set up a little pro tools rigs like this like

767
00:35:06,520 --> 00:35:09,800
Speaker 7: you have here and basically capture it right there before

768
00:35:09,840 --> 00:35:10,960
Speaker 7: he goes to meet and greet.

769
00:35:11,000 --> 00:35:12,160
Speaker 3: Tell me about this bus thing.

770
00:35:12,600 --> 00:35:16,359
Speaker 7: So you go out Wednesday nights, meet at the Kroger.

771
00:35:16,680 --> 00:35:18,680
Speaker 3: That's where the bus ride. Like the bus is parked

772
00:35:18,680 --> 00:35:21,840
Speaker 3: in some big parking walmart. Yeah, yeah, so you get it.

773
00:35:21,640 --> 00:35:23,759
Speaker 3: Does he have a bus for just you guys.

774
00:35:24,239 --> 00:35:26,480
Speaker 7: A lot of times we'll get a rider bus. I

775
00:35:26,560 --> 00:35:28,879
Speaker 7: prefer it because then they can kind of have their

776
00:35:28,880 --> 00:35:31,280
Speaker 7: own space. A lot of times they've got tour managers

777
00:35:31,320 --> 00:35:33,640
Speaker 7: with them or whatever. So it's great when we've got

778
00:35:33,680 --> 00:35:36,360
Speaker 7: a rider bus out. Sometimes, like last weekend I was

779
00:35:36,360 --> 00:35:40,080
Speaker 7: with him, we were on his bus. So we'll meet

780
00:35:40,120 --> 00:35:43,160
Speaker 7: the buses park there or uber to the buses hop

781
00:35:43,200 --> 00:35:47,840
Speaker 7: on around Wednesday at midnight typically and wake up somewhere

782
00:35:48,320 --> 00:35:51,600
Speaker 7: Thursday morning. I'll set up the pro tools studio on

783
00:35:51,680 --> 00:35:55,160
Speaker 7: the table there right in the lounge and start writing

784
00:35:55,160 --> 00:35:57,680
Speaker 7: around ten thirty right till four h thirty just and

785
00:35:57,719 --> 00:36:00,319
Speaker 7: then pack up, put it back in the suitcases, roll

786
00:36:00,360 --> 00:36:02,719
Speaker 7: and do it the next morning. Come back Sunday afternoons.

787
00:36:02,719 --> 00:36:05,360
Speaker 3: He'll go on stage after he writes. Yes, so you'll right, Yes,

788
00:36:05,520 --> 00:36:06,440
Speaker 3: he'll pack up, he'll go.

789
00:36:06,360 --> 00:36:08,760
Speaker 2: Do his things, meet and greed. Absolutely, he'll go on stage.

790
00:36:08,840 --> 00:36:09,040
Speaker 4: Yep.

791
00:36:09,600 --> 00:36:11,360
Speaker 2: That right is a grinder.

792
00:36:11,440 --> 00:36:13,520
Speaker 7: So like he'll come right off stage or he'll come

793
00:36:13,560 --> 00:36:15,719
Speaker 7: back from meet and greet, want to hear where the

794
00:36:15,719 --> 00:36:19,760
Speaker 7: mix is at, or do a background vocal after the show,

795
00:36:20,800 --> 00:36:22,799
Speaker 7: you know, get right back into writing. So like we

796
00:36:23,000 --> 00:36:27,040
Speaker 7: finished four or five things last week and got vocals

797
00:36:27,040 --> 00:36:30,920
Speaker 7: on seven. I mean, one great thing and one reason

798
00:36:30,960 --> 00:36:33,880
Speaker 7: like Ashley or myself loved going out with him is

799
00:36:33,920 --> 00:36:35,600
Speaker 7: we know we're out there to work. I mean, we're

800
00:36:35,600 --> 00:36:37,520
Speaker 7: just out there to grind because we're all away from

801
00:36:37,520 --> 00:36:40,319
Speaker 7: our families. So it's not just a party. Go see

802
00:36:40,320 --> 00:36:42,200
Speaker 7: the show. I want to get some songs written, so

803
00:36:42,520 --> 00:36:43,360
Speaker 7: it's pretty efficient.

804
00:36:43,640 --> 00:36:44,719
Speaker 2: Here's marry Me.

805
00:36:44,840 --> 00:36:48,080
Speaker 3: I wrote this one. This is a massive number one too.

806
00:36:49,640 --> 00:36:54,040
Speaker 3: So the concept of this song, it flips on you

807
00:36:54,080 --> 00:36:55,880
Speaker 3: pretty quick. You should have going, okay, well, first you

808
00:36:55,920 --> 00:36:57,879
Speaker 3: read the title and you got the song about getting married,

809
00:36:57,880 --> 00:36:58,480
Speaker 3: please marry me.

810
00:36:58,920 --> 00:36:59,479
Speaker 2: But then it.

811
00:36:59,400 --> 00:37:01,799
Speaker 3: Turns out he's not. She's not marrying him because he

812
00:37:01,840 --> 00:37:04,080
Speaker 3: screwed up right. Where where did that concept come from?

813
00:37:04,160 --> 00:37:07,719
Speaker 7: Basically it was the opposite of what truly happened. He

814
00:37:08,080 --> 00:37:11,520
Speaker 7: had broke up with Lauren and actually went and said

815
00:37:11,920 --> 00:37:13,239
Speaker 7: or they were friends for a long time.

816
00:37:13,280 --> 00:37:14,120
Speaker 4: I think it was the story.

817
00:37:14,160 --> 00:37:15,719
Speaker 7: And he actually went and said, look, I think you're

818
00:37:15,760 --> 00:37:17,879
Speaker 7: making a mistake. You know you're dating this other guy,

819
00:37:18,280 --> 00:37:20,720
Speaker 7: so sort of was what would happen if I didn't

820
00:37:20,760 --> 00:37:21,960
Speaker 7: speak up and say something.

821
00:37:22,600 --> 00:37:23,520
Speaker 4: I think the song.

822
00:37:23,320 --> 00:37:25,720
Speaker 7: Works so well because we had set up this brand

823
00:37:26,120 --> 00:37:28,960
Speaker 7: of I love my wife. He puts Lauren on a

824
00:37:29,040 --> 00:37:32,239
Speaker 7: pestel and and and that marriage is part of his

825
00:37:32,360 --> 00:37:35,879
Speaker 7: brand and and his message and songs. So to have

826
00:37:35,960 --> 00:37:39,440
Speaker 7: that twist in a song coming from Thomas Rhett, I

827
00:37:39,440 --> 00:37:41,640
Speaker 7: think was even more effective than it would be, you know,

828
00:37:41,719 --> 00:37:43,040
Speaker 7: coming from another artist.

829
00:37:43,320 --> 00:37:44,240
Speaker 3: So I have a demo.

830
00:37:44,280 --> 00:37:45,240
Speaker 2: Who's singing on the demo?

831
00:37:45,320 --> 00:37:45,520
Speaker 4: Here?

832
00:37:45,760 --> 00:37:46,520
Speaker 2: Here is this?

833
00:37:46,600 --> 00:37:46,759
Speaker 3: You?

834
00:37:46,920 --> 00:37:47,120
Speaker 4: Is this?

835
00:37:48,840 --> 00:37:50,680
Speaker 2: She shame?

836
00:37:52,160 --> 00:37:56,600
Speaker 3: Oh yeah? So you wrote this with Shane and Ashley

837
00:37:56,680 --> 00:37:59,879
Speaker 3: and Thomas. So same same setup, right in the middle

838
00:37:59,880 --> 00:38:01,880
Speaker 3: of bus playing keyboard.

839
00:38:02,440 --> 00:38:05,240
Speaker 2: Is that Mike out in the country?

840
00:38:05,880 --> 00:38:09,719
Speaker 3: Not too many, So thomasesn't think it's on demos. A

841
00:38:09,719 --> 00:38:11,560
Speaker 3: lot of times he does. It depends on where his

842
00:38:11,680 --> 00:38:14,279
Speaker 3: voice is. If he knows he's done one, he's got

843
00:38:14,280 --> 00:38:14,919
Speaker 3: to sing a show.

844
00:38:15,360 --> 00:38:16,240
Speaker 2: His voice is tired.

845
00:38:17,000 --> 00:38:19,080
Speaker 3: Last year we wore his voice a couple of times

846
00:38:19,080 --> 00:38:20,799
Speaker 3: doing demos, So you would be singing on the bus

847
00:38:20,800 --> 00:38:24,160
Speaker 3: and he's gotta go singing. He's like, oh no, you

848
00:38:24,200 --> 00:38:26,560
Speaker 3: actually spoke up about this song too, just because you

849
00:38:26,600 --> 00:38:29,160
Speaker 3: were like, it was this one unforgettable. You're like, man,

850
00:38:29,160 --> 00:38:31,480
Speaker 3: I feel like that song was just getting.

851
00:38:31,239 --> 00:38:33,439
Speaker 2: Heard by the time the charts for sure.

852
00:38:33,480 --> 00:38:33,919
Speaker 4: Yeah. Yeah.

853
00:38:34,040 --> 00:38:37,839
Speaker 3: That's a big irritating thing to me as a consumer,

854
00:38:37,920 --> 00:38:40,120
Speaker 3: because I try to walk that fine line of being

855
00:38:40,160 --> 00:38:42,239
Speaker 3: someone that has millions people listening to them and knowing

856
00:38:42,280 --> 00:38:45,640
Speaker 3: that I do have a bit of influence, but at

857
00:38:45,680 --> 00:38:47,799
Speaker 3: the same time, I want to still take in music

858
00:38:47,880 --> 00:38:48,520
Speaker 3: like my people do.

859
00:38:48,640 --> 00:38:50,799
Speaker 2: Sure, and it's a really hard line and a fine

860
00:38:50,800 --> 00:38:51,560
Speaker 2: line for me to walk.

861
00:38:51,920 --> 00:38:53,799
Speaker 3: But so I try to watch these charts and go,

862
00:38:54,400 --> 00:38:56,000
Speaker 3: this song is just now starting to be a thing

863
00:38:56,040 --> 00:38:58,160
Speaker 3: before the record lavels are moving off of it because

864
00:38:58,160 --> 00:39:00,680
Speaker 3: they shot it's number one so quickly. Yeah, and so

865
00:39:01,280 --> 00:39:03,319
Speaker 3: I think it was a maybe even a three week

866
00:39:03,440 --> 00:39:05,920
Speaker 3: number one, two or three, whatever it was. I was like,

867
00:39:05,960 --> 00:39:07,560
Speaker 3: this has two or three more weeks in it, right,

868
00:39:07,880 --> 00:39:09,560
Speaker 3: Like if this were real life, this is a six

869
00:39:09,640 --> 00:39:10,279
Speaker 3: or seven.

870
00:39:10,000 --> 00:39:10,719
Speaker 2: Week number one.

871
00:39:11,160 --> 00:39:13,400
Speaker 3: But in the world, they're just throwing songs up, you know,

872
00:39:13,640 --> 00:39:17,520
Speaker 3: one jerk it down, which long term hurts the artist. Yes,

873
00:39:18,040 --> 00:39:20,640
Speaker 3: because okay, Blake has thirty number one, let's use Blake

874
00:39:20,640 --> 00:39:23,120
Speaker 3: for an example. Sure, how many of those thirty number

875
00:39:23,160 --> 00:39:25,680
Speaker 3: ones do people really resonate with? Nine?

876
00:39:26,080 --> 00:39:26,319
Speaker 2: Right?

877
00:39:27,280 --> 00:39:27,720
Speaker 8: Really?

878
00:39:27,800 --> 00:39:28,160
Speaker 2: There?

879
00:39:28,360 --> 00:39:30,759
Speaker 3: I mean there are number twos from ten years ago

880
00:39:30,840 --> 00:39:33,160
Speaker 3: that are huge deals because this has only started happening

881
00:39:33,160 --> 00:39:36,440
Speaker 3: in the past eight to ten years where they're shooting

882
00:39:36,440 --> 00:39:40,080
Speaker 3: these songs up. Great for trophies, right, you know number

883
00:39:40,080 --> 00:39:42,440
Speaker 3: one trophies are fun, everybody likes to get there, but

884
00:39:42,560 --> 00:39:44,840
Speaker 3: really long term, not good for the big artists that

885
00:39:44,880 --> 00:39:47,359
Speaker 3: have multiples and not good for the consumer. Sure, because

886
00:39:47,360 --> 00:39:48,799
Speaker 3: they're off up again, do.

887
00:39:48,800 --> 00:39:49,840
Speaker 2: You think it's unique?

888
00:39:49,840 --> 00:39:52,799
Speaker 7: You come from other formats as well, so is it

889
00:39:52,880 --> 00:39:53,800
Speaker 7: unique in our format?

890
00:39:53,800 --> 00:39:54,360
Speaker 2: Absolutely?

891
00:39:54,440 --> 00:39:59,160
Speaker 3: The speed, Absolutely the speed, because one this is such

892
00:39:59,160 --> 00:40:03,080
Speaker 3: a superstar format. Once you've become a superstar, you're given

893
00:40:03,120 --> 00:40:06,880
Speaker 3: a pass. Your song doesn't have to research when everybody

894
00:40:06,880 --> 00:40:08,799
Speaker 3: else researches. You know, it's a long time you got

895
00:40:08,800 --> 00:40:12,319
Speaker 3: oh my song researching? Will radio play it? So if

896
00:40:12,360 --> 00:40:15,000
Speaker 3: you're a superstar, sometimes your song will be number one

897
00:40:15,000 --> 00:40:18,719
Speaker 3: before it even starts researching. I've seen songs from we'll

898
00:40:18,719 --> 00:40:20,960
Speaker 3: call it the A lusters, like that's top seven or

899
00:40:20,960 --> 00:40:24,040
Speaker 3: eight artists, which now tr is in At the time

900
00:40:24,080 --> 00:40:26,880
Speaker 3: he wasn't. This is three years ago. I've seen songs

901
00:40:27,200 --> 00:40:29,440
Speaker 3: that would fly at the chart, not register's research, be

902
00:40:29,520 --> 00:40:31,680
Speaker 3: number one and then fall off the chart and then

903
00:40:31,719 --> 00:40:34,279
Speaker 3: go oh, the research was terrible for it, where if

904
00:40:34,280 --> 00:40:37,640
Speaker 3: it would have really spent the time, but it would

905
00:40:37,680 --> 00:40:40,799
Speaker 3: have not been a number one, that'd being said, it's

906
00:40:40,800 --> 00:40:43,640
Speaker 3: not realistic for anyone that's not a superstar. If you're

907
00:40:43,680 --> 00:40:46,080
Speaker 3: a B level act and be's a real positive, that's

908
00:40:46,280 --> 00:40:48,360
Speaker 3: you know, that's not the entertainer of the year category.

909
00:40:48,360 --> 00:40:50,239
Speaker 3: But it's like, let's go male or female vocalist of

910
00:40:50,239 --> 00:40:52,360
Speaker 3: the year. So let's say you're in that B category

911
00:40:52,760 --> 00:40:55,720
Speaker 3: and you have a song, so it do'll take fifty

912
00:40:55,719 --> 00:40:58,080
Speaker 3: weeks forty weeks to be number one when it's a

913
00:40:58,200 --> 00:41:01,239
Speaker 3: smash and it shouldn't. It should have shot it faster

914
00:41:01,280 --> 00:41:05,239
Speaker 3: than the superstar and pop. It's all really, who's got

915
00:41:05,280 --> 00:41:08,240
Speaker 3: the best song? Came like a bay Oh six weeks

916
00:41:08,360 --> 00:41:11,960
Speaker 3: right number one? Zed Maren nine weeks number one, and

917
00:41:12,000 --> 00:41:13,960
Speaker 3: then it will stay there for four or five weeks.

918
00:41:14,000 --> 00:41:19,120
Speaker 3: It's really dictated on research plus streams, non playlisted streams.

919
00:41:19,160 --> 00:41:22,120
Speaker 3: By the way, playlists, you know what the big You

920
00:41:22,120 --> 00:41:23,640
Speaker 3: put a song on a playlist, who knows how that's

921
00:41:23,680 --> 00:41:25,839
Speaker 3: going to count. Sure, so people don't look it's looked

922
00:41:25,880 --> 00:41:28,200
Speaker 3: at differently right as well. But anyway, I mean it

923
00:41:29,040 --> 00:41:32,560
Speaker 3: the weird thing here. Not to get too inside. I

924
00:41:32,600 --> 00:41:33,200
Speaker 3: get inside.

925
00:41:33,719 --> 00:41:36,880
Speaker 7: No, the I remember first coming and seeing behind the

926
00:41:36,880 --> 00:41:39,200
Speaker 7: curtain of OZ and going, oh, there's push weeks and

927
00:41:39,239 --> 00:41:42,000
Speaker 7: they the target meets and they know these numbers and

928
00:41:42,000 --> 00:41:45,160
Speaker 7: the syndications, spins and all this stuff. It does kind

929
00:41:45,200 --> 00:41:46,960
Speaker 7: of remove a little bit of that mystery when you

930
00:41:46,960 --> 00:41:49,239
Speaker 7: were a kid going oh the billboard charts. And you know,

931
00:41:49,640 --> 00:41:54,400
Speaker 7: obviously I make a living off of airplay predominantly, especially

932
00:41:54,440 --> 00:41:58,160
Speaker 7: these days, you know, but it is wild to see

933
00:41:58,280 --> 00:42:02,080
Speaker 7: what goes into the business of the charts compared to

934
00:42:02,080 --> 00:42:04,800
Speaker 7: what you thought it was before you peek behind the curtain.

935
00:42:04,840 --> 00:42:07,279
Speaker 3: I mean, I host a countdown on one hundred and

936
00:42:07,320 --> 00:42:09,200
Speaker 3: thirty stas or so much or something like that, and

937
00:42:09,280 --> 00:42:11,000
Speaker 3: I know, you know, I at this time, I know

938
00:42:11,080 --> 00:42:13,920
Speaker 3: what's coming because I see the formula of record labels

939
00:42:13,920 --> 00:42:16,160
Speaker 3: and sure, but I listened to Casey k Some as

940
00:42:16,200 --> 00:42:18,319
Speaker 3: a kid or rig Ds and go wonder what's number one?

941
00:42:18,760 --> 00:42:20,719
Speaker 3: He's it really was a thing, and now it's just

942
00:42:20,760 --> 00:42:22,919
Speaker 3: like what was number two last week? That's probably gonna

943
00:42:22,920 --> 00:42:23,920
Speaker 3: be number one this week.

944
00:42:24,000 --> 00:42:24,880
Speaker 4: Yeah, I do.

945
00:42:25,320 --> 00:42:27,800
Speaker 7: There are those heartbreaking moments where you're like, you know, Devin,

946
00:42:28,000 --> 00:42:28,160
Speaker 7: you know.

947
00:42:28,200 --> 00:42:30,480
Speaker 3: I was like, oh that Devon Dawson. He missed it

948
00:42:30,480 --> 00:42:32,560
Speaker 3: by one spin, not even a full spin, in a

949
00:42:32,560 --> 00:42:35,000
Speaker 3: major market. I think it was six points. Yeah, which

950
00:42:35,560 --> 00:42:38,920
Speaker 3: you get an amount of points if you're listening to this.

951
00:42:39,160 --> 00:42:42,359
Speaker 3: It's so inside. But the bigger the market you are,

952
00:42:43,360 --> 00:42:47,160
Speaker 3: the more valuable your spin is worth. So for example,

953
00:42:47,480 --> 00:42:49,080
Speaker 3: let's say you spend a song in Houston, it could

954
00:42:49,080 --> 00:42:52,120
Speaker 3: be worth ten points. A spin one play in Houston's

955
00:42:52,120 --> 00:42:55,200
Speaker 3: worth ten points. Devin Dawson was at number two. He

956
00:42:55,360 --> 00:43:00,360
Speaker 3: lost by six points, less than a spin in a

957
00:43:00,360 --> 00:43:00,920
Speaker 3: big city.

958
00:43:01,120 --> 00:43:01,640
Speaker 2: One spin.

959
00:43:02,000 --> 00:43:04,120
Speaker 3: He finished number two. I've never seen anything like that before.

960
00:43:04,160 --> 00:43:05,120
Speaker 3: By the way, that's an outliar.

961
00:43:05,120 --> 00:43:06,640
Speaker 2: That's going to be pretty unique.

962
00:43:07,280 --> 00:43:11,040
Speaker 3: In my five plus years, I've never seen anything like that.

963
00:43:11,120 --> 00:43:14,400
Speaker 3: Song got so close before I got here, Glorian, I

964
00:43:14,480 --> 00:43:18,080
Speaker 3: lost to Love and Theft like in that year or

965
00:43:18,120 --> 00:43:20,040
Speaker 3: so far. I got here and it was very close,

966
00:43:20,280 --> 00:43:22,400
Speaker 3: But I have never that Devin Dog. That was crazy

967
00:43:22,440 --> 00:43:24,319
Speaker 3: to me. So it's a spin, it's that was one.

968
00:43:24,400 --> 00:43:26,600
Speaker 3: It was less than one spin. My if I spent

969
00:43:26,640 --> 00:43:29,320
Speaker 3: a song on my show, it's worth sixty or seventy

970
00:43:29,320 --> 00:43:33,040
Speaker 3: points one spin, So it's a significant and I don't

971
00:43:33,040 --> 00:43:34,960
Speaker 3: screw with that if it's close, because I'm staying out

972
00:43:34,960 --> 00:43:37,880
Speaker 3: of any battles right just because I'm not having a

973
00:43:37,960 --> 00:43:40,520
Speaker 3: label or a management team or an artist upset with me.

974
00:43:41,239 --> 00:43:43,440
Speaker 3: And what if if you you know how you do

975
00:43:43,480 --> 00:43:45,520
Speaker 3: snippets sometimes in the morning when you're like going through

976
00:43:45,640 --> 00:43:46,720
Speaker 3: guess you're talking about something.

977
00:43:47,120 --> 00:43:49,680
Speaker 7: How much of a song before it counts as a spin?

978
00:43:49,840 --> 00:43:52,680
Speaker 3: So that's that's a great question because what happens is

979
00:43:52,800 --> 00:43:54,720
Speaker 3: you don't really know where the tone is in a song,

980
00:43:55,640 --> 00:43:58,520
Speaker 3: so I have no idea. So it'll have to hit

981
00:43:58,560 --> 00:44:00,800
Speaker 3: a certain amount of time, and the tone has to play.

982
00:44:00,880 --> 00:44:02,839
Speaker 3: Usually it's in the first half of the song.

983
00:44:03,360 --> 00:44:04,279
Speaker 2: But a tone.

984
00:44:04,080 --> 00:44:07,239
Speaker 3: Hits since is it says, oh, this is count as

985
00:44:07,239 --> 00:44:10,640
Speaker 3: a spin. And sometimes I've spun songs without meaning to

986
00:44:11,719 --> 00:44:13,800
Speaker 3: and given a song way more value. But the problem

987
00:44:13,840 --> 00:44:16,719
Speaker 3: is the next week they have to go above what

988
00:44:16,760 --> 00:44:19,200
Speaker 3: they did the week before the song dies, and I

989
00:44:19,200 --> 00:44:20,799
Speaker 3: have to put them in a bad spot. So I

990
00:44:20,840 --> 00:44:22,600
Speaker 3: really try to watch that now. But that's a really

991
00:44:22,640 --> 00:44:24,799
Speaker 3: good question. There's a hidden tone in songs. Did you

992
00:44:24,800 --> 00:44:27,399
Speaker 3: know that, Mike, Yeah, I didn't know that, and so

993
00:44:27,440 --> 00:44:31,279
Speaker 3: fteen years and didn't know it. Here's Leslie Simon on

994
00:44:31,360 --> 00:44:34,040
Speaker 3: how she became the general manager of Garth Brooks and

995
00:44:34,080 --> 00:44:35,799
Speaker 3: Tricia Yearwood's record labels.

996
00:44:36,480 --> 00:44:39,439
Speaker 9: You know, everything in life happens for a reason. I'm

997
00:44:39,480 --> 00:44:41,960
Speaker 9: a huge believer in that, And I'm also a huge

998
00:44:41,960 --> 00:44:46,120
Speaker 9: believer in one door closing is just making room in

999
00:44:46,160 --> 00:44:50,279
Speaker 9: your life in space for another door opening. And right

1000
00:44:50,400 --> 00:44:55,080
Speaker 9: when so I left Sony and Arista in February of

1001
00:44:55,120 --> 00:44:58,640
Speaker 9: twenty sixteen, and I mean, I want to say it

1002
00:44:58,680 --> 00:45:02,120
Speaker 9: was like either right before that or right after Garth

1003
00:45:02,120 --> 00:45:06,759
Speaker 9: announced he was staffing the Imprint and said for.

1004
00:45:06,760 --> 00:45:13,480
Speaker 3: Garth yeah, I was like Brooks and You're like, yeah,

1005
00:45:13,520 --> 00:45:17,680
Speaker 3: and so how does that happen? And you're still with Garth?

1006
00:45:17,760 --> 00:45:18,239
Speaker 4: Yes? Right?

1007
00:45:18,280 --> 00:45:22,799
Speaker 3: And Tricia Yeah, so uh, how does how does that conversation?

1008
00:45:22,920 --> 00:45:24,839
Speaker 2: Does he call you? Does so?

1009
00:45:24,960 --> 00:45:29,480
Speaker 9: Mandy McCormick was working was the first person that went

1010
00:45:29,520 --> 00:45:31,920
Speaker 9: over to work directly with he and Tricia, and so

1011
00:45:32,040 --> 00:45:34,359
Speaker 9: she was really helping him staff it. She called me

1012
00:45:35,040 --> 00:45:37,120
Speaker 9: and we had a couple of conversations and then she

1013
00:45:37,280 --> 00:45:39,960
Speaker 9: said he's playing the show with a Ryman and we

1014
00:45:40,000 --> 00:45:42,120
Speaker 9: want you to come up and see it. And it

1015
00:45:42,160 --> 00:45:43,879
Speaker 9: was his first time to play the Ryman, y'all, which

1016
00:45:43,920 --> 00:45:44,799
Speaker 9: I did not ever.

1017
00:45:45,360 --> 00:45:46,759
Speaker 3: Yeah, oh ever, I thought it was like his first

1018
00:45:46,760 --> 00:45:48,080
Speaker 3: time to play Rymand, like twenty years in this.

1019
00:45:49,760 --> 00:45:53,160
Speaker 2: He get too big, he quick, I think he did.

1020
00:45:53,200 --> 00:45:55,319
Speaker 9: He all of a sudden he had not played the Rymen,

1021
00:45:55,400 --> 00:45:58,200
Speaker 9: and then he went out and was playing these huge shows.

1022
00:45:58,239 --> 00:46:00,520
Speaker 9: And I don't actually remember the exact story of why

1023
00:46:00,560 --> 00:46:02,920
Speaker 9: he didn't play it until that moment, but it was

1024
00:46:03,360 --> 00:46:05,120
Speaker 9: when I say it was one of the most special

1025
00:46:05,160 --> 00:46:08,319
Speaker 9: music experiences of my life. My husband came up here

1026
00:46:08,360 --> 00:46:11,000
Speaker 9: with me. We went to the show, and at one

1027
00:46:11,000 --> 00:46:14,279
Speaker 9: point in the show, I had tears coming down my

1028
00:46:14,320 --> 00:46:16,120
Speaker 9: face and my husband looked at me and he's like,

1029
00:46:17,120 --> 00:46:21,520
Speaker 9: that's a visceral reaction to music, and if you are

1030
00:46:21,760 --> 00:46:24,399
Speaker 9: emotional in a happy way, not a sad way. I mean,

1031
00:46:24,400 --> 00:46:27,960
Speaker 9: it was just so it was such a beautiful performance.

1032
00:46:28,000 --> 00:46:30,920
Speaker 9: I mean, here he's playing these covers at the beginning

1033
00:46:31,440 --> 00:46:34,360
Speaker 9: with the with the curtains closed on the stage of

1034
00:46:34,400 --> 00:46:37,960
Speaker 9: the Rhymen, and he's playing George Jones and Johnny Cash

1035
00:46:38,040 --> 00:46:40,160
Speaker 9: and just this You're like, oh my gosh.

1036
00:46:40,239 --> 00:46:40,760
Speaker 8: I mean, you're.

1037
00:46:40,640 --> 00:46:45,040
Speaker 9: Listening to this amazing music and from him, and then

1038
00:46:45,239 --> 00:46:47,160
Speaker 9: he and Tricia come on stage together. It was just

1039
00:46:47,320 --> 00:46:51,479
Speaker 9: it was really a powerful night. And the next day

1040
00:46:53,239 --> 00:46:55,680
Speaker 9: I remember my husband looking at Mandy and is like,

1041
00:46:56,520 --> 00:46:59,080
Speaker 9: she's going to do this. And then he called me

1042
00:46:59,400 --> 00:47:02,239
Speaker 9: that night the next night and we just had a

1043
00:47:02,280 --> 00:47:05,160
Speaker 9: conversation about, you know, kind of where I was in

1044
00:47:05,160 --> 00:47:07,480
Speaker 9: my life and what I wanted to do and what

1045
00:47:07,560 --> 00:47:10,040
Speaker 9: he wanted to do with the label, and you know

1046
00:47:10,120 --> 00:47:13,440
Speaker 9: where he was. And at that point, I was like,

1047
00:47:13,480 --> 00:47:15,640
Speaker 9: I'm in It's weird.

1048
00:47:15,400 --> 00:47:19,279
Speaker 3: When Garth calls on the phone. It's weird because you're

1049
00:47:19,320 --> 00:47:21,160
Speaker 3: just like, that's crazy. The guard's voice is coming out

1050
00:47:21,160 --> 00:47:22,080
Speaker 3: of a little phone right.

1051
00:47:21,960 --> 00:47:24,440
Speaker 9: There, and he's just the kindest.

1052
00:47:24,600 --> 00:47:25,839
Speaker 3: Yeah, that's weird too.

1053
00:47:25,960 --> 00:47:29,080
Speaker 9: He's so kind and he's so gracious, and he's so

1054
00:47:30,280 --> 00:47:36,440
Speaker 9: he listens better than anybody I know. I mean, like

1055
00:47:36,480 --> 00:47:39,480
Speaker 9: he literally listens to the words coming out of your

1056
00:47:39,520 --> 00:47:42,360
Speaker 9: mouth and what you're saying. And some people are thinking

1057
00:47:42,360 --> 00:47:44,360
Speaker 9: about what they're going to say next when they're talking

1058
00:47:44,360 --> 00:47:44,920
Speaker 9: to somebody.

1059
00:47:45,400 --> 00:47:46,480
Speaker 8: He doesn't.

1060
00:47:46,520 --> 00:47:46,960
Speaker 2: I agree.

1061
00:47:47,080 --> 00:47:49,040
Speaker 3: It's again, I keep using the word weird because you

1062
00:47:49,080 --> 00:47:52,520
Speaker 3: just don't expect a massive start, the biggest star in

1063
00:47:52,560 --> 00:47:54,720
Speaker 3: the world. I have time, yeah, hard to care.

1064
00:47:54,719 --> 00:47:57,480
Speaker 9: And he all that he makes the time and he cares.

1065
00:47:57,520 --> 00:48:01,000
Speaker 9: He really cares about human beings. And I mean Tricia

1066
00:48:01,280 --> 00:48:04,400
Speaker 9: is the same. She's one of my very best friends.

1067
00:48:04,440 --> 00:48:08,319
Speaker 9: I just absolutely adore them. And I have to say,

1068
00:48:08,360 --> 00:48:11,720
Speaker 9: I mean, you know, I started in September of twenty sixteen,

1069
00:48:12,400 --> 00:48:15,160
Speaker 9: and you know, here I was the gem of their

1070
00:48:15,239 --> 00:48:19,400
Speaker 9: labels and we're launching this new team and this new music.

1071
00:48:19,560 --> 00:48:23,920
Speaker 9: And six months after I started, I was diagnosed with

1072
00:48:23,960 --> 00:48:30,480
Speaker 9: cancer and both of them immediately went into whatever you

1073
00:48:30,560 --> 00:48:34,279
Speaker 9: need every single time that I called him, and I

1074
00:48:34,400 --> 00:48:36,480
Speaker 9: was like, Okay, I want to really not focus on

1075
00:48:36,520 --> 00:48:39,239
Speaker 9: the cancer. I want to feel normal and focus on work.

1076
00:48:39,280 --> 00:48:41,400
Speaker 9: And so, you know, after I had the surgery and

1077
00:48:42,920 --> 00:48:44,600
Speaker 9: i'd kind of get over the hump of chemo, I

1078
00:48:44,600 --> 00:48:48,800
Speaker 9: would call him to talk about work, and he'd answer

1079
00:48:48,800 --> 00:48:50,480
Speaker 9: the phone and he'd stop me.

1080
00:48:50,520 --> 00:48:51,759
Speaker 8: I mean, I'd go, hey, howy doing.

1081
00:48:51,760 --> 00:48:52,839
Speaker 9: I want to talk to you about it, and I'd

1082
00:48:52,880 --> 00:48:56,000
Speaker 9: just like dive in and he's like, WHOA, hey doing,

1083
00:48:56,640 --> 00:48:59,680
Speaker 9: and I'm like, I'm good, how are you feeling? And

1084
00:49:00,000 --> 00:49:03,439
Speaker 9: I would always stop and want to talk about how

1085
00:49:03,520 --> 00:49:06,920
Speaker 9: I was, and I felt like with both he and

1086
00:49:06,960 --> 00:49:12,280
Speaker 9: Tricia my health and where I was, not just physically,

1087
00:49:12,360 --> 00:49:15,440
Speaker 9: but I mean, you know this kind of a disease

1088
00:49:15,760 --> 00:49:20,200
Speaker 9: is it's emotionally trying as well. And they were always

1089
00:49:20,280 --> 00:49:24,120
Speaker 9: so concerned about me and my family and how we

1090
00:49:24,200 --> 00:49:28,680
Speaker 9: were doing in the juggle. And I remember saying to him,

1091
00:49:29,080 --> 00:49:32,680
Speaker 9: I need to work. I need to feel normal, and

1092
00:49:32,840 --> 00:49:36,960
Speaker 9: working makes me feel normal, and he was like, you know,

1093
00:49:37,680 --> 00:49:39,200
Speaker 9: you can work as much as you want to, but

1094
00:49:39,320 --> 00:49:40,920
Speaker 9: you also need to take care of yourself.

1095
00:49:42,200 --> 00:49:49,279
Speaker 3: You felt supported personally and professionally, which makes you feel

1096
00:49:49,320 --> 00:49:52,279
Speaker 3: even more supported personally exactly.

1097
00:49:52,960 --> 00:50:03,640
Speaker 6: The Bobby Cast will be right back. This is the

1098
00:50:03,719 --> 00:50:04,960
Speaker 6: Bobby Cast.

1099
00:50:05,400 --> 00:50:08,080
Speaker 3: Nathan Chapman is a Grammy Award winning producer who worked

1100
00:50:08,080 --> 00:50:10,279
Speaker 3: with Taylor Swift before she even had a record deal.

1101
00:50:10,560 --> 00:50:13,120
Speaker 3: He talks about that and what his role was as

1102
00:50:13,160 --> 00:50:19,120
Speaker 3: a producer. So Liz, who I love and know Liz,

1103
00:50:20,280 --> 00:50:24,239
Speaker 3: She's like produced these demos. But how produced were the demos?

1104
00:50:24,480 --> 00:50:28,960
Speaker 3: Were they you know you got instruments, drums or was

1105
00:50:29,040 --> 00:50:32,000
Speaker 3: it you know, just Taylor at vocal? I like, what

1106
00:50:32,040 --> 00:50:33,640
Speaker 3: was the what was the early Taylor demos?

1107
00:50:33,760 --> 00:50:35,920
Speaker 2: Like they sound like the first record.

1108
00:50:35,760 --> 00:50:39,080
Speaker 3: Did a lot of them turn into the record Tied.

1109
00:50:38,920 --> 00:50:41,640
Speaker 10: Together with a smile is just the demo upgraded. It's

1110
00:50:41,680 --> 00:50:44,400
Speaker 10: one of the tracks on that first album. And but

1111
00:50:44,440 --> 00:50:46,840
Speaker 10: we we went in and recut a lot of that stuff.

1112
00:50:46,880 --> 00:50:49,920
Speaker 10: Because I didn't have a budget, I was just playing

1113
00:50:49,920 --> 00:50:53,280
Speaker 10: everything myself. You know, demos are still kind of cheap.

1114
00:50:53,960 --> 00:50:56,279
Speaker 10: You try to make as cheap as you can. But

1115
00:50:56,440 --> 00:51:00,719
Speaker 10: then when I remember when Scott and Taylor called me

1116
00:51:00,760 --> 00:51:03,480
Speaker 10: on speakerphone and said, hey, you know, we want you

1117
00:51:03,520 --> 00:51:05,600
Speaker 10: to go in and track some songs. It was basically

1118
00:51:05,640 --> 00:51:08,600
Speaker 10: an audition. Scott was like, this guy, the demo guy,

1119
00:51:08,640 --> 00:51:12,200
Speaker 10: you shata you made Scott Scott wisheada because Taylor she

1120
00:51:12,320 --> 00:51:14,560
Speaker 10: had been in the studio with a couple of different people,

1121
00:51:14,600 --> 00:51:16,759
Speaker 10: and she just felt like that the demos we were

1122
00:51:16,760 --> 00:51:19,960
Speaker 10: making really captured what she wanted. And I was twenty

1123
00:51:19,960 --> 00:51:23,719
Speaker 10: eight and she was fourteen or fifteen, and neither one

1124
00:51:23,760 --> 00:51:25,160
Speaker 10: of us had a clue what we were doing. We're

1125
00:51:25,160 --> 00:51:27,640
Speaker 10: just making music. I certainly didn't have any clue what

1126
00:51:27,680 --> 00:51:29,480
Speaker 10: was going on. I was just making songs.

1127
00:51:29,520 --> 00:51:31,600
Speaker 3: Why do you think she was drawn to what you

1128
00:51:31,680 --> 00:51:36,080
Speaker 3: two were doing versus what she had experienced so far well.

1129
00:51:36,160 --> 00:51:39,400
Speaker 10: I mean I was playing all the instruments I had.

1130
00:51:39,440 --> 00:51:41,160
Speaker 10: There was a couple of times I would bring in

1131
00:51:41,200 --> 00:51:43,880
Speaker 10: bass and drums from rhythm section guys, but I was

1132
00:51:43,920 --> 00:51:46,319
Speaker 10: playing all the guitars. And I think it just I

1133
00:51:46,320 --> 00:51:50,560
Speaker 10: think it just sounded younger maybe then, like the way

1134
00:51:51,200 --> 00:51:53,839
Speaker 10: even now, it's like, you know, there's the track guy.

1135
00:51:53,840 --> 00:51:55,920
Speaker 10: I'm making air quotes for people who are only listening

1136
00:51:56,080 --> 00:51:58,360
Speaker 10: the track guys in Nashville where they programmed the drums

1137
00:51:58,400 --> 00:52:01,480
Speaker 10: and they get a sample from splice. Well, sometimes that

1138
00:52:01,640 --> 00:52:04,080
Speaker 10: stuff is just captures the magic and it just sounds

1139
00:52:04,080 --> 00:52:07,040
Speaker 10: like what is going on or what's happening. It doesn't

1140
00:52:07,080 --> 00:52:10,640
Speaker 10: sound old and stodgy. I think for some reason, when

1141
00:52:10,680 --> 00:52:12,640
Speaker 10: we would make those demos and then she would go

1142
00:52:12,680 --> 00:52:15,960
Speaker 10: in the studio with a producer and with a band,

1143
00:52:16,160 --> 00:52:18,360
Speaker 10: and it would almost kind of like take the cool

1144
00:52:18,400 --> 00:52:21,200
Speaker 10: out of it, I guess, and it's happened to me.

1145
00:52:21,280 --> 00:52:23,120
Speaker 10: I've been the guy who's taking the cool out of

1146
00:52:23,160 --> 00:52:26,279
Speaker 10: songs where you have a demo that's just awesome, it's

1147
00:52:26,400 --> 00:52:28,600
Speaker 10: really cool. And I'm sure you've heard those. I'm sure

1148
00:52:28,640 --> 00:52:30,200
Speaker 10: artists like, hey, I just wrote this song, what do

1149
00:52:30,239 --> 00:52:32,080
Speaker 10: you think of this? You know, before it's even being recorded.

1150
00:52:32,520 --> 00:52:35,520
Speaker 10: Then you go and record it and it's better technically,

1151
00:52:35,719 --> 00:52:38,799
Speaker 10: but it's just not as exciting, you know. And there

1152
00:52:38,880 --> 00:52:40,759
Speaker 10: was something to what me and Taylor were doing where

1153
00:52:40,760 --> 00:52:43,640
Speaker 10: it was like she was writing these songs that were

1154
00:52:44,040 --> 00:52:46,360
Speaker 10: super odd ball for the time. You know, Tim McGraw

1155
00:52:46,440 --> 00:52:48,000
Speaker 10: was the title of one of the songs. You know,

1156
00:52:48,760 --> 00:52:50,880
Speaker 10: they were not they didn't fit anywhere. And then I

1157
00:52:50,960 --> 00:52:54,560
Speaker 10: was doing these productions that really didn't have any business

1158
00:52:54,680 --> 00:52:57,040
Speaker 10: being in Nashville. I was more I was trying to

1159
00:52:57,040 --> 00:52:59,960
Speaker 10: make like pop music with country instruments kind of thing.

1160
00:53:00,320 --> 00:53:01,640
Speaker 2: So we were just a good fit with that.

1161
00:53:01,680 --> 00:53:06,319
Speaker 10: And she just she went to Scott Borchetta and she's like,

1162
00:53:06,360 --> 00:53:09,000
Speaker 10: I really think these demos just sound more like me.

1163
00:53:09,480 --> 00:53:12,040
Speaker 2: And and he, to his credit, he gave he gave

1164
00:53:12,040 --> 00:53:12,600
Speaker 2: me a budget.

1165
00:53:12,640 --> 00:53:14,479
Speaker 10: He gave a demo guy a budget and never really

1166
00:53:14,480 --> 00:53:17,480
Speaker 10: done anything and gave me a shot.

1167
00:53:17,680 --> 00:53:20,560
Speaker 3: So when Taylor's making Tim McCraw, which you just brought up,

1168
00:53:20,560 --> 00:53:23,280
Speaker 3: which is a good example, it didn't sound or feel

1169
00:53:23,400 --> 00:53:26,200
Speaker 3: or it wasn't like what was happening here at the time.

1170
00:53:26,800 --> 00:53:28,800
Speaker 2: Well, I mean it kind of it wasn't.

1171
00:53:28,800 --> 00:53:31,040
Speaker 10: It wasn't, you know, I mean her her youth, and

1172
00:53:31,080 --> 00:53:34,920
Speaker 10: her her songwriting, her perspective, her story, which was, you know,

1173
00:53:35,560 --> 00:53:38,560
Speaker 10: I'm in high school and I'm feeling I'm feeling these

1174
00:53:38,560 --> 00:53:41,000
Speaker 10: feelings and I'm feeling rejected or I'm feeling like I'm

1175
00:53:41,000 --> 00:53:44,560
Speaker 10: in love, and you know that combined with a twenty

1176
00:53:44,560 --> 00:53:47,520
Speaker 10: eight year old guy who doesn't really know what he's doing.

1177
00:53:48,440 --> 00:53:51,120
Speaker 2: But it all came together, you know.

1178
00:53:57,680 --> 00:54:00,640
Speaker 3: Do you have to when you're producing And it doesn't

1179
00:54:00,640 --> 00:54:02,600
Speaker 3: have to be Taylor, but it can be. But somebody

1180
00:54:02,640 --> 00:54:05,560
Speaker 3: young who's a teenager. I'm just assuming you have to

1181
00:54:06,239 --> 00:54:08,440
Speaker 3: handle them in a room differently than you would handle

1182
00:54:08,680 --> 00:54:11,120
Speaker 3: an artist that's been there many many times. Just the

1183
00:54:11,160 --> 00:54:14,799
Speaker 3: psychological part of it's tough. So with Taylor, you don't

1184
00:54:14,800 --> 00:54:16,200
Speaker 3: know what you're doing, she doesn't know what she's doing.

1185
00:54:16,480 --> 00:54:19,319
Speaker 3: How do you communicate? Okay, I don't know. If we

1186
00:54:19,440 --> 00:54:21,319
Speaker 3: like how that vocal went, let's do it again? What

1187
00:54:21,360 --> 00:54:22,480
Speaker 3: was that communication? Like?

1188
00:54:22,680 --> 00:54:25,080
Speaker 10: Well, I think we didn't realize it at the time,

1189
00:54:25,120 --> 00:54:27,759
Speaker 10: but because neither one of us had any kind of

1190
00:54:27,800 --> 00:54:32,239
Speaker 10: reputation or any kind of like, you know, success, it

1191
00:54:32,360 --> 00:54:33,080
Speaker 10: was just honest.

1192
00:54:33,560 --> 00:54:33,719
Speaker 4: You know.

1193
00:54:33,719 --> 00:54:36,359
Speaker 10: I remember one time I was like, you don't sound good. Today,

1194
00:54:36,400 --> 00:54:39,759
Speaker 10: go home, We'll work again tomorrow, you know. And would

1195
00:54:39,760 --> 00:54:41,960
Speaker 10: I say that to a big famous person, you know,

1196
00:54:42,040 --> 00:54:45,799
Speaker 10: especially not when I was young, And then she would

1197
00:54:45,800 --> 00:54:49,320
Speaker 10: be like, you know, dude, that track is horrible.

1198
00:54:50,080 --> 00:54:50,279
Speaker 3: You know.

1199
00:54:51,600 --> 00:54:53,440
Speaker 2: I mean, we're just saying what we felt.

1200
00:54:53,480 --> 00:54:57,239
Speaker 10: And there was no I wasn't worried about making a

1201
00:54:57,239 --> 00:55:00,520
Speaker 10: big famous person mad. And then some times I feel

1202
00:55:00,520 --> 00:55:02,640
Speaker 10: like new artists when you're in the room, like me

1203
00:55:02,760 --> 00:55:04,799
Speaker 10: being more of a veteran and then being a new artist,

1204
00:55:04,840 --> 00:55:06,879
Speaker 10: I feel like they want to they want to tell

1205
00:55:06,920 --> 00:55:09,319
Speaker 10: themselves that I must know more than them because I'm

1206
00:55:09,400 --> 00:55:12,440
Speaker 10: older and been doing this longer. But there's a beauty

1207
00:55:12,480 --> 00:55:16,040
Speaker 10: in just like being super honest with people. And if

1208
00:55:16,080 --> 00:55:17,319
Speaker 10: you do it out of love, and you do it

1209
00:55:17,360 --> 00:55:20,120
Speaker 10: because there's a common goal of making something great, then

1210
00:55:20,160 --> 00:55:22,360
Speaker 10: hopefully it doesn't offend.

1211
00:55:21,800 --> 00:55:24,200
Speaker 3: When you make the record. Did you do the entire album?

1212
00:55:24,400 --> 00:55:24,840
Speaker 4: Yeah?

1213
00:55:25,000 --> 00:55:29,239
Speaker 3: So you make the first album. And this is the

1214
00:55:29,280 --> 00:55:31,880
Speaker 3: most cliche question that I can ask, but I just

1215
00:55:32,840 --> 00:55:35,520
Speaker 3: did you feel like there was a shot at something

1216
00:55:36,239 --> 00:55:38,880
Speaker 3: right there, something more than just a good record that

1217
00:55:38,960 --> 00:55:41,160
Speaker 3: may have a couple hits, which what everybody wants. Yeah,

1218
00:55:41,200 --> 00:55:44,920
Speaker 3: did you feel like, all right, we might have something groundbreaking.

1219
00:55:45,800 --> 00:55:46,480
Speaker 2: Well, I will.

1220
00:55:46,680 --> 00:55:49,680
Speaker 10: You have to put it in the context of where

1221
00:55:49,680 --> 00:55:55,000
Speaker 10: I was at the time, where she was a young artist,

1222
00:55:55,320 --> 00:55:59,640
Speaker 10: you know, fifteen, and I think Billy Gilman was in

1223
00:56:00,000 --> 00:56:02,160
Speaker 10: the Rhymes. Were the only two kind of like people

1224
00:56:02,160 --> 00:56:06,480
Speaker 10: who had been successful before her and Scott Borshetta and

1225
00:56:06,520 --> 00:56:10,640
Speaker 10: Big Machine Records had two artists besides Taylor, Jack Ingram

1226
00:56:10,680 --> 00:56:16,200
Speaker 10: and Daniel Peck And I remember collectively, between those two artists,

1227
00:56:16,239 --> 00:56:19,799
Speaker 10: Big Machine had only sold maybe fifty thousand albums as

1228
00:56:19,840 --> 00:56:25,360
Speaker 10: a label. So my hopes were high from a creative

1229
00:56:25,400 --> 00:56:28,440
Speaker 10: place and from knowing that Taylor was really really good,

1230
00:56:28,800 --> 00:56:32,120
Speaker 10: like that she was very very special as far as

1231
00:56:32,120 --> 00:56:37,080
Speaker 10: like songwriting talent, her communication skills and as an artist.

1232
00:56:37,320 --> 00:56:41,799
Speaker 10: But business wise, I was like, this probably won't be

1233
00:56:41,880 --> 00:56:43,320
Speaker 10: that big a deal because.

1234
00:56:43,080 --> 00:56:45,960
Speaker 3: The same reason you mentioned my songwriter friend earlier, Like

1235
00:56:45,960 --> 00:56:48,439
Speaker 3: you said, you just looked at the landscape, you saw

1236
00:56:48,520 --> 00:56:53,920
Speaker 3: what was being created and sold. Yeah, and it probably

1237
00:56:53,960 --> 00:56:56,160
Speaker 3: just looking at the numbers mathematically, wasn't.

1238
00:56:55,960 --> 00:56:57,080
Speaker 2: Going to be that big of a deal.

1239
00:56:57,360 --> 00:56:59,160
Speaker 3: Yeah, even if it was great, even if it was

1240
00:56:59,200 --> 00:57:03,839
Speaker 3: the greatest print that ever, mathematically it probably wasn't going

1241
00:57:03,840 --> 00:57:06,120
Speaker 3: to be as big of a deal as you had hoped.

1242
00:57:06,680 --> 00:57:09,080
Speaker 10: Well, the story of Big Machine Records could be its

1243
00:57:09,080 --> 00:57:11,680
Speaker 10: own documentary of like a David Goliath thing where Scott

1244
00:57:12,200 --> 00:57:15,239
Speaker 10: you know, he had investors pull out like he had.

1245
00:57:15,320 --> 00:57:18,280
Speaker 10: I mean it was they were painting the walls in

1246
00:57:18,320 --> 00:57:20,320
Speaker 10: the building. The paint was still wet. It smelled like

1247
00:57:20,400 --> 00:57:22,440
Speaker 10: wet paint in the Big Machine office when we were

1248
00:57:22,440 --> 00:57:25,160
Speaker 10: stuffing the envelopes to send out her first single. It

1249
00:57:25,280 --> 00:57:28,000
Speaker 10: was so new, and I'd been in Nashville, grew up

1250
00:57:28,040 --> 00:57:31,920
Speaker 10: here long enough to see companies start and fail, you know,

1251
00:57:32,120 --> 00:57:34,720
Speaker 10: So I wasn't like if I if I said I

1252
00:57:34,800 --> 00:57:36,640
Speaker 10: was some kind of savant and could see the future

1253
00:57:36,680 --> 00:57:39,080
Speaker 10: that this was all gonna work, I'd be lying. But

1254
00:57:39,920 --> 00:57:42,720
Speaker 10: a lot of people in town didn't know. It's I

1255
00:57:42,760 --> 00:57:45,520
Speaker 10: will say this. It's not like I didn't believe. It's

1256
00:57:45,520 --> 00:57:48,520
Speaker 10: just I didn't know. I was just like this, This

1257
00:57:48,560 --> 00:57:49,400
Speaker 10: could go either way.

1258
00:57:49,560 --> 00:57:52,720
Speaker 3: You know, Tim McGraw tear drops of my guitar, our

1259
00:57:52,840 --> 00:57:57,000
Speaker 3: song picture to burn. I mean I should have said, no,

1260
00:57:57,760 --> 00:58:01,000
Speaker 3: you know, inside of that are there any of those songs?

1261
00:58:01,040 --> 00:58:02,120
Speaker 3: And it could have been. It could have been a

1262
00:58:02,120 --> 00:58:04,360
Speaker 3: deeper cut too, where you're like, wow, she is quite

1263
00:58:04,360 --> 00:58:07,120
Speaker 3: the communicator here, Like I've been working people around here

1264
00:58:07,120 --> 00:58:09,920
Speaker 3: that can't do this communication at this level.

1265
00:58:10,440 --> 00:58:11,040
Speaker 4: Yeah.

1266
00:58:11,120 --> 00:58:15,480
Speaker 10: Well, I mean our song she wrote by herself when

1267
00:58:15,480 --> 00:58:18,480
Speaker 10: she was like fourteen, and if you think about the

1268
00:58:18,520 --> 00:58:20,800
Speaker 10: lyric of that chorus, it's really genius. That was kind

1269
00:58:20,840 --> 00:58:22,800
Speaker 10: of the first time I was like, oh, dang, like

1270
00:58:23,440 --> 00:58:27,200
Speaker 10: who is this person? Because our song is a slam

1271
00:58:27,200 --> 00:58:30,240
Speaker 10: and screen door, you know, sneaking out late, tapping on

1272
00:58:30,320 --> 00:58:34,120
Speaker 10: your window, talking on the phone, you know, is the

1273
00:58:34,160 --> 00:58:35,760
Speaker 10: way you laugh if you think if.

1274
00:58:35,680 --> 00:58:36,800
Speaker 2: You break that down, like if you.

1275
00:58:36,760 --> 00:58:39,920
Speaker 10: Put that chorus in a in a college literature course,

1276
00:58:40,120 --> 00:58:44,680
Speaker 10: you'd be like, Okay, our song the courus. Everything she's

1277
00:58:44,680 --> 00:58:49,040
Speaker 10: describing is sounds, you know, it's like slam and screen door,

1278
00:58:50,320 --> 00:58:53,320
Speaker 10: tapping on a window. It's like, that's pretty genius, you

1279
00:58:53,360 --> 00:58:58,400
Speaker 10: know for basically a you know, a kid, a minor

1280
00:58:58,440 --> 00:59:01,480
Speaker 10: for you know, writing that kind of stuff by herself.

1281
00:59:01,760 --> 00:59:05,240
Speaker 10: I was like, this is really next level writing. And

1282
00:59:05,880 --> 00:59:09,840
Speaker 10: I was always a fan of her songwriting ability and

1283
00:59:10,520 --> 00:59:12,480
Speaker 10: understood how good it was. But like I said, it

1284
00:59:12,520 --> 00:59:14,200
Speaker 10: was like, I don't know if it's gonna work, but

1285
00:59:14,280 --> 00:59:15,160
Speaker 10: it's really good.

1286
00:59:15,360 --> 00:59:18,960
Speaker 3: So it works. That first record works obviously, do you

1287
00:59:19,080 --> 00:59:21,360
Speaker 3: worry that as the guy who didn't know what he

1288
00:59:21,400 --> 00:59:23,680
Speaker 3: was doing? This is what you said that now, Okay,

1289
00:59:23,680 --> 00:59:25,400
Speaker 3: well she hasked some success. She they're probably going to

1290
00:59:25,400 --> 00:59:27,320
Speaker 3: get somebody now really good, Like, do you worry about

1291
00:59:27,360 --> 00:59:28,680
Speaker 3: that or do you go for Oh, they have to

1292
00:59:28,680 --> 00:59:30,640
Speaker 3: go with me. We just did this together. Oh.

1293
00:59:30,720 --> 00:59:34,080
Speaker 10: I mean I think that from the first record to

1294
00:59:34,080 --> 00:59:37,960
Speaker 10: the second record, there wasn't any time to catch your breath.

1295
00:59:37,960 --> 00:59:40,360
Speaker 3: I mean we just hit just hit the ground running. So, yeah,

1296
00:59:40,400 --> 00:59:41,000
Speaker 3: Fearless came.

1297
00:59:41,080 --> 00:59:43,920
Speaker 10: We started recording Fearless right away because she was writing

1298
00:59:43,920 --> 00:59:49,520
Speaker 10: those songs, and then Speak Now was definitely a lot

1299
00:59:49,520 --> 00:59:51,040
Speaker 10: of pressure because we had one Album of the Year

1300
00:59:51,040 --> 00:59:52,919
Speaker 10: at the Grammys for Fearless, and we were like, Okay,

1301
00:59:52,920 --> 00:59:54,640
Speaker 10: everyone in the world's going to listen to this album.

1302
00:59:54,680 --> 00:59:57,160
Speaker 10: That was a difference between Fearless and Speak Now. When

1303
00:59:57,160 --> 00:59:59,840
Speaker 10: we made Fearless was like people might hear this, you know,

1304
01:00:00,800 --> 01:00:03,520
Speaker 10: but speak Now is like everyone's going to listen to this.

1305
01:00:03,720 --> 01:00:05,720
Speaker 3: Do you think if you could go back in time

1306
01:00:05,760 --> 01:00:08,400
Speaker 3: and there was more of a gap between record one

1307
01:00:08,440 --> 01:00:12,120
Speaker 3: and record two, do you think with success that'd been

1308
01:00:12,120 --> 01:00:14,240
Speaker 3: like let's let's go to somebody who's done this with

1309
01:00:14,280 --> 01:00:17,480
Speaker 3: some bigger artists. Do you think that you were obviously

1310
01:00:18,040 --> 01:00:19,920
Speaker 3: not lucky because of your skill set, but lucky in

1311
01:00:19,960 --> 01:00:22,360
Speaker 3: the timing that since you were just going, you got

1312
01:00:22,360 --> 01:00:23,000
Speaker 3: to keep going.

1313
01:00:23,240 --> 01:00:23,479
Speaker 2: Yeah.

1314
01:00:23,520 --> 01:00:25,480
Speaker 3: And if there would have been a longer break, they

1315
01:00:25,520 --> 01:00:28,320
Speaker 3: would have looked for a more established producer.

1316
01:00:28,680 --> 01:00:32,520
Speaker 10: Yeah, and eventually they did. You know, Max Martin came in.

1317
01:00:33,280 --> 01:00:35,480
Speaker 10: That's one of the pod is stuff though, right, yeah,

1318
01:00:35,520 --> 01:00:37,600
Speaker 10: and that's and that's how I sleep at night. I'm like, oh,

1319
01:00:37,640 --> 01:00:40,640
Speaker 10: she she didn't fire me, she just changed genres.

1320
01:00:40,760 --> 01:00:42,720
Speaker 3: Oh. I always I always felt it that way. I

1321
01:00:42,720 --> 01:00:45,160
Speaker 3: felt like, you know, that was a switch, because she switched.

1322
01:00:45,400 --> 01:00:47,760
Speaker 3: But I just think it's so amazing that she had

1323
01:00:47,800 --> 01:00:49,640
Speaker 3: to continue making She didn't have to be You guys

1324
01:00:49,680 --> 01:00:51,240
Speaker 3: kept making music between one and two. And if there

1325
01:00:51,280 --> 01:00:53,000
Speaker 3: would have been a break, that had been like, hey,

1326
01:00:53,000 --> 01:00:56,080
Speaker 3: the record was such a success, maybe we upgraded producers.

1327
01:00:56,280 --> 01:00:58,280
Speaker 2: Yeah, well they Yeah, and.

1328
01:00:59,680 --> 01:01:03,040
Speaker 10: The security that we all have as music makers would

1329
01:01:03,240 --> 01:01:03,840
Speaker 10: would say that.

1330
01:01:03,960 --> 01:01:04,160
Speaker 4: Yes.

1331
01:01:04,240 --> 01:01:05,080
Speaker 2: I was thinking that.

1332
01:01:05,360 --> 01:01:09,720
Speaker 10: I was also just really focused on enjoying what we

1333
01:01:09,720 --> 01:01:11,360
Speaker 10: were doing and trying to make the best music we

1334
01:01:11,400 --> 01:01:15,200
Speaker 10: could and and I figured like it can't go forever,

1335
01:01:15,400 --> 01:01:18,400
Speaker 10: you know, But I was grateful that she came back.

1336
01:01:18,600 --> 01:01:20,920
Speaker 10: And yeah, if there had been a long time, or

1337
01:01:20,960 --> 01:01:23,040
Speaker 10: if the first record hadn't done very well, like the

1338
01:01:23,080 --> 01:01:26,960
Speaker 10: first record sold a lot too. Yeah, if if something

1339
01:01:27,000 --> 01:01:29,600
Speaker 10: had happened where it was like a real you know,

1340
01:01:29,680 --> 01:01:33,160
Speaker 10: face plant, like on a release or something, I think

1341
01:01:33,160 --> 01:01:36,200
Speaker 10: that that would have that would have happened earlier. But

1342
01:01:36,240 --> 01:01:39,240
Speaker 10: we were We were together from the first album, second

1343
01:01:39,320 --> 01:01:41,919
Speaker 10: third half of Red, and then I had one track

1344
01:01:41,920 --> 01:01:44,400
Speaker 10: on nineteen eighty nine, So it was a really good time.

1345
01:01:45,000 --> 01:01:47,520
Speaker 3: Before you take a project, or let's say you just

1346
01:01:47,680 --> 01:01:51,480
Speaker 3: say I will produce this artist, Okay, what is the

1347
01:01:51,720 --> 01:01:55,640
Speaker 3: pre of what you have to do before they come

1348
01:01:55,680 --> 01:01:57,160
Speaker 3: in and actually start recording?

1349
01:01:58,480 --> 01:01:59,560
Speaker 2: Okay, that's a great question.

1350
01:02:01,240 --> 01:02:04,280
Speaker 10: I think that it's like measure twice cut once, you know,

1351
01:02:04,320 --> 01:02:06,840
Speaker 10: in construction. It's like the more thought you can put

1352
01:02:06,880 --> 01:02:10,080
Speaker 10: into the project before you get the studio, the better.

1353
01:02:10,680 --> 01:02:15,880
Speaker 10: Sometimes that's the artist is obsessively overthinking what their record's

1354
01:02:15,920 --> 01:02:18,160
Speaker 10: going to be, and I'm there to just kind of.

1355
01:02:18,160 --> 01:02:18,960
Speaker 2: Help realize it.

1356
01:02:19,280 --> 01:02:22,720
Speaker 3: Do you mean in concept or in sound or because again,

1357
01:02:22,760 --> 01:02:25,640
Speaker 3: your job is all encompassing, like you're you're producing the record,

1358
01:02:25,960 --> 01:02:29,480
Speaker 3: you're the guy, you know, vocal. Everything has got to

1359
01:02:29,520 --> 01:02:31,800
Speaker 3: go through your lens with the help of you know,

1360
01:02:31,880 --> 01:02:34,000
Speaker 3: the artist, but your name on it.

1361
01:02:34,200 --> 01:02:36,320
Speaker 2: Yeah. But when you mean they're.

1362
01:02:36,160 --> 01:02:38,440
Speaker 3: Overthinking it in what way do a lot of artists

1363
01:02:38,480 --> 01:02:39,960
Speaker 3: overthink their their music?

1364
01:02:40,160 --> 01:02:41,600
Speaker 2: Well, it's different for everybody.

1365
01:02:41,640 --> 01:02:44,880
Speaker 10: I think that for someone since we were talking about Keith,

1366
01:02:44,920 --> 01:02:48,000
Speaker 10: for someone like Keith like he has a real, really

1367
01:02:48,040 --> 01:02:52,960
Speaker 10: clear idea of what his next step is artistically, what

1368
01:02:53,040 --> 01:02:55,840
Speaker 10: his next what the next paragraph is in the conversation

1369
01:02:55,920 --> 01:03:00,520
Speaker 10: with his fans, all of our big artists and country

1370
01:03:00,600 --> 01:03:03,120
Speaker 10: music they are having we don't realize it because we're

1371
01:03:03,160 --> 01:03:05,400
Speaker 10: all fans. I'm a country music fan, I'm a pop

1372
01:03:05,440 --> 01:03:08,240
Speaker 10: music fan. I love all music. But one thing that

1373
01:03:08,280 --> 01:03:11,440
Speaker 10: country music artists are doing, whether the fans realize it

1374
01:03:11,520 --> 01:03:14,600
Speaker 10: or not, is they're having a conversation with you. They're

1375
01:03:14,640 --> 01:03:17,200
Speaker 10: telling you stories that they want to get a reaction

1376
01:03:17,320 --> 01:03:20,920
Speaker 10: from you. Whether it's you know, something that we're kind

1377
01:03:20,920 --> 01:03:22,840
Speaker 10: of used to about being on a back road, or

1378
01:03:22,880 --> 01:03:26,400
Speaker 10: whether it's like, you know, something like where Caane Brown's

1379
01:03:26,560 --> 01:03:28,919
Speaker 10: move where he kind of did that song about love

1380
01:03:29,040 --> 01:03:32,640
Speaker 10: and everybody coming together, and it's like whatever, you know,

1381
01:03:32,760 --> 01:03:35,080
Speaker 10: Miranda might be killing a guy, you know, it's like

1382
01:03:35,240 --> 01:03:39,040
Speaker 10: we're it's basically we're being told stories by storytellers. And

1383
01:03:39,720 --> 01:03:42,160
Speaker 10: any great story doesn't just say the same thing over

1384
01:03:42,200 --> 01:03:42,480
Speaker 10: and over.

1385
01:03:42,560 --> 01:03:44,240
Speaker 2: There's like an arc to it.

1386
01:03:44,400 --> 01:03:47,160
Speaker 10: So depending on where someone is in their career, depending

1387
01:03:47,160 --> 01:03:50,400
Speaker 10: on where they are in their relationship with their fans,

1388
01:03:50,520 --> 01:03:53,160
Speaker 10: is where they're going to be in that story. And

1389
01:03:53,680 --> 01:03:55,760
Speaker 10: you know, when you think back to great artists like

1390
01:03:56,480 --> 01:04:01,200
Speaker 10: Cash and Haggard and you know, Mac and tire McBride,

1391
01:04:01,280 --> 01:04:04,280
Speaker 10: I mean, Hill, whatever it is, it's like you when

1392
01:04:04,280 --> 01:04:06,800
Speaker 10: you look back on an artist's career after they've been

1393
01:04:06,800 --> 01:04:08,600
Speaker 10: doing it for a couple decades, you feel like you

1394
01:04:08,760 --> 01:04:10,840
Speaker 10: really have been on a journey with them. If you're

1395
01:04:10,840 --> 01:04:13,200
Speaker 10: a diehard and you're buying every record, listen to every song.

1396
01:04:13,800 --> 01:04:16,280
Speaker 10: And that's what I feel like what I mean by

1397
01:04:16,360 --> 01:04:20,320
Speaker 10: over obsessed. And the music part of that is kind

1398
01:04:20,320 --> 01:04:24,000
Speaker 10: of subordinate to the story. In country music, in pop music,

1399
01:04:24,000 --> 01:04:27,640
Speaker 10: it's like, you know, whatever, the storytelling is almost in

1400
01:04:27,680 --> 01:04:30,040
Speaker 10: the musical Side's like remember when Bieber put the song

1401
01:04:30,800 --> 01:04:33,440
Speaker 10: out the where Are You Now? Had that weird whistle

1402
01:04:33,520 --> 01:04:35,960
Speaker 10: sound in it, and everyone's like, WHOA what is that?

1403
01:04:36,040 --> 01:04:36,240
Speaker 3: You know?

1404
01:04:36,320 --> 01:04:38,320
Speaker 10: That was kind of his way of talking to his

1405
01:04:38,320 --> 01:04:40,360
Speaker 10: fans is like, Hey, this is where we're going now musically,

1406
01:04:40,600 --> 01:04:43,000
Speaker 10: we're doing this, now, we're doing that, Then we're going

1407
01:04:43,080 --> 01:04:44,880
Speaker 10: to do was that song Lonely he had.

1408
01:04:44,920 --> 01:04:46,320
Speaker 3: That was like the ballad?

1409
01:04:46,440 --> 01:04:46,920
Speaker 2: Yeahah.

1410
01:04:46,960 --> 01:04:48,720
Speaker 10: So it's like I feel like in pop, it's like

1411
01:04:48,760 --> 01:04:51,960
Speaker 10: it's it's a similar journey with an artist, but it's

1412
01:04:52,000 --> 01:04:54,400
Speaker 10: a lot more about the musicality of things and where

1413
01:04:54,440 --> 01:04:56,760
Speaker 10: we're going sound wise, and what are we partying or

1414
01:04:56,800 --> 01:04:57,520
Speaker 10: are we crying?

1415
01:04:57,600 --> 01:05:00,160
Speaker 2: Or with country music, it's like where are we in

1416
01:05:00,160 --> 01:05:01,120
Speaker 2: our lives right now?

1417
01:05:01,160 --> 01:05:03,160
Speaker 10: Like where are we going through? What are we hurting about?

1418
01:05:03,200 --> 01:05:05,880
Speaker 10: What are we happy about? What are we feeling when

1419
01:05:05,960 --> 01:05:07,600
Speaker 10: we blow off steam? How do we want to do that?

1420
01:05:07,760 --> 01:05:09,520
Speaker 10: Or we had a bonfire or we had a club.

1421
01:05:09,560 --> 01:05:12,000
Speaker 10: You know, there's all those things. And I feel like

1422
01:05:12,400 --> 01:05:14,120
Speaker 10: I feel like the best records that I've made have

1423
01:05:14,160 --> 01:05:16,000
Speaker 10: been with artists who have a really clear idea of

1424
01:05:16,040 --> 01:05:20,439
Speaker 10: what's next, what they're trying to say, and who they're

1425
01:05:20,440 --> 01:05:22,280
Speaker 10: trying to be and where they are with their fans.

1426
01:05:22,400 --> 01:05:26,120
Speaker 10: So so like with Keith, it's like he had a

1427
01:05:26,160 --> 01:05:29,160
Speaker 10: really clear vision of what that Fuse album was supposed

1428
01:05:29,200 --> 01:05:32,360
Speaker 10: to be, and in his perfect world.

1429
01:05:32,400 --> 01:05:33,800
Speaker 2: No other album does that.

1430
01:05:33,800 --> 01:05:35,920
Speaker 10: That album did that, and the next album does this,

1431
01:05:36,560 --> 01:05:40,000
Speaker 10: and someone like when I was meeting with Tom Becchy

1432
01:05:40,640 --> 01:05:44,160
Speaker 10: with that new band Homegrown that I'm going to work with.

1433
01:05:44,280 --> 01:05:47,440
Speaker 10: I love those guys and Tom's a great manager. Autumn

1434
01:05:47,440 --> 01:05:51,360
Speaker 10: Houses working with that too with that project too. They're

1435
01:05:51,360 --> 01:05:53,360
Speaker 10: at the beginning of the story. How do you start

1436
01:05:53,400 --> 01:05:53,880
Speaker 10: the story?

1437
01:05:54,120 --> 01:05:54,320
Speaker 4: You know?

1438
01:05:54,400 --> 01:05:56,760
Speaker 10: I think that's one thing about country music that I

1439
01:05:56,800 --> 01:05:57,840
Speaker 10: don't want to get lost.

1440
01:05:58,080 --> 01:05:58,920
Speaker 2: The more we.

1441
01:06:00,520 --> 01:06:03,840
Speaker 10: Kind of do business like la and like pop, it's like,

1442
01:06:03,960 --> 01:06:06,360
Speaker 10: I don't want to lose the story. That's my biggest thing.

1443
01:06:06,400 --> 01:06:08,560
Speaker 10: And I feel like the great artists, the people we

1444
01:06:08,600 --> 01:06:11,080
Speaker 10: really look up to in country music, they have.

1445
01:06:11,000 --> 01:06:14,080
Speaker 3: That so extremely macro is what I'm hearing, because you're like,

1446
01:06:14,200 --> 01:06:17,520
Speaker 3: story wide, are we We're gonna then figure out everything

1447
01:06:17,520 --> 01:06:19,640
Speaker 3: that goes inside of the bucket that you've now told

1448
01:06:19,640 --> 01:06:21,400
Speaker 3: me we need to fill. And so if it's a

1449
01:06:21,440 --> 01:06:25,040
Speaker 3: new artist, are you there's a lot of songs? Are

1450
01:06:25,080 --> 01:06:27,280
Speaker 3: you then picking and cutting songs based on not how

1451
01:06:27,320 --> 01:06:30,560
Speaker 3: good they are, but if it's a tie, okay, which

1452
01:06:30,560 --> 01:06:32,680
Speaker 3: one better? Defines where you are right now? And making

1453
01:06:32,720 --> 01:06:37,120
Speaker 3: this project like all the decisions even sounds inside the Sonically,

1454
01:06:37,600 --> 01:06:40,840
Speaker 3: all those decisions are kind of based on I'm assuming

1455
01:06:40,880 --> 01:06:43,400
Speaker 3: some communication you've had before, like where are you? And

1456
01:06:43,440 --> 01:06:44,920
Speaker 3: now we're going to make sure everything we put in

1457
01:06:44,920 --> 01:06:46,880
Speaker 3: this bucket is exactly on brand.

1458
01:06:46,600 --> 01:06:47,560
Speaker 2: With that well.

1459
01:06:47,560 --> 01:06:49,320
Speaker 10: And what's fun about a new artist is that there

1460
01:06:49,360 --> 01:06:52,120
Speaker 10: may not be a bucket, and the bucket kind of

1461
01:06:52,120 --> 01:06:54,880
Speaker 10: forms around the water, so to speak. You know, it's

1462
01:06:54,920 --> 01:06:59,000
Speaker 10: like sometimes it's like, okay, what's going to work? Like

1463
01:06:59,280 --> 01:07:01,240
Speaker 10: they have to get on the map, you know, So

1464
01:07:01,280 --> 01:07:03,400
Speaker 10: what what of all the songs you've written in the

1465
01:07:03,440 --> 01:07:05,720
Speaker 10: last year, which ones do we feel like might move

1466
01:07:05,760 --> 01:07:08,720
Speaker 10: the needle. It used to be a radio conversation and

1467
01:07:08,760 --> 01:07:11,680
Speaker 10: now it's both a radio and streaming conversation and ExM

1468
01:07:11,720 --> 01:07:14,720
Speaker 10: and of like what's going to work? What's going to connect?

1469
01:07:14,920 --> 01:07:16,800
Speaker 10: Is it going to be a streaming hit and or

1470
01:07:16,840 --> 01:07:18,200
Speaker 10: is it going to be a radio hit? Or is

1471
01:07:18,200 --> 01:07:20,960
Speaker 10: it going to be something that Exam will play or

1472
01:07:21,040 --> 01:07:23,240
Speaker 10: is it just something that will work great live. It's

1473
01:07:23,280 --> 01:07:26,240
Speaker 10: like you just got to move that needle first and

1474
01:07:26,320 --> 01:07:29,240
Speaker 10: almost like figure it out after that. And a lot

1475
01:07:29,280 --> 01:07:31,680
Speaker 10: of times a brand new artist, they don't have fans,

1476
01:07:31,720 --> 01:07:34,040
Speaker 10: they don't have a conversation yet so they don't know

1477
01:07:34,040 --> 01:07:35,280
Speaker 10: what they're supposed to say. I don't know who the

1478
01:07:35,280 --> 01:07:36,919
Speaker 10: people are who are really going to be drawn to them,

1479
01:07:37,080 --> 01:07:38,640
Speaker 10: what age group they're going to be, and all that.

1480
01:07:39,080 --> 01:07:40,320
Speaker 2: We'll stick with Keith for a seconds.

1481
01:07:40,320 --> 01:07:43,720
Speaker 3: That's we were talking about him, knowing him a little bit,

1482
01:07:43,800 --> 01:07:46,880
Speaker 3: not only personally, but you know, I've been to his

1483
01:07:46,960 --> 01:07:49,600
Speaker 3: studio in his house and I've seen him and he's

1484
01:07:49,680 --> 01:07:53,040
Speaker 3: all over the place, just as what I see, but

1485
01:07:53,160 --> 01:07:55,680
Speaker 3: just him and I. He's moving and he's turning things

1486
01:07:55,720 --> 01:07:57,200
Speaker 3: up and he's like, well just watch this point at

1487
01:07:57,240 --> 01:07:59,320
Speaker 3: this and go here, oh my, And you're like, why

1488
01:07:59,520 --> 01:08:01,240
Speaker 3: is he? Like had to work with too where he's

1489
01:08:01,320 --> 01:08:03,600
Speaker 3: got so much energy and he's doing nine things at once,

1490
01:08:03,640 --> 01:08:06,480
Speaker 3: and he's got visions that he's explaining, but it's almost

1491
01:08:06,560 --> 01:08:08,640
Speaker 3: you can't understand his vision because it's a vision.

1492
01:08:09,120 --> 01:08:10,520
Speaker 2: Is that what working with Keith is? Like?

1493
01:08:10,680 --> 01:08:13,320
Speaker 10: Yeah, it's awesome. I mean, he's he's definitely Before I

1494
01:08:13,360 --> 01:08:15,480
Speaker 10: worked with him, I was like a bucket list artist

1495
01:08:15,560 --> 01:08:19,120
Speaker 10: for sure. And the first song we ever did was

1496
01:08:19,960 --> 01:08:22,120
Speaker 10: the song with Miranda We were uss.

1497
01:08:22,479 --> 01:08:23,240
Speaker 2: That was the song.

1498
01:08:23,360 --> 01:08:26,599
Speaker 10: It was John Knight, Jimmy Robbins and Nicole Gallions all

1499
01:08:26,680 --> 01:08:29,240
Speaker 10: their first number one, and that was the first song

1500
01:08:29,280 --> 01:08:32,519
Speaker 10: I did with Keith, and it was a funny story.

1501
01:08:32,520 --> 01:08:34,880
Speaker 10: We were making that song and he didn't have Miranda's

1502
01:08:34,920 --> 01:08:36,960
Speaker 10: vocal on it obviously because we were just building the track.

1503
01:08:37,000 --> 01:08:41,040
Speaker 10: And he said, uh, I really wish we had a

1504
01:08:41,040 --> 01:08:43,400
Speaker 10: female vocal on here at just a placeholder, just to

1505
01:08:43,439 --> 01:08:45,679
Speaker 10: kind of get us through the production while we're building

1506
01:08:45,720 --> 01:08:48,120
Speaker 10: the track. And I was like, well, my wife's upstairs

1507
01:08:48,120 --> 01:08:50,880
Speaker 10: and she's a great singer. And he's like, oh, go

1508
01:08:51,000 --> 01:08:52,920
Speaker 10: get her. And so I went upstairs and my wife

1509
01:08:52,960 --> 01:08:56,920
Speaker 10: was like seven months pregnant. She had adult braces, and

1510
01:08:56,960 --> 01:08:59,840
Speaker 10: she was finishing a Chick fil A sandwich and she

1511
01:09:00,080 --> 01:09:02,559
Speaker 10: crumbs on her belly, you know, from her belly sticking out.

1512
01:09:02,600 --> 01:09:05,120
Speaker 10: And I was like, hey, babe, Keith's downstairs. He wants

1513
01:09:05,160 --> 01:09:07,080
Speaker 10: you to come sing on this track.

1514
01:09:07,120 --> 01:09:11,400
Speaker 2: And she was like, what do you hate me? I said,

1515
01:09:11,680 --> 01:09:13,840
Speaker 2: come on, just come down here. It'll be fun.

1516
01:09:14,640 --> 01:09:16,880
Speaker 10: She had a great time. She and Keith hit it off.

1517
01:09:16,920 --> 01:09:20,400
Speaker 10: They like had a great like rapport and everything. And she,

1518
01:09:20,720 --> 01:09:23,080
Speaker 10: you know, she like you know, got a little bit

1519
01:09:23,120 --> 01:09:25,080
Speaker 10: dulled up before she came downstairs because she wanted to

1520
01:09:25,240 --> 01:09:28,840
Speaker 10: put a good impression, and so like, three days later,

1521
01:09:29,000 --> 01:09:31,559
Speaker 10: out of nowhere, she goes.

1522
01:09:32,080 --> 01:09:34,240
Speaker 2: Didn't Keith have the best step smelling cologne?

1523
01:09:34,240 --> 01:09:34,320
Speaker 10: Oh?

1524
01:09:34,400 --> 01:09:35,880
Speaker 3: Always everybody says that about Kathy.

1525
01:09:35,920 --> 01:09:38,240
Speaker 2: Yeah, And I'm like, are you thinking about him? Three

1526
01:09:38,360 --> 01:09:41,080
Speaker 2: days later, out of nowhere you bring this up and

1527
01:09:41,080 --> 01:09:43,400
Speaker 2: she was like, kay, he did smell really good.

1528
01:09:43,439 --> 01:09:46,599
Speaker 6: And I was like, oh, let's take a quick pause

1529
01:09:46,680 --> 01:09:48,000
Speaker 6: for a message from our sponsor.

1530
01:09:54,360 --> 01:09:57,679
Speaker 2: Wow. And we're back on the Bobby Cast.

1531
01:09:58,600 --> 01:10:01,320
Speaker 3: Here's Carrie Edwards and she talks about being a manager

1532
01:10:01,360 --> 01:10:05,439
Speaker 3: for Luke, Bryan and Cole Swindell. I wasn't here when

1533
01:10:05,520 --> 01:10:07,879
Speaker 3: Luke started. I was still in Texas.

1534
01:10:08,280 --> 01:10:09,559
Speaker 2: But was Luke?

1535
01:10:10,080 --> 01:10:11,680
Speaker 3: Was there some heat on him when he was a

1536
01:10:11,720 --> 01:10:13,320
Speaker 3: new artist and people were like, oh this new guy

1537
01:10:13,520 --> 01:10:15,200
Speaker 3: or was he like one of the new artists that

1538
01:10:15,479 --> 01:10:18,479
Speaker 3: It took a bit and he he kind of puts

1539
01:10:18,479 --> 01:10:20,040
Speaker 3: some songs down and people are like, I don't know, Like,

1540
01:10:20,080 --> 01:10:21,719
Speaker 3: what was it like like with Luke in the beginning.

1541
01:10:21,960 --> 01:10:24,880
Speaker 11: Well, the first song we released was all my friends say,

1542
01:10:25,280 --> 01:10:27,080
Speaker 11: and it ended up being a top five.

1543
01:10:27,720 --> 01:10:31,000
Speaker 3: So you're starting strong, He's start all my friends say,

1544
01:10:31,120 --> 01:10:32,600
Speaker 3: So you're like, both, this is easy. We got to

1545
01:10:32,600 --> 01:10:38,080
Speaker 3: figure out. How do you feel when this song actually

1546
01:10:38,120 --> 01:10:40,680
Speaker 3: has some success? You're a brand new manager? Are you

1547
01:10:40,720 --> 01:10:42,160
Speaker 3: like I made the right call? Like I feel good

1548
01:10:42,160 --> 01:10:42,559
Speaker 3: about it?

1549
01:10:43,240 --> 01:10:44,799
Speaker 8: Which part about being a manager?

1550
01:10:44,920 --> 01:10:46,880
Speaker 3: Yes, all of it. You're like, holy crap, we got

1551
01:10:46,880 --> 01:10:49,040
Speaker 3: a top five song, got a new artist, like, we're

1552
01:10:49,040 --> 01:10:49,599
Speaker 3: ready to go.

1553
01:10:50,400 --> 01:10:53,639
Speaker 11: Yes, you do feel very proud and very excited for sure.

1554
01:10:53,680 --> 01:10:56,360
Speaker 8: But you know, one song doesn't mean you have a career.

1555
01:10:56,720 --> 01:10:59,600
Speaker 3: But you only put out one and you're one for one. Yes, okay, so.

1556
01:11:00,000 --> 01:11:00,599
Speaker 8: I'm very excited.

1557
01:11:00,600 --> 01:11:03,320
Speaker 3: You got a little new artists as this kid from Georgia.

1558
01:11:03,840 --> 01:11:06,559
Speaker 3: It kind of has a kind of little little little

1559
01:11:06,560 --> 01:11:09,760
Speaker 3: twang about him, a distinct voice, arry little flavor, little

1560
01:11:09,840 --> 01:11:12,360
Speaker 3: little flavors get so okay, what's next?

1561
01:11:13,760 --> 01:11:14,080
Speaker 4: Next?

1562
01:11:14,280 --> 01:11:15,960
Speaker 8: Was a heartbreak for us.

1563
01:11:17,080 --> 01:11:19,360
Speaker 11: We put out a song called We Wrote in Trucks

1564
01:11:20,160 --> 01:11:20,960
Speaker 11: and it died?

1565
01:11:21,800 --> 01:11:23,000
Speaker 3: How quickly did it die?

1566
01:11:23,360 --> 01:11:26,240
Speaker 11: I think it? I don't. I'm terrible on memories and

1567
01:11:26,280 --> 01:11:27,720
Speaker 11: all that, but I'm going to say it got in

1568
01:11:27,720 --> 01:11:32,720
Speaker 11: the thirties and our head of promo radio promotion and

1569
01:11:32,760 --> 01:11:35,720
Speaker 11: at the time just felt like he wasn't going to

1570
01:11:36,840 --> 01:11:39,280
Speaker 11: gonna get it up the chart. And the reason it

1571
01:11:39,320 --> 01:11:42,600
Speaker 11: was heartbreaking was when Luke turned in his record and

1572
01:11:43,880 --> 01:11:47,240
Speaker 11: I think I've heard him say so, I'm not misspeaking,

1573
01:11:47,280 --> 01:11:49,640
Speaker 11: but that he believed, and I definitely believe like it

1574
01:11:49,720 --> 01:11:53,600
Speaker 11: was his song. I mean at that point, like to me,

1575
01:11:53,760 --> 01:11:57,040
Speaker 11: that was the song that was going to this one

1576
01:11:57,160 --> 01:11:57,559
Speaker 11: launch it.

1577
01:11:57,680 --> 01:12:02,200
Speaker 3: Yes, we thought it didn't it did not go so well,

1578
01:12:02,320 --> 01:12:03,200
Speaker 3: did not And.

1579
01:12:03,160 --> 01:12:07,840
Speaker 11: I was devastated. Really, he was beyond devastated.

1580
01:12:08,040 --> 01:12:11,479
Speaker 3: Because that was his personal like baby song like that was.

1581
01:12:11,600 --> 01:12:13,519
Speaker 11: I just feel like it was the It is still

1582
01:12:13,560 --> 01:12:15,200
Speaker 11: like if you can and listen to it. I mean,

1583
01:12:15,200 --> 01:12:18,160
Speaker 11: it's funny you play in those those because it's I

1584
01:12:18,160 --> 01:12:20,360
Speaker 11: haven't listened to those in a long time as far

1585
01:12:20,400 --> 01:12:23,360
Speaker 11: as like his voice, and it just sounds so different outfit.

1586
01:12:24,760 --> 01:12:26,479
Speaker 11: But when you listen to the lyric of that song,

1587
01:12:26,560 --> 01:12:29,360
Speaker 11: it was it was very well done and I was

1588
01:12:29,439 --> 01:12:33,200
Speaker 11: just super proud of that lyric and what the message

1589
01:12:33,240 --> 01:12:35,479
Speaker 11: was at that time. And you know, it was called

1590
01:12:35,479 --> 01:12:37,720
Speaker 11: we wrote in Trucks, but it wasn't about trucks.

1591
01:12:37,400 --> 01:12:40,639
Speaker 3: Right, it was about life. So that one doesn't do well.

1592
01:12:40,640 --> 01:12:42,559
Speaker 3: So then it's like, oh great, now we got it.

1593
01:12:42,600 --> 01:12:45,120
Speaker 3: Now now the pressure's on because you just had one

1594
01:12:45,200 --> 01:12:46,120
Speaker 3: just kind of petered out.

1595
01:12:46,120 --> 01:12:48,360
Speaker 11: So what happens, Well, you know that I'll say a

1596
01:12:48,479 --> 01:12:50,720
Speaker 11: lesson I learned and that or that I ended up

1597
01:12:50,800 --> 01:12:53,920
Speaker 11: learning when I looked back on it, I think at

1598
01:12:53,920 --> 01:12:58,360
Speaker 11: that moment when that song didn't work, I remember sitting

1599
01:12:58,439 --> 01:13:01,840
Speaker 11: in the office, I was ranting at Starstrik Entertainment and

1600
01:13:01,880 --> 01:13:06,080
Speaker 11: telling myself, you know what, like, I can't just rely

1601
01:13:06,320 --> 01:13:10,280
Speaker 11: on a liaison telling me why that didn't work, Like

1602
01:13:10,360 --> 01:13:13,599
Speaker 11: I want to be able to ask people in radio

1603
01:13:13,720 --> 01:13:16,080
Speaker 11: why that didn't work. But I didn't know them because

1604
01:13:16,120 --> 01:13:20,000
Speaker 11: I was the brand new.

1605
01:13:18,479 --> 01:13:20,439
Speaker 8: Manager in town that no one knew.

1606
01:13:20,960 --> 01:13:24,120
Speaker 11: So it really became like a kind of a personal

1607
01:13:24,160 --> 01:13:27,200
Speaker 11: mission of mine to figure out how to meet those

1608
01:13:27,280 --> 01:13:30,479
Speaker 11: people and have a relationship with them. So the only

1609
01:13:30,520 --> 01:13:32,400
Speaker 11: way I need to do that was to start going

1610
01:13:32,439 --> 01:13:33,400
Speaker 11: to a bunch of shows.

1611
01:13:34,160 --> 01:13:35,000
Speaker 8: Road didn't do it.

1612
01:13:35,320 --> 01:13:37,360
Speaker 3: And it's funny, say get on the road, because even

1613
01:13:37,400 --> 01:13:39,639
Speaker 3: before I would say you and I have a friendship now,

1614
01:13:39,640 --> 01:13:42,720
Speaker 3: But even before we just worked professionally around each other.

1615
01:13:42,720 --> 01:13:44,879
Speaker 2: You were always with Luke, always with Luke.

1616
01:13:44,960 --> 01:13:46,800
Speaker 3: And I was like, man, she's always with Luke.

1617
01:13:47,360 --> 01:13:49,400
Speaker 11: Well at the time, only he was my only client

1618
01:13:49,520 --> 01:13:50,519
Speaker 11: very very long time.

1619
01:13:50,600 --> 01:13:52,960
Speaker 3: So there was that now when I knew you though,

1620
01:13:53,280 --> 01:13:56,240
Speaker 3: because Cole Cole came around about when I came around.

1621
01:13:56,400 --> 01:14:00,280
Speaker 11: Yeah. Actually I worked with Kelly Bannon before that, so

1622
01:14:00,320 --> 01:14:03,040
Speaker 11: she was my second signing. Nicole was around, but he

1623
01:14:03,240 --> 01:14:04,880
Speaker 11: was around in a different role.

1624
01:14:05,160 --> 01:14:05,559
Speaker 2: Was that right?

1625
01:14:05,680 --> 01:14:07,080
Speaker 8: He was Luke's merch guy.

1626
01:14:07,320 --> 01:14:09,360
Speaker 3: So yeah, which which is funny to talk about.

1627
01:14:09,479 --> 01:14:09,639
Speaker 4: Right.

1628
01:14:09,720 --> 01:14:13,360
Speaker 3: So with Luke, how many songs did he have that

1629
01:14:13,400 --> 01:14:13,960
Speaker 3: didn't work?

1630
01:14:14,360 --> 01:14:15,599
Speaker 8: That was it?

1631
01:14:15,640 --> 01:14:16,200
Speaker 3: That was the one.

1632
01:14:16,600 --> 01:14:17,960
Speaker 2: So what was next?

1633
01:14:19,760 --> 01:14:20,479
Speaker 8: Country man?

1634
01:14:20,560 --> 01:14:21,120
Speaker 4: Okay?

1635
01:14:21,439 --> 01:14:22,840
Speaker 3: What was the turning point for Luke?

1636
01:14:22,880 --> 01:14:23,599
Speaker 2: Where you go?

1637
01:14:23,760 --> 01:14:23,880
Speaker 11: All?

1638
01:14:23,960 --> 01:14:24,200
Speaker 4: Right?

1639
01:14:24,520 --> 01:14:24,720
Speaker 2: Now?

1640
01:14:24,760 --> 01:14:27,160
Speaker 3: We went from being like an artists on the radio

1641
01:14:27,200 --> 01:14:27,799
Speaker 3: and it's good.

1642
01:14:27,640 --> 01:14:32,280
Speaker 11: To like probably do I that he wrote with Charles

1643
01:14:32,280 --> 01:14:35,479
Speaker 11: and Day from Lady A, that's probably the song that

1644
01:14:35,520 --> 01:14:40,000
Speaker 11: you that you really felt like was making a turn.

1645
01:14:41,080 --> 01:14:43,080
Speaker 3: With this song? Was there ever a question of who

1646
01:14:43,120 --> 01:14:45,320
Speaker 3: would get it? Because Charles and you know when artists

1647
01:14:45,320 --> 01:14:49,000
Speaker 3: write together? Because I just had this conversation with tr

1648
01:14:49,360 --> 01:14:54,479
Speaker 3: because tr Toom Shrutt and Matthew matt from Old Dominion

1649
01:14:54,520 --> 01:14:58,559
Speaker 3: wrote some People do Together and they had the who

1650
01:14:58,560 --> 01:15:01,200
Speaker 3: gets it? Because they both really liked it. Now, I

1651
01:15:01,200 --> 01:15:02,960
Speaker 3: wonder when you talk about do I was that an

1652
01:15:02,960 --> 01:15:03,519
Speaker 3: issue with them?

1653
01:15:04,040 --> 01:15:06,840
Speaker 11: If I remember, right, I want to say that Lady

1654
01:15:06,880 --> 01:15:10,679
Speaker 11: already had their album out, and maybe it was the timing,

1655
01:15:11,320 --> 01:15:14,240
Speaker 11: and you know, those guys were fired up about being

1656
01:15:14,280 --> 01:15:16,840
Speaker 11: writers and stuff too, so I think they were just excited,

1657
01:15:17,120 --> 01:15:19,240
Speaker 11: you know, to have a cut. You know, like I

1658
01:15:19,280 --> 01:15:22,879
Speaker 11: remember the number one party and Charles you know, speaking

1659
01:15:22,920 --> 01:15:23,200
Speaker 11: on that.

1660
01:15:23,360 --> 01:15:24,439
Speaker 8: Just how excited you know.

1661
01:15:25,040 --> 01:15:27,120
Speaker 11: Honestly for some reason, I was watching it not too

1662
01:15:27,160 --> 01:15:28,200
Speaker 11: long ago, if somebody.

1663
01:15:28,000 --> 01:15:30,080
Speaker 8: Had a clip up it like the last two or

1664
01:15:30,120 --> 01:15:30,599
Speaker 8: three months.

1665
01:15:30,640 --> 01:15:34,679
Speaker 11: But he's saying in that clip, you know, oddly enough,

1666
01:15:34,760 --> 01:15:38,439
Speaker 11: this was almost more exciting for us than our first

1667
01:15:38,479 --> 01:15:41,680
Speaker 11: number one, which I don't know, but they get had

1668
01:15:41,720 --> 01:15:44,519
Speaker 11: I mean, need you now please write the biggest song

1669
01:15:44,560 --> 01:15:47,719
Speaker 11: in the universe at that time, So they were doing fine.

1670
01:15:48,000 --> 01:15:50,360
Speaker 3: So that's kind of the turning point where like the

1671
01:15:50,640 --> 01:15:53,400
Speaker 3: festival offers, are you now the big bold letters?

1672
01:15:54,120 --> 01:15:54,640
Speaker 2: Does this do that?

1673
01:15:55,400 --> 01:15:58,160
Speaker 11: But you know, Luke's been in my opinion, I think

1674
01:15:58,160 --> 01:16:00,599
Speaker 11: he's always had a strong touring career. That was actually

1675
01:16:00,600 --> 01:16:04,280
Speaker 11: probably a very big benefit to him. He always was

1676
01:16:04,320 --> 01:16:09,519
Speaker 11: fortunate in that field of clubs and selling them out,

1677
01:16:09,560 --> 01:16:11,400
Speaker 11: and you know, not maybe not the first time, but

1678
01:16:11,439 --> 01:16:14,120
Speaker 11: like we really we really built that alone for a

1679
01:16:14,120 --> 01:16:17,479
Speaker 11: while club circuit and coming back and coming back and

1680
01:16:17,520 --> 01:16:18,280
Speaker 11: coming back.

1681
01:16:18,120 --> 01:16:19,639
Speaker 8: You know, But then he did a lot of support.

1682
01:16:19,720 --> 01:16:23,200
Speaker 8: I mean, I think our first support slot, I'm trying.

1683
01:16:23,280 --> 01:16:24,200
Speaker 8: I think it was.

1684
01:16:26,680 --> 01:16:30,400
Speaker 11: I can't remember if Trace Adkins took us out first

1685
01:16:30,600 --> 01:16:33,479
Speaker 11: or but the one I remember the most being the longest,

1686
01:16:33,479 --> 01:16:37,360
Speaker 11: like real tour was Luke on the front, Bucky Cummington

1687
01:16:37,439 --> 01:16:39,200
Speaker 11: in the middle, and Dirk's headline.

1688
01:16:39,640 --> 01:16:43,160
Speaker 3: Bucky Covington was playing the middle spot over Luke.

1689
01:16:43,640 --> 01:16:43,960
Speaker 2: Crazy.

1690
01:16:43,960 --> 01:16:45,479
Speaker 3: The only time I hear Bucky Commington now is on

1691
01:16:45,479 --> 01:16:47,760
Speaker 3: the airport when it's like, this is Bucky coach, thanks

1692
01:16:47,760 --> 01:16:48,759
Speaker 3: for coming to being.

1693
01:16:48,640 --> 01:16:50,080
Speaker 8: A Oh no, where is he?

1694
01:16:50,280 --> 01:16:54,519
Speaker 3: I don't know, haven't even seen him around either. And

1695
01:16:54,600 --> 01:16:57,600
Speaker 3: he was an idol guy, yeah right, I think I

1696
01:16:57,680 --> 01:16:59,479
Speaker 3: think he was too, Yeah, from like back in the

1697
01:16:59,479 --> 01:17:00,240
Speaker 3: back in the day.

1698
01:17:00,439 --> 01:17:02,439
Speaker 2: So first time Luke went was Entertainer of the year.

1699
01:17:03,640 --> 01:17:07,439
Speaker 11: I mean, you'll make me cry now thinking about it,

1700
01:17:07,479 --> 01:17:12,200
Speaker 11: but it was. It was beyond and sane. It's that

1701
01:17:13,640 --> 01:17:17,120
Speaker 11: I mean definitely that you feel like the validation from

1702
01:17:17,160 --> 01:17:21,280
Speaker 11: your peers and coworkers and you know, but I think

1703
01:17:21,280 --> 01:17:24,320
Speaker 11: it was even more so just knowing all the hard

1704
01:17:24,320 --> 01:17:26,920
Speaker 11: work that he had put in and just you know how,

1705
01:17:27,200 --> 01:17:30,000
Speaker 11: I mean, you don't top that moment, you know, ever,

1706
01:17:30,160 --> 01:17:33,120
Speaker 11: and he and his family have had a lot of

1707
01:17:34,000 --> 01:17:38,720
Speaker 11: unfortunate tragedies, and like watching them in that moment and

1708
01:17:38,800 --> 01:17:43,040
Speaker 11: being able to enjoy that moment was you know, pretty

1709
01:17:43,080 --> 01:17:47,640
Speaker 11: emotional and and I mean I was shocked though, I

1710
01:17:47,640 --> 01:17:52,040
Speaker 11: mean I really the truth be told that year when

1711
01:17:52,120 --> 01:17:55,320
Speaker 11: they were doing nominations and a lot of times you

1712
01:17:55,360 --> 01:17:57,960
Speaker 11: discussed with your label kind of what your things are,

1713
01:17:58,000 --> 01:18:04,080
Speaker 11: that your most your important emphasis for the voting period.

1714
01:18:03,560 --> 01:18:07,200
Speaker 11: I told them not to include him an entertainer, Like

1715
01:18:07,320 --> 01:18:10,800
Speaker 11: I literally remember saying that. I'm like, no, we don't

1716
01:18:10,840 --> 01:18:12,800
Speaker 11: need to go there, because I mean, truthfully, I hated

1717
01:18:12,960 --> 01:18:17,000
Speaker 11: like as an industry person, I always it always bugged

1718
01:18:17,000 --> 01:18:19,800
Speaker 11: me when I thought people were on there and they

1719
01:18:19,840 --> 01:18:22,320
Speaker 11: weren't quite ready to be on there, and I kind

1720
01:18:22,320 --> 01:18:24,400
Speaker 11: of felt like that's where he was, Like I didn't

1721
01:18:24,640 --> 01:18:26,920
Speaker 11: I mean, he was blowing up and I knew that

1722
01:18:27,120 --> 01:18:30,640
Speaker 11: I felt that, but I still didn't feel like he

1723
01:18:30,720 --> 01:18:33,400
Speaker 11: should be there. And then after the first round when

1724
01:18:33,439 --> 01:18:35,400
Speaker 11: he made the second round. But then as a manager,

1725
01:18:35,439 --> 01:18:38,680
Speaker 11: you're like, well they put him in there, I'm not

1726
01:18:38,720 --> 01:18:40,680
Speaker 11: gonna sit here and not to try to.

1727
01:18:40,640 --> 01:18:43,800
Speaker 3: Support it out. Man.

1728
01:18:44,080 --> 01:18:46,720
Speaker 8: At that point, we went to work pretty.

1729
01:18:46,439 --> 01:18:50,200
Speaker 3: Hard, crazy, just because you were there from the beginning.

1730
01:18:50,960 --> 01:18:54,519
Speaker 3: Like there's just all of that early early sweat. It's

1731
01:18:54,600 --> 01:18:55,720
Speaker 3: so much more rewarding.

1732
01:18:56,800 --> 01:19:00,240
Speaker 11: It was mind blowing. Like I I mean, you know,

1733
01:19:00,320 --> 01:19:03,680
Speaker 11: he's been fortunate enough. He's one two ACM entertainer and

1734
01:19:03,760 --> 01:19:07,479
Speaker 11: two CMA. But I mean on all four times, you're

1735
01:19:07,560 --> 01:19:11,200
Speaker 11: just overwhelmed because that's again, that's like the that's Trump.

1736
01:19:11,280 --> 01:19:14,600
Speaker 11: That's like the biggest honor that you can get, you know,

1737
01:19:14,680 --> 01:19:15,640
Speaker 11: in our industry.

1738
01:19:16,400 --> 01:19:22,040
Speaker 3: What's the most frustrating thing about fans with Luke or

1739
01:19:22,040 --> 01:19:24,200
Speaker 3: not even fans critics. Let's go critics, because fans are

1740
01:19:24,200 --> 01:19:26,439
Speaker 3: all fans love. I have this thing to where I

1741
01:19:26,439 --> 01:19:29,840
Speaker 3: talk to people. I'm like, you can't. People just want

1742
01:19:29,840 --> 01:19:31,920
Speaker 3: a voice. People are going to say things just to

1743
01:19:31,960 --> 01:19:34,800
Speaker 3: be heard, even if they don't mean it. Sometimes, like

1744
01:19:35,120 --> 01:19:36,880
Speaker 3: or I would get irritated for Luke is when they

1745
01:19:36,920 --> 01:19:38,519
Speaker 3: would like hate on him for like the dancing.

1746
01:19:38,880 --> 01:19:42,680
Speaker 11: Yeah, I mean between the danccene and you know, my

1747
01:19:42,760 --> 01:19:45,360
Speaker 11: favorite term bro country.

1748
01:19:45,479 --> 01:19:47,120
Speaker 3: You know it's funny. I don't even think of Luke

1749
01:19:47,160 --> 01:19:48,840
Speaker 3: as a as a bro country artist.

1750
01:19:48,920 --> 01:19:51,120
Speaker 8: Yep, that's they started it with him, and it's.

1751
01:19:50,920 --> 01:19:53,240
Speaker 3: So they did it. Yeah, yeah, okay.

1752
01:19:53,160 --> 01:19:56,280
Speaker 8: Pretty much. I mean and then you know, became the thing.

1753
01:19:56,880 --> 01:19:58,559
Speaker 11: And I mean I don't know that I heard him

1754
01:19:58,600 --> 01:20:01,880
Speaker 11: do an interview ever for like three or four years

1755
01:20:01,920 --> 01:20:03,200
Speaker 11: that that didn't come up.

1756
01:20:03,240 --> 01:20:04,160
Speaker 8: It was exhausting.

1757
01:20:05,200 --> 01:20:08,680
Speaker 3: That's funny that that you And you're probably right. I

1758
01:20:08,800 --> 01:20:11,640
Speaker 3: felt like it was an fgl thing more than it

1759
01:20:11,680 --> 01:20:12,400
Speaker 3: was a looke thing.

1760
01:20:13,600 --> 01:20:14,240
Speaker 4: Is that right?

1761
01:20:16,320 --> 01:20:18,559
Speaker 3: And how did he feel about that? Did you just

1762
01:20:18,600 --> 01:20:19,040
Speaker 3: hate it?

1763
01:20:19,280 --> 01:20:21,400
Speaker 8: Yeah? Yeah, he hated it.

1764
01:20:22,439 --> 01:20:25,440
Speaker 11: I mean it's his artistry, it's his you know, livelihood,

1765
01:20:25,479 --> 01:20:28,559
Speaker 11: that's his face, it's everything, you know. So yeah, I

1766
01:20:28,560 --> 01:20:31,200
Speaker 11: mean that's not what when you're out there working that

1767
01:20:31,280 --> 01:20:35,519
Speaker 11: hard and putting that emotion and energy into writing and

1768
01:20:35,560 --> 01:20:39,440
Speaker 11: singing and performing, and then that's the headline.

1769
01:20:39,120 --> 01:20:44,160
Speaker 3: As his confidant, like his closest person professionally. And I've

1770
01:20:44,160 --> 01:20:45,800
Speaker 3: had to have these conversations with people that work close

1771
01:20:45,800 --> 01:20:48,680
Speaker 3: to me, like what how do you because people have

1772
01:20:48,680 --> 01:20:49,840
Speaker 3: to walk me through things. Did I get a bit

1773
01:20:49,880 --> 01:20:53,120
Speaker 3: emotional or like I create something and it's not How

1774
01:20:53,120 --> 01:20:54,680
Speaker 3: did you talk to him like hey, man, keep your

1775
01:20:54,680 --> 01:20:56,840
Speaker 3: head down, like keep keep going, don't let us get

1776
01:20:56,840 --> 01:20:57,040
Speaker 3: to you.

1777
01:20:57,560 --> 01:21:00,960
Speaker 11: I mean, he's good about that anyway, truthful, he has

1778
01:21:01,120 --> 01:21:06,679
Speaker 11: a good sense of business, and he's and I think,

1779
01:21:06,960 --> 01:21:08,680
Speaker 11: you know, I don't know, I'm guessing, but I think

1780
01:21:08,720 --> 01:21:11,000
Speaker 11: a lot of it may be you know, the personal

1781
01:21:11,120 --> 01:21:14,320
Speaker 11: stuff that they've been through, tragedy wise as a family,

1782
01:21:14,439 --> 01:21:18,759
Speaker 11: and you know, it's a lot that's a lot heavier

1783
01:21:18,800 --> 01:21:20,680
Speaker 11: than any of this would ever be, you know. So

1784
01:21:20,720 --> 01:21:23,400
Speaker 11: I think just from those experiences, you know, he's good

1785
01:21:23,439 --> 01:21:26,519
Speaker 11: about trying not to get heavy about that stuff, but

1786
01:21:26,560 --> 01:21:28,640
Speaker 11: there's no way it doesn't you know, bother you at

1787
01:21:28,640 --> 01:21:30,400
Speaker 11: some point. So yeah, he you know, he would have

1788
01:21:30,439 --> 01:21:33,760
Speaker 11: moments that he would get really frustrated about it or

1789
01:21:33,760 --> 01:21:36,559
Speaker 11: that he was over it, you know, over that being

1790
01:21:36,840 --> 01:21:40,280
Speaker 11: you know, you'd go to a show and wherever Minnesota,

1791
01:21:40,400 --> 01:21:42,000
Speaker 11: and that person would also like.

1792
01:21:42,120 --> 01:21:45,360
Speaker 8: You know, or you know, they would somehow reference it.

1793
01:21:45,400 --> 01:21:47,200
Speaker 11: But you know, the review would be great, the show

1794
01:21:47,240 --> 01:21:49,200
Speaker 11: would be great, but he would still be in there

1795
01:21:49,320 --> 01:21:52,200
Speaker 11: somewhere referred to as the Borough Country Artists.

1796
01:21:52,479 --> 01:21:52,680
Speaker 4: You know.

1797
01:21:53,479 --> 01:21:56,639
Speaker 11: So he, I don't know, he there was some time,

1798
01:21:56,760 --> 01:21:58,479
Speaker 11: I mean, you know, I don't know in what year

1799
01:21:58,520 --> 01:22:00,720
Speaker 11: it was, but it was like the top big you know,

1800
01:22:00,800 --> 01:22:02,880
Speaker 11: and he would do interviews, and you know, a couple

1801
01:22:02,880 --> 01:22:06,920
Speaker 11: of times I would have to maybe stop interview or two.

1802
01:22:07,840 --> 01:22:09,640
Speaker 3: And that's your job, Like you have to be the

1803
01:22:09,640 --> 01:22:10,400
Speaker 3: bad person.

1804
01:22:10,160 --> 01:22:11,880
Speaker 8: Sometimes, like all right, we're done.

1805
01:22:12,320 --> 01:22:14,160
Speaker 3: My thing is And did you ever have to know me?

1806
01:22:15,000 --> 01:22:17,640
Speaker 3: Did you ever have to stop with that? No? One, no, no,

1807
01:22:18,120 --> 01:22:21,120
Speaker 3: that was a thing to me. But like early on, no,

1808
01:22:21,400 --> 01:22:22,920
Speaker 3: I don't think so, I don't remember. I don't think

1809
01:22:22,960 --> 01:22:25,760
Speaker 3: so I did get interviews because people were just they

1810
01:22:25,800 --> 01:22:27,320
Speaker 3: were a bit I was a new guy, and they

1811
01:22:27,320 --> 01:22:29,120
Speaker 3: were a bit like what is this guy up to?

1812
01:22:29,800 --> 01:22:32,000
Speaker 3: But as a manager, you know our town.

1813
01:22:32,560 --> 01:22:33,519
Speaker 8: Now you know our town.

1814
01:22:33,560 --> 01:22:35,280
Speaker 3: Now I know what well. I just worked both sides

1815
01:22:35,320 --> 01:22:37,960
Speaker 3: of it. So now you know, I'm doing the interviews,

1816
01:22:37,960 --> 01:22:39,920
Speaker 3: but I'm also being interviewed all the time, and so

1817
01:22:40,240 --> 01:22:43,360
Speaker 3: I also have my manager, right. There are times where

1818
01:22:43,880 --> 01:22:45,519
Speaker 3: they have to step in and be the bad guy

1819
01:22:45,720 --> 01:22:48,200
Speaker 3: or take somebody out of the room and have an

1820
01:22:48,280 --> 01:22:52,000
Speaker 3: uncomfortable conversation when I they don't want me to be around,

1821
01:22:52,600 --> 01:22:55,320
Speaker 3: And that's your job. You have to be the bouncer sometimes.

1822
01:22:55,520 --> 01:22:59,640
Speaker 11: And like I feel like it's one thing to do

1823
01:22:59,680 --> 01:23:01,960
Speaker 11: that early on, it's harder to do it early on

1824
01:23:02,240 --> 01:23:05,680
Speaker 11: because you still feel like you're getting your foot in

1825
01:23:05,920 --> 01:23:08,000
Speaker 11: the door with everybody.

1826
01:23:07,479 --> 01:23:08,920
Speaker 8: And you don't want to make him any mad or

1827
01:23:08,920 --> 01:23:09,800
Speaker 8: come off the wrong way.

1828
01:23:09,840 --> 01:23:11,600
Speaker 11: But then there's a certain point where you're just like,

1829
01:23:11,640 --> 01:23:15,920
Speaker 11: all right, this is not the best situation for this

1830
01:23:16,040 --> 01:23:18,120
Speaker 11: client and they need to know.

1831
01:23:18,560 --> 01:23:23,360
Speaker 3: So let's go back. And you mentioned Luke's merch guy, Cole,

1832
01:23:24,280 --> 01:23:26,720
Speaker 3: and so Cole Swindell.

1833
01:23:28,040 --> 01:23:30,840
Speaker 11: Well, Cole has been in our life a long time.

1834
01:23:32,000 --> 01:23:37,599
Speaker 11: He went to Georgia Southern and that's where Luke and Michael,

1835
01:23:37,680 --> 01:23:39,679
Speaker 11: his guitar player, had gone to school. So they had

1836
01:23:40,360 --> 01:23:43,479
Speaker 11: they were going at you know, back in doing like

1837
01:23:43,800 --> 01:23:46,479
Speaker 11: fraternity parties and stuff, and Cole was in school there.

1838
01:23:46,479 --> 01:23:47,959
Speaker 8: He's you know, he's a few years.

1839
01:23:47,720 --> 01:23:53,040
Speaker 11: Behind them, and he would come to these fraternity parties and.

1840
01:23:52,920 --> 01:23:54,280
Speaker 8: He was just intrigued.

1841
01:23:54,360 --> 01:23:57,360
Speaker 11: He was in awe of like that they got up

1842
01:23:57,360 --> 01:24:00,960
Speaker 11: and sang and then I mean Luke and I don't

1843
01:24:01,080 --> 01:24:03,760
Speaker 11: think I was at the fraternity party phase of that,

1844
01:24:03,880 --> 01:24:07,719
Speaker 11: but Luke tells the story of you know, him rolling

1845
01:24:07,840 --> 01:24:11,439
Speaker 11: in to do a show and he had a new

1846
01:24:11,479 --> 01:24:15,720
Speaker 11: song that he had written and just Cole's reaction like

1847
01:24:16,000 --> 01:24:19,599
Speaker 11: you actually wrote it, like you wrote it in him,

1848
01:24:19,720 --> 01:24:22,439
Speaker 11: like realizing like, oh my gosh, you know this guy

1849
01:24:22,479 --> 01:24:23,759
Speaker 11: also wrote the song.

1850
01:24:23,680 --> 01:24:24,679
Speaker 8: Like how does that work?

1851
01:24:24,720 --> 01:24:27,160
Speaker 11: And just his he was just so I mean, Cole

1852
01:24:27,320 --> 01:24:31,000
Speaker 11: just was like the sponge that couldn't get enough of it.

1853
01:24:31,200 --> 01:24:34,200
Speaker 11: And he eventually ended up doing like a little duo

1854
01:24:34,320 --> 01:24:37,200
Speaker 11: thing with another guy from you know that he went

1855
01:24:37,200 --> 01:24:39,439
Speaker 11: to school with, and they kind of started doing the

1856
01:24:39,439 --> 01:24:42,960
Speaker 11: little bar circuit thing too. But he was always I mean,

1857
01:24:42,960 --> 01:24:45,560
Speaker 11: there wasn't a show that we did in the Southeast

1858
01:24:45,640 --> 01:24:47,080
Speaker 11: that he didn't find his way to.

1859
01:24:47,840 --> 01:24:48,040
Speaker 4: You know.

1860
01:24:48,080 --> 01:24:49,719
Speaker 8: He would I would look out and be like.

1861
01:24:49,600 --> 01:24:52,000
Speaker 3: Oh, there's the cold, there's Cole kids here.

1862
01:24:53,640 --> 01:24:56,360
Speaker 11: I remember the day that Luke called me and said,

1863
01:24:57,040 --> 01:24:59,920
Speaker 11: now let me paint the picture. I was a solo,

1864
01:25:00,080 --> 01:25:04,519
Speaker 11: like I had zero employees, zero no help. I had

1865
01:25:04,640 --> 01:25:08,639
Speaker 11: two small children, and I literally would stay up every

1866
01:25:08,720 --> 01:25:11,439
Speaker 11: night probably I mean I would get them to bed

1867
01:25:11,479 --> 01:25:13,559
Speaker 11: and then go back to my email, probably told two

1868
01:25:13,600 --> 01:25:15,760
Speaker 11: or three in the morning. We were booking flights. I

1869
01:25:15,760 --> 01:25:19,400
Speaker 11: mean I was booking flights for radio tours and hotels,

1870
01:25:19,520 --> 01:25:23,720
Speaker 11: and I mean it was non stop. So I don't

1871
01:25:23,760 --> 01:25:26,960
Speaker 11: think i'd I don't think i'd ever been paid yet,

1872
01:25:27,000 --> 01:25:31,360
Speaker 11: which was fine. So I would work with songwriters kind

1873
01:25:31,360 --> 01:25:34,240
Speaker 11: of on the side and pitch their songs and just

1874
01:25:34,280 --> 01:25:36,959
Speaker 11: to have some income coming in, you know, for myself.

1875
01:25:37,280 --> 01:25:39,080
Speaker 8: So that's kind of how I made that work then.

1876
01:25:39,320 --> 01:25:43,639
Speaker 8: But I remember the day that he called and said, hey,

1877
01:25:44,040 --> 01:25:46,439
Speaker 8: so Cole's I just got off the phone with Cole

1878
01:25:46,520 --> 01:25:49,439
Speaker 8: and he really wants to move to town. Do you

1879
01:25:49,479 --> 01:25:50,240
Speaker 8: have a job for him?

1880
01:25:51,000 --> 01:25:53,439
Speaker 11: And I go, Cole, like I remember stopp I go

1881
01:25:53,560 --> 01:25:55,120
Speaker 11: Cole like trying to think about.

1882
01:25:54,880 --> 01:25:57,080
Speaker 8: It, and he was like, you know the kid from Georgia.

1883
01:25:57,160 --> 01:26:00,240
Speaker 8: I went, no, I don't have a job for Cole.

1884
01:26:00,400 --> 01:26:01,639
Speaker 3: Was like, how are we going to pay Carl?

1885
01:26:02,200 --> 01:26:05,160
Speaker 8: And he was like, oh, I just wanted to help him.

1886
01:26:05,160 --> 01:26:06,120
Speaker 8: He wants to move to town.

1887
01:26:06,240 --> 01:26:09,200
Speaker 11: I'm like, I get it, but we can't pay him, Like,

1888
01:26:09,240 --> 01:26:12,720
Speaker 11: I don't have a job for him. And we hung up,

1889
01:26:12,760 --> 01:26:15,240
Speaker 11: and he was very Luke was very disappointed. And I

1890
01:26:15,240 --> 01:26:17,599
Speaker 11: sat there and like ten minutes later, I was like, hmmm.

1891
01:26:17,920 --> 01:26:20,000
Speaker 11: So I called Louke back and I'm like, well, we

1892
01:26:20,040 --> 01:26:22,439
Speaker 11: do need somebody to sell your T shirts and he

1893
01:26:22,479 --> 01:26:26,240
Speaker 11: would perfect, I'll call you back, and he hangs up

1894
01:26:26,280 --> 01:26:30,320
Speaker 11: and calls him and literally Cole drives to town that night.

1895
01:26:31,000 --> 01:26:33,559
Speaker 3: Wow, he was that fired up.

1896
01:26:33,640 --> 01:26:35,240
Speaker 8: He was that fired up. He was ready to get

1897
01:26:35,240 --> 01:26:36,360
Speaker 8: on the bus. So he was ready to go.

1898
01:26:37,120 --> 01:26:38,599
Speaker 3: So cool, we had a bus.

1899
01:26:38,760 --> 01:26:41,160
Speaker 8: We probably didn't have a bus then. Actually thinking back.

1900
01:26:41,080 --> 01:26:42,880
Speaker 3: Stead driving himself to all the shows. Now he's part

1901
01:26:42,920 --> 01:26:44,519
Speaker 3: of the team going to the shows. Yeah, and he's

1902
01:26:44,520 --> 01:26:46,400
Speaker 3: selling March. But okay, so how does he end up

1903
01:26:46,400 --> 01:26:49,360
Speaker 3: telling Luke or you or whomever? Hey, I'm also like

1904
01:26:49,400 --> 01:26:50,200
Speaker 3: writing songs.

1905
01:26:50,240 --> 01:26:51,960
Speaker 11: We knew that he had the art, you know, the

1906
01:26:52,040 --> 01:26:54,479
Speaker 11: duo thing, so that wasn't a secret, you know, but

1907
01:26:54,640 --> 01:26:58,200
Speaker 11: he he didn't, you know, Cole's Cole is gonna ease

1908
01:26:58,240 --> 01:27:00,200
Speaker 11: his way in. You know, he doesn't walk in a

1909
01:27:00,280 --> 01:27:05,599
Speaker 11: room and demand everyone to know everything. He kind of

1910
01:27:05,680 --> 01:27:07,240
Speaker 11: you know, I think he sat back and kind of

1911
01:27:07,760 --> 01:27:11,720
Speaker 11: watched it and learned, and he didn't do the.

1912
01:27:11,760 --> 01:27:12,799
Speaker 8: Artist thing for a while.

1913
01:27:12,920 --> 01:27:13,120
Speaker 3: You know.

1914
01:27:13,160 --> 01:27:15,519
Speaker 11: He was probably out with a selling T shirt for

1915
01:27:15,760 --> 01:27:17,920
Speaker 11: probably two or three years before I ever really even

1916
01:27:17,920 --> 01:27:18,439
Speaker 11: saw him.

1917
01:27:19,240 --> 01:27:20,639
Speaker 3: I saw him that many years.

1918
01:27:20,760 --> 01:27:21,080
Speaker 4: Huh.

1919
01:27:21,120 --> 01:27:24,000
Speaker 11: Oh, Yeah, he did it, I mean, yeah, for sure,

1920
01:27:24,320 --> 01:27:26,280
Speaker 11: I mean he did it. Maybe, I mean he probably

1921
01:27:26,360 --> 01:27:29,920
Speaker 11: he was out there with us definitely three or four

1922
01:27:30,000 --> 01:27:32,240
Speaker 11: years selling. But I was gonna say, like it was

1923
01:27:32,280 --> 01:27:37,000
Speaker 11: a few years in before I saw him actively out

1924
01:27:37,000 --> 01:27:40,000
Speaker 11: there trying to write songs. So he and Michael Carter,

1925
01:27:40,280 --> 01:27:43,360
Speaker 11: Luke's guitar players, started getting in the back of the

1926
01:27:43,400 --> 01:27:47,040
Speaker 11: back lounge of the bus. And Michael wasn't really a

1927
01:27:47,040 --> 01:27:49,479
Speaker 11: writer at that time. He had had like a small

1928
01:27:49,520 --> 01:27:51,200
Speaker 11: deal maybe right when he first leaved to town.

1929
01:27:51,280 --> 01:27:53,920
Speaker 8: But I think they just kind of taught themselves how to,

1930
01:27:54,080 --> 01:27:55,160
Speaker 8: like they would do it every day.

1931
01:27:55,200 --> 01:27:56,840
Speaker 11: The two of them would sit back there every day

1932
01:27:57,439 --> 01:27:59,719
Speaker 11: and write. And I didn't hear any of the songs.

1933
01:28:00,120 --> 01:28:03,920
Speaker 11: I didn't really ask about him, and I think one

1934
01:28:04,600 --> 01:28:07,240
Speaker 11: I don't maybe Cole shared one with me and I

1935
01:28:07,280 --> 01:28:08,559
Speaker 11: was like, oh, that's that's pretty good.

1936
01:28:08,880 --> 01:28:09,680
Speaker 8: And then.

1937
01:28:10,880 --> 01:28:15,000
Speaker 11: He eventually would occasionally share one, and I remember hearing

1938
01:28:15,680 --> 01:28:18,320
Speaker 11: like a demo session and there was there was a

1939
01:28:18,360 --> 01:28:20,320
Speaker 11: song in there. I'm not gonna remember the title right now,

1940
01:28:20,360 --> 01:28:23,519
Speaker 11: but I remember thinking that it was like the best

1941
01:28:23,520 --> 01:28:25,880
Speaker 11: thing that he had ever done. And I went and

1942
01:28:25,880 --> 01:28:28,479
Speaker 11: played it for Luke and I was like, hey, I

1943
01:28:28,520 --> 01:28:31,439
Speaker 11: think they're getting the hang of it. And Luke's like, really,

1944
01:28:31,560 --> 01:28:33,320
Speaker 11: let me hear it, you know. He got all excited

1945
01:28:33,400 --> 01:28:35,800
Speaker 11: and and I mean, one thing I will say about

1946
01:28:35,880 --> 01:28:38,599
Speaker 11: Luke and Cole was the same. They both are are

1947
01:28:39,080 --> 01:28:41,840
Speaker 11: truly champions for other people like they do like I

1948
01:28:41,960 --> 01:28:46,080
Speaker 11: watch both of them want other people to win and

1949
01:28:46,120 --> 01:28:49,280
Speaker 11: have opportunities and they get I mean, Luke gets fired

1950
01:28:49,439 --> 01:28:52,320
Speaker 11: up for new artists and Cole does the same thing.

1951
01:28:52,360 --> 01:28:56,000
Speaker 11: And they just love watching people in those and those

1952
01:28:56,040 --> 01:28:57,400
Speaker 11: steps along the way.

1953
01:28:57,479 --> 01:29:00,200
Speaker 8: But yeah, so he was our our merch god turned.

1954
01:29:01,040 --> 01:29:02,840
Speaker 3: Guy that's riding in the back of the bus. So

1955
01:29:03,080 --> 01:29:08,280
Speaker 3: for you, when do you go, Okay, well, it's an

1956
01:29:08,280 --> 01:29:09,120
Speaker 3: investment for you.

1957
01:29:09,479 --> 01:29:11,040
Speaker 8: He well, he came.

1958
01:29:11,400 --> 01:29:14,439
Speaker 11: I could tell he was really starting to hate me

1959
01:29:14,560 --> 01:29:16,800
Speaker 11: out there, like selling the T shirt part. He was

1960
01:29:16,840 --> 01:29:21,599
Speaker 11: really he had the writer bug bad. And so we

1961
01:29:21,680 --> 01:29:25,479
Speaker 11: pulled him off the road and I went to Luke

1962
01:29:25,520 --> 01:29:27,280
Speaker 11: and I said, you know what, I'm like, he's really

1963
01:29:27,960 --> 01:29:29,360
Speaker 11: doing well. I was like, I think I'm gonna try

1964
01:29:29,400 --> 01:29:30,679
Speaker 11: to help him find a publishing deal.

1965
01:29:32,080 --> 01:29:34,040
Speaker 8: And then I think.

1966
01:29:33,960 --> 01:29:35,960
Speaker 11: At that point I had the idea to go talk

1967
01:29:36,040 --> 01:29:38,599
Speaker 11: to Luke's publisher and just see if they had any

1968
01:29:38,600 --> 01:29:41,240
Speaker 11: interest or any interest of doing something with us or

1969
01:29:41,280 --> 01:29:42,920
Speaker 11: I mean, I didn't really know. I was just talking

1970
01:29:42,960 --> 01:29:45,200
Speaker 11: through it with a guy named Troy Thomlinson at Sony

1971
01:29:45,240 --> 01:29:49,160
Speaker 11: Tree and that is where Luke was a writer, and

1972
01:29:49,560 --> 01:29:51,559
Speaker 11: you know, I remember we went in there and met

1973
01:29:51,600 --> 01:29:53,880
Speaker 11: with him and he's looking at us like, no.

1974
01:29:54,320 --> 01:29:59,200
Speaker 8: We'll make us do this. And I'm like, Troy, just true.

1975
01:29:59,200 --> 01:30:02,280
Speaker 11: I mean I remember, just trust us, Just trust us, please,

1976
01:30:02,880 --> 01:30:04,559
Speaker 11: And He's like, do you know how many deals I've

1977
01:30:04,600 --> 01:30:06,880
Speaker 11: done like this and how they've gone, you know, with

1978
01:30:07,000 --> 01:30:11,519
Speaker 11: writer with artists, and I'm like, no, but just trust us,

1979
01:30:11,680 --> 01:30:14,840
Speaker 11: you know. And I'm like, we want to sign Cole

1980
01:30:15,000 --> 01:30:17,719
Speaker 11: and Michael Carter and they're gonna they're gonna be amazing,

1981
01:30:18,720 --> 01:30:22,200
Speaker 11: And you know, he really did not want to, but

1982
01:30:22,200 --> 01:30:24,840
Speaker 11: but the relationship was important to him, and he was like,

1983
01:30:24,840 --> 01:30:29,360
Speaker 11: all right, we'll try it, and it has paid off.

1984
01:30:29,400 --> 01:30:29,639
Speaker 4: Well.

1985
01:30:29,720 --> 01:30:30,160
Speaker 2: What was Cole?

1986
01:30:30,200 --> 01:30:32,680
Speaker 3: What was the first song that Cole wrote that was

1987
01:30:32,720 --> 01:30:35,080
Speaker 3: like some had some you know, substance to it. They

1988
01:30:35,120 --> 01:30:35,920
Speaker 3: got some radio players.

1989
01:30:35,960 --> 01:30:40,960
Speaker 11: I think I think his first cut was Scottie Careery

1990
01:30:41,000 --> 01:30:42,280
Speaker 11: what water Tower Town?

1991
01:30:42,360 --> 01:30:43,559
Speaker 8: I think that was the first one.

1992
01:30:43,640 --> 01:30:45,960
Speaker 11: And then he had a Craig He and Michael had

1993
01:30:45,960 --> 01:30:47,000
Speaker 11: a Craig Campbell song.

1994
01:30:48,080 --> 01:30:51,280
Speaker 8: Ah, what was the name of it? It literally was

1995
01:30:51,360 --> 01:30:53,920
Speaker 8: the like one of the longest songs on the chart that.

1996
01:30:53,960 --> 01:30:57,559
Speaker 3: You Can't Stop Loving You? Was it Craig Campbell or

1997
01:30:57,600 --> 01:30:58,679
Speaker 3: Craig there are two Craigs.

1998
01:30:58,680 --> 01:31:01,080
Speaker 2: Craig Campbell, M hmm, what was that?

1999
01:31:01,360 --> 01:31:04,479
Speaker 3: Because he got right in the middle, so it was.

2000
01:31:04,479 --> 01:31:07,040
Speaker 8: A great song. Can'm just blanking on it right now.

2001
01:31:07,640 --> 01:31:10,800
Speaker 3: Cole's writing. But is he going, I also want to

2002
01:31:10,800 --> 01:31:11,760
Speaker 3: be an artist to you?

2003
01:31:12,560 --> 01:31:12,760
Speaker 8: He?

2004
01:31:12,920 --> 01:31:14,559
Speaker 11: I think he went and did a b M I

2005
01:31:15,000 --> 01:31:19,360
Speaker 11: b M I does a retreat at key West with songwriters,

2006
01:31:19,479 --> 01:31:22,240
Speaker 11: and he went and did that one year, and I

2007
01:31:22,240 --> 01:31:25,080
Speaker 11: think that's when he got the bug back, like when

2008
01:31:25,120 --> 01:31:27,160
Speaker 11: he and he had a couple of songs that had

2009
01:31:27,200 --> 01:31:29,760
Speaker 11: been hits for other artists and he did that and

2010
01:31:29,840 --> 01:31:30,840
Speaker 11: the reaction.

2011
01:31:30,720 --> 01:31:34,800
Speaker 3: And he, uh, this is it out of my head?

2012
01:31:35,600 --> 01:31:40,559
Speaker 8: Sorry, yes, that's it. Yeah, yeah, it's increatful.

2013
01:31:40,760 --> 01:31:45,280
Speaker 3: Yeah, this song whenever Craig Cambel got dropped and I

2014
01:31:45,320 --> 01:31:49,080
Speaker 3: dropped label thinking folded and the song was so good

2015
01:31:49,120 --> 01:31:50,960
Speaker 3: that my company I Heeart, was like, we're going to

2016
01:31:51,000 --> 01:31:52,840
Speaker 3: make it on the verge because the song is so good,

2017
01:31:52,880 --> 01:31:54,920
Speaker 3: and Craig was I remember this whole thing going down.

2018
01:31:55,040 --> 01:31:58,200
Speaker 11: It wasn't and it ended up I don't know if

2019
01:31:58,240 --> 01:32:00,720
Speaker 11: it ended up being the longest running, but it was.

2020
01:32:00,800 --> 01:32:04,479
Speaker 3: It was a long almost sixty weeks, yes, a long time,

2021
01:32:04,760 --> 01:32:09,160
Speaker 3: A long time with Cole as an artist. As you do,

2022
01:32:09,200 --> 01:32:11,120
Speaker 3: you see him and go, Okay, this is the guy

2023
01:32:11,120 --> 01:32:12,880
Speaker 3: who's going to have a bunch of hits and get

2024
01:32:12,960 --> 01:32:13,519
Speaker 3: up and.

2025
01:32:13,880 --> 01:32:17,160
Speaker 11: No, not really, to be honest, I didn't at the time, because.

2026
01:32:16,880 --> 01:32:21,320
Speaker 8: You know, he's he's a little he's he's grown into

2027
01:32:21,360 --> 01:32:23,719
Speaker 8: the artistry side. You know, he was a little more.

2028
01:32:23,640 --> 01:32:27,639
Speaker 3: Quiet even now he's so I.

2029
01:32:27,560 --> 01:32:31,320
Speaker 11: Mean, did I think But I knew like the songs

2030
01:32:31,320 --> 01:32:34,360
Speaker 11: he was turning in and his writing, that part I

2031
01:32:34,439 --> 01:32:40,559
Speaker 11: knew was great. And he came in and played me

2032
01:32:40,640 --> 01:32:42,880
Speaker 11: a song when he had the song called let Me

2033
01:32:42,920 --> 01:32:44,960
Speaker 11: See a Girl, and.

2034
01:32:44,720 --> 01:32:47,840
Speaker 8: I loved it. And I had talked to.

2035
01:32:49,680 --> 01:32:52,519
Speaker 11: Stormy and then John Mark's about like, you know, how

2036
01:32:52,560 --> 01:32:55,400
Speaker 11: does this program work that you guys do on XM.

2037
01:32:55,439 --> 01:33:00,320
Speaker 11: At the time, John was there and.

2038
01:32:59,080 --> 01:33:00,599
Speaker 8: They at the time, and when I.

2039
01:33:00,560 --> 01:33:02,880
Speaker 11: Asked them that question, FGL was the only person who

2040
01:33:02,960 --> 01:33:06,400
Speaker 11: had done their program. So I was just kind of

2041
01:33:06,400 --> 01:33:08,679
Speaker 11: inquiring about it because I knew that you didn't necessarily

2042
01:33:08,680 --> 01:33:10,920
Speaker 11: have to be signed and they would support it. You know,

2043
01:33:10,960 --> 01:33:14,600
Speaker 11: it was a little different angle. And he had agreed

2044
01:33:14,680 --> 01:33:22,640
Speaker 11: to play this song. But in the meantime, Cole is

2045
01:33:23,040 --> 01:33:25,559
Speaker 11: texting me going, hey, I wrote this other song. I

2046
01:33:25,560 --> 01:33:27,439
Speaker 11: can't wait for you to hear it. I'm waiting, dying

2047
01:33:27,520 --> 01:33:29,960
Speaker 11: for the demo. And he just kept talking about it.

2048
01:33:30,720 --> 01:33:32,760
Speaker 11: And one day he calls and he goes, are you

2049
01:33:32,800 --> 01:33:34,920
Speaker 11: in your office? And I go yeah, and he goes,

2050
01:33:34,920 --> 01:33:35,720
Speaker 11: can I swing by?

2051
01:33:35,880 --> 01:33:36,599
Speaker 8: And I said sure.

2052
01:33:37,160 --> 01:33:40,280
Speaker 11: So he comes in and he's kind of nervous and

2053
01:33:40,760 --> 01:33:43,200
Speaker 11: he said, well, I got that song back I was

2054
01:33:43,200 --> 01:33:45,320
Speaker 11: telling you about and I said, okay, awesome.

2055
01:33:45,439 --> 01:33:47,080
Speaker 8: He goes, can you can you listen to it?

2056
01:33:47,160 --> 01:33:50,479
Speaker 11: I'm like yeah. So he hands me, you know, his

2057
01:33:50,600 --> 01:33:52,760
Speaker 11: phone or whatever. I think it was a phone at

2058
01:33:52,760 --> 01:33:54,720
Speaker 11: that and I plug it in and I'm just sitting there,

2059
01:33:54,840 --> 01:33:59,360
Speaker 11: head down, listening to the song and he told he

2060
01:33:59,439 --> 01:34:02,439
Speaker 11: tells the story like that. I have no reaction and

2061
01:34:02,520 --> 01:34:05,479
Speaker 11: I'm not looking at him, and he is panicking because

2062
01:34:05,479 --> 01:34:08,479
Speaker 11: he thinks I hate it. And I get why he

2063
01:34:08,520 --> 01:34:11,000
Speaker 11: would think that looking back, but what I was really

2064
01:34:11,040 --> 01:34:13,160
Speaker 11: thinking the whole time I was listening to the song

2065
01:34:13,439 --> 01:34:16,600
Speaker 11: was oh my gosh, what am I going to do

2066
01:34:16,680 --> 01:34:19,439
Speaker 11: with this? I mean, I really was like, this is

2067
01:34:19,520 --> 01:34:23,680
Speaker 11: so fun and so different and so good and the

2068
01:34:23,720 --> 01:34:24,320
Speaker 11: song ends.

2069
01:34:24,360 --> 01:34:26,400
Speaker 8: I turned it off and I turn around. I look

2070
01:34:26,439 --> 01:34:26,760
Speaker 8: at him.

2071
01:34:26,760 --> 01:34:30,400
Speaker 11: I'm like, do you you really want to be an artist? Like,

2072
01:34:30,439 --> 01:34:32,599
Speaker 11: you've been on the road, You've seen what they do,

2073
01:34:32,680 --> 01:34:33,719
Speaker 11: you see what it's about.

2074
01:34:34,560 --> 01:34:35,519
Speaker 8: You really want to do it?

2075
01:34:35,560 --> 01:34:38,120
Speaker 11: And he goes, I really do, And I went, okay,

2076
01:34:38,439 --> 01:34:40,760
Speaker 11: because this is the song, and I mean like, and

2077
01:34:40,800 --> 01:34:43,320
Speaker 11: then we both literally start jumping up and down in

2078
01:34:43,360 --> 01:34:44,440
Speaker 11: my office.

2079
01:34:44,200 --> 01:34:48,599
Speaker 3: And that song was chilling. It's so crazy that that

2080
01:34:48,760 --> 01:34:51,679
Speaker 3: whole how one of them rolls into the other.

2081
01:34:52,000 --> 01:34:53,160
Speaker 8: It was insane. I mean.

2082
01:34:53,200 --> 01:34:56,519
Speaker 11: And at that time, the only artist I'd ever shopped

2083
01:34:56,520 --> 01:34:59,320
Speaker 11: a duel was Luke when I was working with Kelly

2084
01:34:59,320 --> 01:35:02,160
Speaker 11: Bannon and she was already signed to a label at

2085
01:35:02,160 --> 01:35:06,519
Speaker 11: that time. But you know, I started, well, people start

2086
01:35:06,560 --> 01:35:09,880
Speaker 11: calling me because they started seeing the streams and then

2087
01:35:09,960 --> 01:35:11,599
Speaker 11: what was happening and he had no.

2088
01:35:11,720 --> 01:35:14,640
Speaker 3: Deal, And that's what a good position to be in.

2089
01:35:14,720 --> 01:35:17,880
Speaker 11: That doesn't happen often, obviously in this town. Maybe a

2090
01:35:17,880 --> 01:35:20,719
Speaker 11: little more now with you know, more streaming services, I guess,

2091
01:35:20,760 --> 01:35:24,599
Speaker 11: but you know, it was overwhelming. I mean, I think

2092
01:35:25,360 --> 01:35:26,880
Speaker 11: at the end of the day, I think he had

2093
01:35:26,920 --> 01:35:30,680
Speaker 11: an offer from every label but one. And so then

2094
01:35:30,760 --> 01:35:32,439
Speaker 11: I was in a hall. I mean, I'm just begging

2095
01:35:32,479 --> 01:35:34,639
Speaker 11: people to give a Luke a deal and we had

2096
01:35:34,720 --> 01:35:37,799
Speaker 11: one offer one and a half. Somebody else was about

2097
01:35:37,840 --> 01:35:39,519
Speaker 11: to and I'm like, no, they came to the table.

2098
01:35:39,560 --> 01:35:42,040
Speaker 11: We're just gonna take this one. But with him, it

2099
01:35:42,120 --> 01:35:45,160
Speaker 11: was a different thing, and it was I mean, I learned.

2100
01:35:45,520 --> 01:35:47,760
Speaker 11: It was learning something new, really, I mean, which has

2101
01:35:47,800 --> 01:35:50,320
Speaker 11: been a fun thing for me personally, like learning.

2102
01:35:51,920 --> 01:35:53,200
Speaker 8: You know, I don't feel like I don't.

2103
01:35:53,000 --> 01:35:55,439
Speaker 3: Stop learning, and nor will you ever. And if you

2104
01:35:55,439 --> 01:35:57,360
Speaker 3: ever feel like you don't need to, then you're you're

2105
01:35:57,400 --> 01:35:58,000
Speaker 3: done anyway.

2106
01:35:58,280 --> 01:36:01,080
Speaker 11: I mean, like you know, doing a deal for American Idol,

2107
01:36:01,200 --> 01:36:04,679
Speaker 11: like doing a deal on that level, like just what

2108
01:36:04,760 --> 01:36:08,000
Speaker 11: you have to learn to like be in the game.

2109
01:36:08,800 --> 01:36:10,479
Speaker 3: The game is the funny thing. And I wonder because

2110
01:36:10,479 --> 01:36:12,240
Speaker 3: you've done so many things and there are a lot

2111
01:36:12,280 --> 01:36:14,360
Speaker 3: of I get a lot of messages from new artists

2112
01:36:14,360 --> 01:36:16,040
Speaker 3: in town that listen to this podcast because we get

2113
01:36:16,040 --> 01:36:18,200
Speaker 3: deep into the weeds about songwriting and a lot of

2114
01:36:18,200 --> 01:36:21,080
Speaker 3: the artists come in and talk about you know, second

2115
01:36:21,120 --> 01:36:22,920
Speaker 3: and third layer type things that you don't really talk

2116
01:36:22,920 --> 01:36:25,920
Speaker 3: about on the radio. So what would you say, like,

2117
01:36:25,960 --> 01:36:30,639
Speaker 3: what's what's the key to an artist career, to starting one.

2118
01:36:31,000 --> 01:36:33,000
Speaker 3: It's the ageal question, like what advice do you give

2119
01:36:33,040 --> 01:36:33,960
Speaker 3: somebody come into town.

2120
01:36:35,160 --> 01:36:36,480
Speaker 8: Well, I mean I think.

2121
01:36:38,960 --> 01:36:42,719
Speaker 11: I think it's about one the people you surround yourself

2122
01:36:42,720 --> 01:36:45,200
Speaker 11: with and that they really do believe in you and

2123
01:36:45,240 --> 01:36:47,439
Speaker 11: that you trust them because it is.

2124
01:36:48,200 --> 01:36:49,080
Speaker 8: I mean, I talk to.

2125
01:36:49,040 --> 01:36:51,880
Speaker 11: All my clients every day of my life pretty much.

2126
01:36:51,920 --> 01:36:54,200
Speaker 11: I mean, you are in the trenches with them. So

2127
01:36:54,240 --> 01:36:56,320
Speaker 11: I mean, make sure you surround yourself by people that

2128
01:36:56,360 --> 01:36:59,000
Speaker 11: I mean, you're gonna make mistakes and you're gonna you're

2129
01:36:59,040 --> 01:37:01,080
Speaker 11: gonna be mad at some I somebody's going to take

2130
01:37:01,120 --> 01:37:03,880
Speaker 11: advantage of you more than likely somewhere along the way

2131
01:37:03,920 --> 01:37:04,559
Speaker 11: of life.

2132
01:37:04,880 --> 01:37:05,080
Speaker 4: You know.

2133
01:37:05,200 --> 01:37:08,599
Speaker 11: I mean, I mean I think, I mean Luke and

2134
01:37:08,600 --> 01:37:10,880
Speaker 11: Cole both have examples that they would go you know,

2135
01:37:10,960 --> 01:37:12,479
Speaker 11: but you know, you just got to look at it

2136
01:37:12,520 --> 01:37:15,040
Speaker 11: like for some reason that was part of my path

2137
01:37:15,120 --> 01:37:19,160
Speaker 11: and that's what it was. But move on and we'll

2138
01:37:19,240 --> 01:37:21,439
Speaker 11: do the things we can control. I think that's part

2139
01:37:21,479 --> 01:37:25,080
Speaker 11: of it to me, Like it's like stick true to

2140
01:37:25,240 --> 01:37:27,280
Speaker 11: who you are and what you're about and what you

2141
01:37:27,320 --> 01:37:27,840
Speaker 11: want to say.

2142
01:37:28,040 --> 01:37:29,960
Speaker 8: And it goes back to your critic thing.

2143
01:37:30,000 --> 01:37:32,280
Speaker 11: I mean, that was another advice or that I would

2144
01:37:32,280 --> 01:37:34,680
Speaker 11: try to, you know, tell any of them when they

2145
01:37:35,080 --> 01:37:37,320
Speaker 11: feel like they're getting beat up about something. It's like,

2146
01:37:37,360 --> 01:37:39,960
Speaker 11: you know what all you can do is you and

2147
01:37:40,040 --> 01:37:42,000
Speaker 11: somebody's going to have an opinion, and they're always going

2148
01:37:42,080 --> 01:37:43,840
Speaker 11: to say something. But be you and be true to

2149
01:37:43,920 --> 01:37:46,680
Speaker 11: you and don't get heady with it, you know. I

2150
01:37:46,720 --> 01:37:48,439
Speaker 11: mean there are all those phases. I mean you talk,

2151
01:37:48,560 --> 01:37:51,600
Speaker 11: I mean I think about you know, as an artist

2152
01:37:52,240 --> 01:37:55,760
Speaker 11: has their fifth and sixth album, you're always questioning, like what.

2153
01:37:55,680 --> 01:37:56,320
Speaker 3: Do I do next?

2154
01:37:56,320 --> 01:37:57,320
Speaker 8: What I need to do next?

2155
01:37:57,360 --> 01:38:00,280
Speaker 11: You know, And that's good you should always question in that.

2156
01:38:01,160 --> 01:38:03,200
Speaker 11: I think if you get too heavy with it, you'll

2157
01:38:03,400 --> 01:38:04,360
Speaker 11: you'll be in a mess.

2158
01:38:05,880 --> 01:38:06,280
Speaker 3: I don't know.

2159
01:38:06,360 --> 01:38:07,120
Speaker 8: I think I did not.

2160
01:38:07,120 --> 01:38:09,920
Speaker 2: Even know definitely get it anyway.

2161
01:38:10,520 --> 01:38:13,120
Speaker 3: So what if the if someone's going, man, I think

2162
01:38:13,160 --> 01:38:16,680
Speaker 3: I'd like to be a manager, like they go, I

2163
01:38:16,720 --> 01:38:21,000
Speaker 3: love music run. I'm kidding, yeah, right, Like so what

2164
01:38:22,120 --> 01:38:25,960
Speaker 3: and to condense it sixty seconds? What does a manager

2165
01:38:26,000 --> 01:38:27,479
Speaker 3: even do? In your mind?

2166
01:38:28,360 --> 01:38:30,360
Speaker 11: I mean there, I guess I think of it like

2167
01:38:30,479 --> 01:38:34,040
Speaker 11: there is nothing that happens in that artist career that

2168
01:38:34,120 --> 01:38:36,800
Speaker 11: the manager is not involved in, or signing off on,

2169
01:38:37,000 --> 01:38:39,920
Speaker 11: or approving nothing like if you I mean, unless it's

2170
01:38:39,920 --> 01:38:41,680
Speaker 11: something a fan has done or put up, but like

2171
01:38:41,800 --> 01:38:45,640
Speaker 11: anything that you think of a photo, a social post.

2172
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Speaker 11: You know, are they on a show, are they not

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Speaker 11: on a show, or you know, what's the song? I mean,

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Speaker 11: you're involved in every single aspect of what is happening.

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Speaker 8: So it's a lot.

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Speaker 11: You have to be crazy organized and then you're still

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Speaker 11: not organized enough and it doesn't turn.

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Speaker 3: Hey, guys, thanks for listening to this special of the

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Speaker 3: Bobby Cast behind the scenes of the music industry. Hope

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Speaker 3: you learned a lot about how the business works, how labels, managers,

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Speaker 3: radio producers, how they all work, and how they have

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Speaker 3: to work together. So thank you, and make sure you're

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Speaker 3: subscribed to the Bobbycast wherever you are listening to this,

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Speaker 3: and please give us five stars.

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Speaker 2: We don't want to go off the air. We don't

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Speaker 2: want them to fire us.

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Speaker 4: Five stars.

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Speaker 2: Please I'm gonna cry. Okay, thank you.

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Speaker 3: We'll be back next week with a brand new episode

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Speaker 3: by everybody.

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Speaker 2: Thanks for listening to a Bobby Cast production