1 00:00:08,360 --> 00:00:13,760 Speaker 1: Pushkin. Just a quick note here. You can listen to 2 00:00:13,800 --> 00:00:16,759 Speaker 1: all of the music mentioned in this episode on our playlist, 3 00:00:16,800 --> 00:00:18,840 Speaker 1: which you can find a link to in the show 4 00:00:18,920 --> 00:00:22,599 Speaker 1: notes for licensing reasons, each time a song is referenced 5 00:00:22,640 --> 00:00:27,880 Speaker 1: in this episode, you'll hear this sound effect. All right, 6 00:00:28,480 --> 00:00:33,280 Speaker 1: enjoyed episode. In the nineteen seventies and eighties, there was 7 00:00:33,320 --> 00:00:36,599 Speaker 1: a revolution in Nashville that was every bit as important 8 00:00:36,640 --> 00:00:39,880 Speaker 1: to country music as the Beatles were to rock and roll. 9 00:00:40,479 --> 00:00:43,519 Speaker 1: A new generation of songwriters came along who didn't just 10 00:00:43,600 --> 00:00:47,160 Speaker 1: want to write about cowboys and pickup trucks. They wanted 11 00:00:47,159 --> 00:00:51,599 Speaker 1: to write about emotion and conflict and to bear their souls. 12 00:00:52,159 --> 00:00:55,880 Speaker 1: My name is Bobby Braddock and I'm bald, and I 13 00:00:55,960 --> 00:01:01,480 Speaker 1: write songs and borderline mentally ill. I'm Don Henry and 14 00:01:01,600 --> 00:01:03,800 Speaker 1: I've been very spoiled being able to enjoy what I 15 00:01:03,840 --> 00:01:06,880 Speaker 1: love doing for the longest time, and I still continue 16 00:01:06,920 --> 00:01:09,280 Speaker 1: to do it to this day. I'm Don Schlitz and 17 00:01:09,360 --> 00:01:12,959 Speaker 1: I'm with no particular talent at all. I was twenty 18 00:01:13,080 --> 00:01:16,520 Speaker 1: years old and eighty dollars and got off a bus 19 00:01:16,600 --> 00:01:19,840 Speaker 1: and I was in Nashville. My name is Malcolm Gladwell. 20 00:01:20,280 --> 00:01:24,120 Speaker 1: You're listening to Broken Record. For this episode, I went 21 00:01:24,160 --> 00:01:27,080 Speaker 1: to Nashville and sat down with three of the leaders 22 00:01:27,200 --> 00:01:30,880 Speaker 1: of that revolution. Don Schlitz, who has written some of 23 00:01:30,920 --> 00:01:35,360 Speaker 1: the greatest country music songs ever, Don Henry, the junior 24 00:01:35,360 --> 00:01:40,080 Speaker 1: member of the Revolution, and the great Bobby Braddock, elder Statesman. 25 00:01:40,840 --> 00:01:43,959 Speaker 1: Those of you who listened to my other podcast, Revisionist History, 26 00:01:44,360 --> 00:01:47,600 Speaker 1: know that I can't set foot in Nashville without checking 27 00:01:47,680 --> 00:01:50,520 Speaker 1: in with Bobby Braddock. It would be like going to 28 00:01:50,600 --> 00:01:53,960 Speaker 1: Iceland and not saying Hi to New York. We all 29 00:01:54,000 --> 00:01:58,160 Speaker 1: met at Sony Tree Studios on Music Row. We talked 30 00:01:58,200 --> 00:02:01,040 Speaker 1: for hours and could have talked for a lot longer. 31 00:02:01,240 --> 00:02:03,960 Speaker 1: In fact, we could devote an entire season of Broken 32 00:02:04,000 --> 00:02:08,600 Speaker 1: Record just to those crucial Nashville years. So consider this 33 00:02:08,760 --> 00:02:12,880 Speaker 1: a start chapter one in the oral history of the 34 00:02:12,919 --> 00:02:16,680 Speaker 1: New Nashville. I made sure there was a piano for Bobby, 35 00:02:17,240 --> 00:02:20,360 Speaker 1: and the two dons brought their guitars. I told them 36 00:02:20,400 --> 00:02:24,079 Speaker 1: all they had to sing for their supper. Don Schlitz 37 00:02:24,440 --> 00:02:29,200 Speaker 1: kick things off, and it only took two years to 38 00:02:29,240 --> 00:02:34,960 Speaker 1: get cut. Why because it was it was too long, 39 00:02:35,040 --> 00:02:43,919 Speaker 1: It's too linear melodically, there's no romantic situation. It took 40 00:02:43,960 --> 00:02:48,600 Speaker 1: too long to go to the course. I don't know. 41 00:02:49,520 --> 00:02:52,359 Speaker 1: I liked it. A lot of people liked it, and 42 00:02:52,400 --> 00:02:55,600 Speaker 1: it finally nobody would cut it. And my publisher put 43 00:02:55,600 --> 00:02:57,880 Speaker 1: out the demo and send it to radio, and they 44 00:02:57,880 --> 00:03:01,920 Speaker 1: started playing a couple a friend of mine and and 45 00:03:02,080 --> 00:03:05,080 Speaker 1: Hume Moffit cut it and put it out, and Conway 46 00:03:05,080 --> 00:03:07,840 Speaker 1: Twitty's son put it out Charlie Tango, and suddenly there 47 00:03:07,840 --> 00:03:10,639 Speaker 1: were three cuts of it on the on the charts, 48 00:03:11,320 --> 00:03:15,080 Speaker 1: and then it was gone. I was still working as 49 00:03:15,080 --> 00:03:18,120 Speaker 1: a computer operator. Oh you just you was still in 50 00:03:18,280 --> 00:03:20,239 Speaker 1: Oh yeah, yeah, sure, oh yeah, you know, you know, 51 00:03:21,280 --> 00:03:23,960 Speaker 1: writers got writers got to eat. But why I think 52 00:03:24,000 --> 00:03:27,000 Speaker 1: is great about that song? It's full of life lessons 53 00:03:27,040 --> 00:03:30,079 Speaker 1: like I don't play poker, but I don't think then 54 00:03:30,160 --> 00:03:34,160 Speaker 1: I played a lot of poker, and I would always 55 00:03:34,960 --> 00:03:37,800 Speaker 1: think about the lines in that song. Okay, no wonderful, 56 00:03:37,880 --> 00:03:40,520 Speaker 1: you know, And I use that and and that's like 57 00:03:40,560 --> 00:03:43,680 Speaker 1: a metaphor for the real life lessons that matter more 58 00:03:43,720 --> 00:03:45,840 Speaker 1: than poker. And it's it's full of those. And you 59 00:03:45,880 --> 00:03:48,040 Speaker 1: can just you could write that down and carry it 60 00:03:48,080 --> 00:03:49,120 Speaker 1: when you and get it out and look at it 61 00:03:49,200 --> 00:03:51,320 Speaker 1: when you're in an a tight situation. You know, does 62 00:03:51,360 --> 00:03:54,960 Speaker 1: that does that song change? Does the success of that 63 00:03:55,080 --> 00:03:58,000 Speaker 1: song change what people consider to be acceptable in a 64 00:03:58,040 --> 00:04:03,640 Speaker 1: country song? I think it, I know, and with all humility, 65 00:04:04,360 --> 00:04:08,320 Speaker 1: what it changed for me. For eventually Kenny Rogers cuts 66 00:04:08,320 --> 00:04:10,920 Speaker 1: it and with that great voice, they make it up tempo, 67 00:04:11,000 --> 00:04:15,600 Speaker 1: they move the chorus up. And that made it so 68 00:04:16,080 --> 00:04:18,599 Speaker 1: I could write whatever I wanted to write the rest 69 00:04:18,760 --> 00:04:21,520 Speaker 1: of my life. And I one thing I did not 70 00:04:21,600 --> 00:04:23,559 Speaker 1: want to write was that song over and over again. 71 00:04:24,279 --> 00:04:26,360 Speaker 1: So I got to write different songs. I got to 72 00:04:26,440 --> 00:04:31,320 Speaker 1: emulate my pals who were also my heroes, though you 73 00:04:31,360 --> 00:04:35,560 Speaker 1: know you wouldn't tell them that. And you write what 74 00:04:35,640 --> 00:04:38,520 Speaker 1: you want to write, and you learn that you can 75 00:04:39,279 --> 00:04:45,320 Speaker 1: amazingly enough. You have good taste. There's an an interesting 76 00:04:45,360 --> 00:04:52,400 Speaker 1: thing that happened with Braddock and Harlan and Manny Bob 77 00:04:52,480 --> 00:04:57,440 Speaker 1: McDill in this town that you can see a difference 78 00:04:57,480 --> 00:05:01,280 Speaker 1: between Nashville songs or the songs that were written on 79 00:05:01,360 --> 00:05:08,320 Speaker 1: music Row that stopped being corny, stop being that you'd 80 00:05:08,320 --> 00:05:11,000 Speaker 1: sit on a haybell and sing, or on a barstool 81 00:05:11,000 --> 00:05:15,560 Speaker 1: and have to sing, But you could sit by yourself 82 00:05:16,440 --> 00:05:18,960 Speaker 1: quietly in a room and go like that song is 83 00:05:19,000 --> 00:05:22,400 Speaker 1: about me. That song is about real issues that I have. 84 00:05:22,560 --> 00:05:26,760 Speaker 1: It is not uh and and we While we have 85 00:05:26,920 --> 00:05:34,120 Speaker 1: heroes from that era like Randy Newman, Bob McDill, Bob McDill, sorry, 86 00:05:34,120 --> 00:05:39,159 Speaker 1: Bob Dylan and as you know, Gordon Light for those 87 00:05:39,480 --> 00:05:45,560 Speaker 1: and great writers Joni Mitchell, I know you were, Paul Simon, Yeah, 88 00:05:45,600 --> 00:05:47,880 Speaker 1: Paul McCartney and John Lennon and the Keith Richards and 89 00:05:47,880 --> 00:05:52,840 Speaker 1: Emma Chair who we're writing songs that we love. There's 90 00:05:52,839 --> 00:05:55,880 Speaker 1: an awful lot of and Holland does your Holland do 91 00:05:56,000 --> 00:06:01,000 Speaker 1: not leave out notice writing a motown and stack that 92 00:06:01,080 --> 00:06:04,960 Speaker 1: were feeling feeling, feeling, feeling, feeling, feeling, feeling, and we're 93 00:06:05,000 --> 00:06:10,480 Speaker 1: writing a story. I think Christofferson had an awful lot 94 00:06:10,560 --> 00:06:12,800 Speaker 1: to do in popularizing that. I think Braddick had a 95 00:06:12,839 --> 00:06:16,080 Speaker 1: lot of doing popularized that there is a sequence of 96 00:06:16,120 --> 00:06:18,800 Speaker 1: events that happens. And as opposed to telling you I 97 00:06:18,839 --> 00:06:22,320 Speaker 1: feel this way, I feel this way, we're saying this 98 00:06:22,360 --> 00:06:26,560 Speaker 1: is what happened, period. And I think feelings go beyond words. 99 00:06:26,560 --> 00:06:29,400 Speaker 1: That's why some of my me it's hard to differentiate 100 00:06:29,480 --> 00:06:33,440 Speaker 1: between maybe if I say my favorite song, it might 101 00:06:33,520 --> 00:06:36,839 Speaker 1: be one of my favorite records like I put Gold 102 00:06:36,880 --> 00:06:40,000 Speaker 1: Restou on that Mountain on my list because just what 103 00:06:40,160 --> 00:06:43,880 Speaker 1: happened in that studio and Ricky Skaggs and Petty Lovelace 104 00:06:44,000 --> 00:06:46,480 Speaker 1: was singing with Vins on that thing. I still get 105 00:06:46,560 --> 00:06:48,200 Speaker 1: tears in my eyes and chilled much when I hear 106 00:06:48,320 --> 00:06:50,800 Speaker 1: the thing, And you know, it's a great story, but 107 00:06:50,880 --> 00:06:53,720 Speaker 1: they could be singing it in Greek, you know, and 108 00:06:54,320 --> 00:06:57,520 Speaker 1: I still love it. Well. You know. We also had 109 00:06:57,560 --> 00:07:00,360 Speaker 1: the advantage, at least Don and I did it of 110 00:07:01,360 --> 00:07:04,000 Speaker 1: tuning in the country radio and having people like like 111 00:07:04,080 --> 00:07:08,120 Speaker 1: Christofferson or Tom T. Hall who were writing stories and 112 00:07:08,360 --> 00:07:10,960 Speaker 1: a lot of times you had to sit in that 113 00:07:11,040 --> 00:07:12,600 Speaker 1: chair and listen all the way to the end to 114 00:07:12,640 --> 00:07:16,280 Speaker 1: get the payoff. So you had people that is unlike 115 00:07:16,320 --> 00:07:19,120 Speaker 1: today where you want to payoff in ten seconds. Uh. 116 00:07:19,640 --> 00:07:22,400 Speaker 1: People were willing to listen a little longer for something. 117 00:07:23,120 --> 00:07:28,400 Speaker 1: There's there's there's a collective ADHD now where people don't 118 00:07:28,440 --> 00:07:33,400 Speaker 1: want to I mean A and R people that they'll 119 00:07:33,760 --> 00:07:36,800 Speaker 1: if it takes too long, like I song he started 120 00:07:36,840 --> 00:07:40,720 Speaker 1: levering her today, whichever curly putman, nobody would possibly cut 121 00:07:40,760 --> 00:07:42,440 Speaker 1: that now because it takes too long to get to 122 00:07:42,440 --> 00:07:45,440 Speaker 1: the payoff. They even they're even wanting now the second 123 00:07:45,520 --> 00:07:47,600 Speaker 1: verse to be just a little tiny verse, you know, 124 00:07:48,280 --> 00:07:51,120 Speaker 1: whereas the second verse for us was, you know, we 125 00:07:51,120 --> 00:07:52,840 Speaker 1: were told if we had a great first verse, that 126 00:07:52,920 --> 00:07:56,400 Speaker 1: might be your second verse. Yes, it has to be, 127 00:07:56,400 --> 00:07:58,960 Speaker 1: because you want something to build up to mean, what's 128 00:07:59,080 --> 00:08:02,280 Speaker 1: what's a what's a A great example, another great example 129 00:08:02,320 --> 00:08:08,360 Speaker 1: of a a song with a delayed payoff. Well, that 130 00:08:08,360 --> 00:08:13,360 Speaker 1: that was one for sure. Is long? Is long? Is longok? Vail? Well, 131 00:08:13,400 --> 00:08:16,640 Speaker 1: you you find out pretty quick that it's his best friends. 132 00:08:16,680 --> 00:08:18,680 Speaker 1: He was in the arms of his best friend's wife 133 00:08:19,400 --> 00:08:23,400 Speaker 1: kind of by the second and yeah, so you know 134 00:08:23,480 --> 00:08:26,840 Speaker 1: he can't he's got a decision to make. And well, 135 00:08:26,920 --> 00:08:28,720 Speaker 1: and then you know that if she wants do you 136 00:08:28,720 --> 00:08:30,840 Speaker 1: guys know that song well enough to play it? John 137 00:08:30,920 --> 00:08:34,160 Speaker 1: probably can you. The most powerful part of that, I 138 00:08:34,160 --> 00:08:36,439 Speaker 1: think is when you say she walks these hills in 139 00:08:36,520 --> 00:08:40,920 Speaker 1: her long black veil. Danny Dill and Mary John welcome 140 00:08:41,400 --> 00:08:44,000 Speaker 1: Danny deal. I think was primarily the lyricist on that 141 00:08:44,720 --> 00:08:46,840 Speaker 1: I heard they now is this true or not? They 142 00:08:46,840 --> 00:08:48,760 Speaker 1: wrote it on the way of the session. Is that true? 143 00:08:48,920 --> 00:08:51,080 Speaker 1: I don't know if that's true or not. But but uh. 144 00:08:53,559 --> 00:08:57,000 Speaker 1: I had a song called Golden Ring. We were talking 145 00:08:57,040 --> 00:09:00,959 Speaker 1: about where we should sue Conway when you had I 146 00:09:01,120 --> 00:09:03,280 Speaker 1: Love to Lay You Down, and I said, and I 147 00:09:03,320 --> 00:09:05,480 Speaker 1: told my publisher, I said, but they do that. Then 148 00:09:05,559 --> 00:09:08,440 Speaker 1: Danny Dill and Mary John Welcome may sue me for 149 00:09:08,520 --> 00:09:11,200 Speaker 1: stealing the melody from Long Black Veil. And I told 150 00:09:11,200 --> 00:09:13,760 Speaker 1: that story to Mary John Wilcom. She said, we came 151 00:09:13,800 --> 00:09:19,760 Speaker 1: pretty damn close to doing. Really, my goodness, that's strange. Well, 152 00:09:19,800 --> 00:09:22,120 Speaker 1: I like this theme that we're on well, of these 153 00:09:22,200 --> 00:09:25,960 Speaker 1: kind of story that are because a lot of you 154 00:09:25,960 --> 00:09:29,040 Speaker 1: guys are seemed to be have worked in that well. 155 00:09:29,400 --> 00:09:31,520 Speaker 1: I was a huge and still I am a huge 156 00:09:31,559 --> 00:09:34,640 Speaker 1: Randy Newman fan. And the thing that struck me about 157 00:09:34,640 --> 00:09:37,440 Speaker 1: Bobby before I even really got to know him, was 158 00:09:37,480 --> 00:09:40,959 Speaker 1: that he was basically the country music version of that. 159 00:09:42,280 --> 00:09:44,960 Speaker 1: And I think the thing that really woke me up 160 00:09:45,040 --> 00:09:47,760 Speaker 1: to that was, Unfortunately, when I heard he Stopped Loving 161 00:09:47,760 --> 00:09:50,600 Speaker 1: Her Today. I knew the title of it before I 162 00:09:50,640 --> 00:09:53,319 Speaker 1: heard the song. I wish I'd heard it without knowing 163 00:09:53,320 --> 00:09:56,000 Speaker 1: what the name of the song was, because the first 164 00:09:56,040 --> 00:09:58,839 Speaker 1: line is he said I love you till I die, 165 00:09:59,559 --> 00:10:02,800 Speaker 1: and I I just started laughing. So hard. I took 166 00:10:02,840 --> 00:10:05,320 Speaker 1: the record off, I went because the title is he 167 00:10:05,360 --> 00:10:09,280 Speaker 1: Stopped Loving Her Today, and the first line is he 168 00:10:09,400 --> 00:10:12,200 Speaker 1: said I love you till I die. And I went, oh, 169 00:10:12,240 --> 00:10:17,960 Speaker 1: he's dead. This guy's dead man instantly, and I just 170 00:10:18,000 --> 00:10:21,080 Speaker 1: started and I think, what I loved about Bobby and 171 00:10:21,080 --> 00:10:23,599 Speaker 1: what I loved about the Lubin Brothers and Tom T 172 00:10:23,760 --> 00:10:27,959 Speaker 1: Holmes so much stuff. Is that a threat of irony 173 00:10:28,080 --> 00:10:31,400 Speaker 1: that you wouldn't call it laugh out loud humor, but 174 00:10:31,679 --> 00:10:34,079 Speaker 1: it's it's just so ironic, And to me, that's what 175 00:10:34,160 --> 00:10:37,800 Speaker 1: Randy Newman taps into constantly. And so when I heard 176 00:10:37,800 --> 00:10:39,920 Speaker 1: that song, and you know, every verse of he Stopped 177 00:10:39,920 --> 00:10:43,720 Speaker 1: Loving Her Today ends with a joke. I mean, you know, 178 00:10:44,440 --> 00:10:47,840 Speaker 1: you know we all went to see her, she we 179 00:10:47,880 --> 00:10:50,120 Speaker 1: all wondered if she would It kept running through my 180 00:10:50,200 --> 00:10:53,240 Speaker 1: mind those time he's over her for good. And then 181 00:10:53,400 --> 00:10:56,480 Speaker 1: the thing about the smile, first time we'd seen him 182 00:10:56,520 --> 00:10:59,839 Speaker 1: smile in years, Well, that's a joke. It is. Those 183 00:10:59,880 --> 00:11:02,440 Speaker 1: are joke, and almost every one of them ends with that. 184 00:11:02,480 --> 00:11:05,120 Speaker 1: But by the time you get that joke, it doesn't 185 00:11:05,120 --> 00:11:07,760 Speaker 1: make you laugh. It makes you just get this biggest 186 00:11:07,840 --> 00:11:11,480 Speaker 1: lump in your throat and you realize what a comedy 187 00:11:11,559 --> 00:11:15,640 Speaker 1: tragedy life is. See. I always love the juxtaposition between 188 00:11:15,679 --> 00:11:19,400 Speaker 1: something that me too, and I have written songs that 189 00:11:19,440 --> 00:11:21,640 Speaker 1: I thought were funny songs and people took them very 190 00:11:21,640 --> 00:11:24,960 Speaker 1: seriously and vice versa. Absolutely, it's happened to me over 191 00:11:25,000 --> 00:11:27,600 Speaker 1: and over for year. I love writing a song that 192 00:11:28,320 --> 00:11:33,520 Speaker 1: it's it's really very serious, but it's kind of taboo 193 00:11:33,600 --> 00:11:37,319 Speaker 1: subject matter, so people laugh nervously over that. And that's 194 00:11:37,320 --> 00:11:38,880 Speaker 1: what happened to me when I heard he stopped Loving 195 00:11:38,880 --> 00:11:41,280 Speaker 1: Her today, and I use it today to this day. 196 00:11:41,280 --> 00:11:43,520 Speaker 1: I get to tour and teach on some of these 197 00:11:44,040 --> 00:11:46,600 Speaker 1: shows that I do, and I put that song up 198 00:11:46,679 --> 00:11:49,040 Speaker 1: right away because I show people what you can do 199 00:11:49,120 --> 00:11:51,280 Speaker 1: in such a short amount of time, how you can 200 00:11:51,280 --> 00:11:54,400 Speaker 1: tell a huge story. And it uses all the little 201 00:11:54,440 --> 00:12:00,319 Speaker 1: technical things about about that little running joke, even theduction 202 00:12:00,400 --> 00:12:04,480 Speaker 1: of it, which is brilliant. Billy Cheryl, I think to me, 203 00:12:04,600 --> 00:12:06,000 Speaker 1: I hold it up there with a song like we 204 00:12:06,040 --> 00:12:08,959 Speaker 1: talked about earlier, like sale Away, which you can almost 205 00:12:09,040 --> 00:12:12,720 Speaker 1: use and show students or anybody who's interested how you 206 00:12:12,760 --> 00:12:17,160 Speaker 1: can unfold a story. We'll be back with more of 207 00:12:17,200 --> 00:12:21,800 Speaker 1: my conversation with Bobby Braddock Don Schlitz and Don Henry. 208 00:12:27,120 --> 00:12:31,240 Speaker 1: We're back with Bobby and the Two Dons. Don Henry, 209 00:12:31,440 --> 00:12:34,720 Speaker 1: a self described hippie from California, wrote a hit record 210 00:12:34,720 --> 00:12:38,920 Speaker 1: from Miranda Lambert with songwriter Philip Coleman, who's from West Tennessee. 211 00:12:39,400 --> 00:12:42,719 Speaker 1: The song All Kinds of Kinds is an ode to diversity. 212 00:12:43,559 --> 00:12:46,800 Speaker 1: I asked Don to play it for us. You know, 213 00:12:46,880 --> 00:12:49,080 Speaker 1: we knew when we wrote that we had to kind 214 00:12:49,120 --> 00:12:53,360 Speaker 1: of as oddballs go. We were odder than the people 215 00:12:53,400 --> 00:12:55,520 Speaker 1: we were picking out the front, so we had to 216 00:12:55,520 --> 00:12:58,600 Speaker 1: put ourselves in there at the end to show you that. 217 00:12:58,679 --> 00:13:01,360 Speaker 1: It's that you know that we were there too. Otherwise 218 00:13:01,360 --> 00:13:03,600 Speaker 1: it's just a you're getting on a soapbox and you're 219 00:13:03,640 --> 00:13:06,600 Speaker 1: pointing fingers, and you really got to pay attention at 220 00:13:06,679 --> 00:13:09,600 Speaker 1: point and the finger at yourself to make that kind 221 00:13:09,600 --> 00:13:12,520 Speaker 1: of stuff work, at least from my experience, and that 222 00:13:12,520 --> 00:13:15,440 Speaker 1: that's how it finally came together at the end for us. 223 00:13:15,480 --> 00:13:18,560 Speaker 1: I love what she did. She she twisted it around 224 00:13:18,559 --> 00:13:20,080 Speaker 1: a little bit. One of the things she said on 225 00:13:20,080 --> 00:13:24,079 Speaker 1: that tag was and sent to some point of fingers. 226 00:13:24,120 --> 00:13:26,680 Speaker 1: She says at some point the finger. Yeah, that's why 227 00:13:26,720 --> 00:13:28,720 Speaker 1: she says it, which I think is great because she 228 00:13:28,800 --> 00:13:31,199 Speaker 1: kind of owns that song. It sounds like she wrote it, 229 00:13:31,240 --> 00:13:34,360 Speaker 1: and I like that. She's she's impish, perfect song for her, 230 00:13:34,480 --> 00:13:37,199 Speaker 1: She's perfect. It sounds and that's what she told frank Lydell, 231 00:13:37,280 --> 00:13:40,120 Speaker 1: who produced that record. She said, it just sounds like 232 00:13:40,160 --> 00:13:42,079 Speaker 1: something I would write. And that made me feel good 233 00:13:42,080 --> 00:13:44,520 Speaker 1: because she's a really good writer. Yeah. Yeah, were you 234 00:13:44,600 --> 00:13:46,440 Speaker 1: thinking about her when you well, you know, we were, 235 00:13:46,480 --> 00:13:48,679 Speaker 1: in fact when we wrote that. It was it was 236 00:13:48,720 --> 00:13:52,120 Speaker 1: probably probably ten years before she moved to town. She 237 00:13:52,240 --> 00:13:54,880 Speaker 1: was probably fifteen years old. Do you guys, do you 238 00:13:54,920 --> 00:13:57,880 Speaker 1: when you're when you're writing songs and if you're not 239 00:13:57,920 --> 00:14:01,960 Speaker 1: writing with the artist, but you're writing a song, do 240 00:14:02,000 --> 00:14:04,640 Speaker 1: you have in your head anybody singing it other than yourself? No? 241 00:14:05,480 --> 00:14:07,000 Speaker 1: I don't. I mean, I just want to sing it 242 00:14:07,000 --> 00:14:10,160 Speaker 1: at the Bluebird Er. If I'm trying to emulate one 243 00:14:10,200 --> 00:14:12,360 Speaker 1: of my heroes, like a Jonie or something, I'll say, Okay, 244 00:14:12,360 --> 00:14:14,480 Speaker 1: what would Jonie do? And I'll try to bring that out. 245 00:14:14,480 --> 00:14:17,240 Speaker 1: But it's not like I'm writing to pitch that you 246 00:14:17,240 --> 00:14:21,240 Speaker 1: have Mitchell in your head. I love Joni Mitchell. When 247 00:14:21,280 --> 00:14:23,760 Speaker 1: I'm looking to write a song and I can't really 248 00:14:23,760 --> 00:14:25,800 Speaker 1: get into the groove. I'll get up early in the 249 00:14:25,840 --> 00:14:29,560 Speaker 1: morning and get things going and put on Joni Mitchell, wow, 250 00:14:29,880 --> 00:14:34,240 Speaker 1: Ry Newman, Paul Simon, sometimes people like Van Morrison. I 251 00:14:34,320 --> 00:14:35,960 Speaker 1: really liked that because I just like the way he 252 00:14:36,040 --> 00:14:39,120 Speaker 1: writes words. The great music can pump you up and 253 00:14:39,120 --> 00:14:43,040 Speaker 1: make it. If you could only listen to one Joni 254 00:14:43,080 --> 00:14:44,680 Speaker 1: Mitchell song in the morning to get you going, what 255 00:14:44,680 --> 00:14:47,120 Speaker 1: would it be well for writing and for working on 256 00:14:47,160 --> 00:14:49,160 Speaker 1: that It's it's a tough one, but but for me 257 00:14:49,240 --> 00:14:51,360 Speaker 1: it's it was on my list, and it's both sides. 258 00:14:51,440 --> 00:14:55,160 Speaker 1: Now it's clouds because I remember distinctly as a youngster 259 00:14:55,240 --> 00:14:58,240 Speaker 1: hearing that song and going, oh see what she did there? 260 00:14:58,400 --> 00:15:01,080 Speaker 1: You know, that kind of a thing, And that's that 261 00:15:01,200 --> 00:15:04,080 Speaker 1: same anchor of a chorus that has a little bit 262 00:15:04,160 --> 00:15:07,080 Speaker 1: of a twist each time it comes back around, and 263 00:15:07,160 --> 00:15:09,640 Speaker 1: I think, well, that keeps the lessener from being bored, 264 00:15:09,640 --> 00:15:13,320 Speaker 1: doesn't it. And yet it's just filled with life lessons 265 00:15:13,400 --> 00:15:15,880 Speaker 1: written by such a young person at the time, and 266 00:15:15,960 --> 00:15:18,680 Speaker 1: I think by hearing something like that at an early age, 267 00:15:19,000 --> 00:15:22,200 Speaker 1: it helped make me wiser quicker, you know, as much 268 00:15:22,200 --> 00:15:25,160 Speaker 1: as I loved bubblegum pop, to hear Joni Mitchell sing that, 269 00:15:25,240 --> 00:15:26,960 Speaker 1: it was like, oh, this is what you can do 270 00:15:27,000 --> 00:15:30,360 Speaker 1: with It's pretty cool changes, it's pretty amazing. Yeah. But 271 00:15:30,520 --> 00:15:34,320 Speaker 1: the one Man Man by the Quick Lunch Down, he's 272 00:15:34,440 --> 00:15:38,320 Speaker 1: playing real good for free. I mean, what a great 273 00:15:38,400 --> 00:15:43,400 Speaker 1: country song that is. Can you guys do a little 274 00:15:43,440 --> 00:15:49,720 Speaker 1: bit of that altogether? Is that possible? I don't know 275 00:15:49,840 --> 00:15:54,440 Speaker 1: enough of it. Clouds from both sides now, from up 276 00:15:54,560 --> 00:15:57,480 Speaker 1: band down, and then give or take and win or lose. 277 00:15:59,120 --> 00:16:06,040 Speaker 1: It's cloud clouds illusions. I recall, I really don't know 278 00:16:06,160 --> 00:16:10,280 Speaker 1: clouds at all. It's funny because she originally did it 279 00:16:10,320 --> 00:16:15,200 Speaker 1: in that day. Yeahbody knows. Well. What I like about 280 00:16:15,240 --> 00:16:18,920 Speaker 1: that thing is is it's kind of it's it's very 281 00:16:18,960 --> 00:16:22,440 Speaker 1: textbooking and it's very technical, but when it's when it's 282 00:16:22,480 --> 00:16:24,960 Speaker 1: going down, it's seamless, and it doesn't feel that way 283 00:16:25,320 --> 00:16:27,080 Speaker 1: When you were talking about how to hear that from 284 00:16:27,120 --> 00:16:32,760 Speaker 1: someone so young, it's a totally better song written sung 285 00:16:32,800 --> 00:16:35,560 Speaker 1: by someone who's obviously really young, right, because it's no 286 00:16:35,720 --> 00:16:37,920 Speaker 1: longer that it's not the cliche of the older person 287 00:16:38,600 --> 00:16:42,360 Speaker 1: looking back. It's this weird, fascinating thing of this super 288 00:16:42,400 --> 00:16:45,240 Speaker 1: young person saying you're not going to believe this amazement. 289 00:16:45,680 --> 00:16:47,880 Speaker 1: But I have looked at life from both sides now 290 00:16:47,960 --> 00:16:52,240 Speaker 1: right by constantly, you know, looking at his I mean 291 00:16:52,240 --> 00:16:53,720 Speaker 1: it was the first time I heard the Girl from 292 00:16:53,800 --> 00:16:55,960 Speaker 1: the North Country. My dad used to sing that one 293 00:16:55,960 --> 00:16:57,920 Speaker 1: all the time to me, and I didn't even know 294 00:16:57,960 --> 00:17:00,000 Speaker 1: who Bob Dylan was when he my dad would sing it. 295 00:17:00,040 --> 00:17:03,680 Speaker 1: And then he had that Free Willing album, and I 296 00:17:03,760 --> 00:17:07,760 Speaker 1: remember thinking that this was completely different than anything I'd 297 00:17:07,760 --> 00:17:11,359 Speaker 1: heard because this guy was really young writing about such 298 00:17:11,480 --> 00:17:14,919 Speaker 1: wise stuff. It was really cool. We'll be back with 299 00:17:14,960 --> 00:17:22,920 Speaker 1: more broken record after this. I'm back with Bobby Braddock, 300 00:17:23,240 --> 00:17:28,760 Speaker 1: John Henry and Don Schlitz. Drawing back to you can 301 00:17:28,800 --> 00:17:33,479 Speaker 1: you give us? Now? I'm interested in a song that 302 00:17:33,600 --> 00:17:37,040 Speaker 1: really not one of your own, a song that really 303 00:17:37,160 --> 00:17:40,440 Speaker 1: kind of changed the way, transformed the way you thought 304 00:17:40,440 --> 00:17:44,080 Speaker 1: about songwriting, that opened a door for you. Fairly easy 305 00:17:44,840 --> 00:17:50,520 Speaker 1: to explain. My first company I went to in Nashville 306 00:17:50,680 --> 00:17:53,800 Speaker 1: when I was twenty was Pete Drake Music because Pete 307 00:17:53,840 --> 00:17:55,840 Speaker 1: Drake had played on John Wesley Harding and there was 308 00:17:55,880 --> 00:18:00,280 Speaker 1: a young man named Buzz Raven was listening to song zero, 309 00:18:03,040 --> 00:18:05,760 Speaker 1: but I played, you know, I walked in that hair 310 00:18:05,800 --> 00:18:08,280 Speaker 1: down halfway down my back, and I was twenty years 311 00:18:08,280 --> 00:18:11,199 Speaker 1: old and didn't look like a person that would be 312 00:18:11,240 --> 00:18:15,359 Speaker 1: in wanting to be a country singer. And so I 313 00:18:15,400 --> 00:18:17,080 Speaker 1: went up and played a few songs for him at 314 00:18:17,119 --> 00:18:19,440 Speaker 1: the publishing company and he said, well, I don't really 315 00:18:19,480 --> 00:18:24,520 Speaker 1: know what we're doing here yet, what I'm doing here yet, 316 00:18:24,840 --> 00:18:26,280 Speaker 1: but let me make a phone call for you. You You 317 00:18:26,400 --> 00:18:28,640 Speaker 1: gave me a number person to go see. He says, 318 00:18:28,920 --> 00:18:30,680 Speaker 1: you go see him in a couple of days, he'll 319 00:18:30,720 --> 00:18:33,439 Speaker 1: be expecting you. So I go over this company, this 320 00:18:33,560 --> 00:18:38,160 Speaker 1: building walking. I didn't have a car in this hot 321 00:18:39,240 --> 00:18:43,359 Speaker 1: day in April, you know, heavy guitar case. And I 322 00:18:43,480 --> 00:18:46,399 Speaker 1: walk in and back then you could walk in, and 323 00:18:46,440 --> 00:18:48,679 Speaker 1: I said, I'm supted to see somebody. My name is 324 00:18:49,160 --> 00:18:53,200 Speaker 1: and somebody yells back, oh, I know what this is about. 325 00:18:53,240 --> 00:18:56,359 Speaker 1: He comes out, and this guy with curly hair and 326 00:18:56,600 --> 00:18:59,480 Speaker 1: wireroom glasses comes out and says, coming back and play 327 00:18:59,520 --> 00:19:01,639 Speaker 1: some songs. So I went back and I pulled my 328 00:19:01,680 --> 00:19:04,680 Speaker 1: guitar out and I've played a couple of songs and 329 00:19:05,000 --> 00:19:06,880 Speaker 1: he says, we'll play me another. And I'm pretty sure 330 00:19:06,880 --> 00:19:09,600 Speaker 1: that I'm this guy's big break. You know that I 331 00:19:09,640 --> 00:19:11,960 Speaker 1: am it for him? And I'm going through and I 332 00:19:12,040 --> 00:19:14,840 Speaker 1: play about eight or nine songs, and I'm thinking I'm 333 00:19:14,880 --> 00:19:18,440 Speaker 1: being discovered. This is absolutely amazing and wonderful. I'm twenty 334 00:19:18,520 --> 00:19:21,280 Speaker 1: years old and this is how great for this guy. 335 00:19:21,359 --> 00:19:25,120 Speaker 1: He's like ten years older than me. And he says, 336 00:19:25,200 --> 00:19:29,720 Speaker 1: let me show you what I do. And he's coming 337 00:19:29,760 --> 00:19:32,000 Speaker 1: in here. It takes me into the little record room 338 00:19:32,080 --> 00:19:34,040 Speaker 1: and says, well, it's just a single, and I knew 339 00:19:34,080 --> 00:19:35,720 Speaker 1: that didn't mean it was very much because it wasn't 340 00:19:35,720 --> 00:19:38,040 Speaker 1: on an album and it's a small label. It's a 341 00:19:38,080 --> 00:19:41,080 Speaker 1: friend of mine. It's the B side, And he puts 342 00:19:41,119 --> 00:19:45,879 Speaker 1: on this song in the and it starts to play, 343 00:19:45,920 --> 00:19:51,159 Speaker 1: and live held it all in me. Lord knows, I've tried. 344 00:19:51,600 --> 00:19:57,320 Speaker 1: It's an awful awake now you boys. The song was Amanda. 345 00:19:58,320 --> 00:20:00,480 Speaker 1: I wish I could, but I can't do it justice 346 00:20:00,480 --> 00:20:04,000 Speaker 1: because the singer was Don Williams, and it was on 347 00:20:04,119 --> 00:20:10,879 Speaker 1: JMI Records. It was its twelve lines, uh, and it 348 00:20:11,000 --> 00:20:13,200 Speaker 1: was a song called a Man. And that he didn't 349 00:20:13,200 --> 00:20:15,119 Speaker 1: tell me that he'd written it by himself, or that 350 00:20:15,160 --> 00:20:18,320 Speaker 1: he'd also written the A side, which was Come Early Morning, 351 00:20:18,359 --> 00:20:21,159 Speaker 1: which was the number one song in America at the time. Uh, 352 00:20:21,280 --> 00:20:24,159 Speaker 1: And I'm sitting there listening, going like, oh, you know, 353 00:20:24,280 --> 00:20:26,680 Speaker 1: I've got a long way to go. And I think 354 00:20:26,720 --> 00:20:31,159 Speaker 1: that what had changed for me was realizing that I 355 00:20:31,200 --> 00:20:35,680 Speaker 1: didn't know a whole lot and talk about Bob McDill 356 00:20:35,760 --> 00:20:37,720 Speaker 1: was the man, and he became my mentor and basically 357 00:20:37,760 --> 00:20:39,160 Speaker 1: the only person that would see me for a few 358 00:20:39,240 --> 00:20:41,320 Speaker 1: years when I was first here, and the only person 359 00:20:41,359 --> 00:20:44,439 Speaker 1: I would go in and take songs to. And Gorcy 360 00:20:44,520 --> 00:20:46,959 Speaker 1: passed on the Gambler, which was, you know, so he 361 00:20:47,040 --> 00:20:49,440 Speaker 1: everybody makes mistakes, but he went on to write a 362 00:20:52,800 --> 00:20:56,959 Speaker 1: large portion of the Don Williams songs that that that 363 00:20:57,160 --> 00:21:02,040 Speaker 1: helped change this town. And I wrote, good old Boys 364 00:21:02,119 --> 00:21:04,680 Speaker 1: like good old Boys like Me. It is his masterpiece. 365 00:21:05,520 --> 00:21:08,840 Speaker 1: Give us, give us a taste of it. Hey, we 366 00:21:08,920 --> 00:21:12,600 Speaker 1: were we were lucky, at least I was. I had 367 00:21:12,680 --> 00:21:14,879 Speaker 1: just come to town at seventy nine, so all this 368 00:21:14,920 --> 00:21:18,199 Speaker 1: stuff was happening. The Gambler had just been a huge hit, 369 00:21:18,680 --> 00:21:21,680 Speaker 1: and then a year later he stopped loving her. Today 370 00:21:21,800 --> 00:21:24,600 Speaker 1: was of course good old Boys like Me and stuff 371 00:21:24,640 --> 00:21:26,600 Speaker 1: like that. So that was the bar that I had 372 00:21:26,680 --> 00:21:28,600 Speaker 1: to come in, and I thought, well, that's an impossible 373 00:21:28,640 --> 00:21:31,959 Speaker 1: bar to reach. But It was glorious and it was 374 00:21:32,000 --> 00:21:34,520 Speaker 1: fun to try, but it was a wonderful club to join. 375 00:21:34,760 --> 00:21:40,880 Speaker 1: It was it was, And I think that that's frustrating now. 376 00:21:41,000 --> 00:21:43,800 Speaker 1: Is that a song that would say something like Hank 377 00:21:43,840 --> 00:21:46,359 Speaker 1: and Tennessee, or a song like he stopped loving her 378 00:21:46,400 --> 00:21:51,760 Speaker 1: today or unfortunately the Gambler would not be recorded today. 379 00:21:52,440 --> 00:21:55,760 Speaker 1: And that's frustrating feeling. And so that bar that I 380 00:21:55,800 --> 00:21:57,600 Speaker 1: held so high, it's a different bar now. I'm not 381 00:21:57,640 --> 00:22:00,719 Speaker 1: saying that I don't know because I don't participate in 382 00:22:00,720 --> 00:22:04,359 Speaker 1: that world like I did back then. But what I 383 00:22:04,400 --> 00:22:08,560 Speaker 1: wanted to say about Amanda being so simple is then 384 00:22:08,680 --> 00:22:12,480 Speaker 1: we ended up going with when Paul over Street, and 385 00:22:12,480 --> 00:22:18,160 Speaker 1: now we're writing songs and actually I would find oh 386 00:22:18,320 --> 00:22:22,280 Speaker 1: goodness gracious in the in the middle, I would find 387 00:22:22,280 --> 00:22:29,320 Speaker 1: an idea, real simple, that's your song? Yeah? Really, yeah, 388 00:22:29,400 --> 00:22:32,080 Speaker 1: I had no idea. It hit twice. It's one of 389 00:22:32,160 --> 00:22:34,920 Speaker 1: my favorite songs. I've only ever heard the I think 390 00:22:35,119 --> 00:22:38,080 Speaker 1: it's an astounding song. I haven't even heard the version 391 00:22:38,119 --> 00:22:43,639 Speaker 1: by Elson kraus Reed. Keith Whitley recorded it first and 392 00:22:43,680 --> 00:22:46,520 Speaker 1: then he passed away. Sadly, he was one of our 393 00:22:46,920 --> 00:22:55,919 Speaker 1: great singers and tragically and there was a tribute album 394 00:22:56,000 --> 00:22:59,840 Speaker 1: made it, and Alison Krause sang it, and then there's 395 00:22:59,840 --> 00:23:05,159 Speaker 1: this movie comes out, And my understanding is in the 396 00:23:05,200 --> 00:23:09,360 Speaker 1: movie The People, Ronan Keating is the guy who's name 397 00:23:09,400 --> 00:23:14,440 Speaker 1: from a group called Boyzone, calls Alison Krause's office and 398 00:23:14,440 --> 00:23:18,200 Speaker 1: asks for permission to sing the song, at which point 399 00:23:18,280 --> 00:23:20,520 Speaker 1: I think they said, you know, you really probably should 400 00:23:20,560 --> 00:23:23,000 Speaker 1: talk to the publisher and the writer, and they put 401 00:23:23,000 --> 00:23:24,800 Speaker 1: it in a movie called notting Hill, and it was 402 00:23:24,800 --> 00:23:28,760 Speaker 1: a pop record all over the world. Actually, actually it 403 00:23:28,800 --> 00:23:31,720 Speaker 1: occurs at forty five and a half minutes into notting Hill. 404 00:23:31,800 --> 00:23:34,600 Speaker 1: So if you see it, as I often do on 405 00:23:34,640 --> 00:23:37,760 Speaker 1: television because it runs all the time, and you can 406 00:23:37,880 --> 00:23:41,960 Speaker 1: just time it, DOLLI yell Stacy, it's on, It's on. 407 00:23:42,440 --> 00:23:44,199 Speaker 1: If there was ever ever, if it was ever a 408 00:23:44,240 --> 00:23:48,199 Speaker 1: perfect voice at Salison Kraus an amazing voice when you 409 00:23:48,280 --> 00:23:50,280 Speaker 1: sing a song, I would love to sing when I 410 00:23:50,320 --> 00:23:53,960 Speaker 1: sing a song rather than one of the my favorite 411 00:23:53,960 --> 00:23:55,920 Speaker 1: thing I've done in two or three years, and show 412 00:23:55,960 --> 00:23:58,679 Speaker 1: you how I just changed a line. I knew that 413 00:23:59,160 --> 00:24:01,360 Speaker 1: I needed to change that line to make it fit 414 00:24:01,440 --> 00:24:04,159 Speaker 1: today's market. I hope I can read these lyrics here, 415 00:24:06,640 --> 00:24:08,960 Speaker 1: and I'll probably just make all kind of mistakes and 416 00:24:09,000 --> 00:24:11,760 Speaker 1: blow the whole thing. But I don't try this anyway, 417 00:24:14,920 --> 00:24:17,919 Speaker 1: thank you. I don't. I couldn't even hear all the words. 418 00:24:18,440 --> 00:24:20,760 Speaker 1: What is what is the line you changed? Here's a 419 00:24:20,840 --> 00:24:24,439 Speaker 1: line I changed. Okay, That's why I was wondering if 420 00:24:24,440 --> 00:24:27,520 Speaker 1: I should take the top down off the pen. Uh. 421 00:24:27,720 --> 00:24:29,720 Speaker 1: What I had originally said, I try to be a 422 00:24:29,760 --> 00:24:31,840 Speaker 1: good man and everything. I try to put myself in 423 00:24:31,920 --> 00:24:34,880 Speaker 1: the character of this guy who's kind of a typical 424 00:24:34,960 --> 00:24:38,880 Speaker 1: Southerner and being a Southerner. Even though I really evolved, 425 00:24:39,000 --> 00:24:41,520 Speaker 1: I mean, I still have a lot of these things 426 00:24:41,520 --> 00:24:43,560 Speaker 1: in here that that I don't like about the South. 427 00:24:43,720 --> 00:24:46,640 Speaker 1: I was that way myself. I mean, well was it. 428 00:24:46,920 --> 00:24:49,680 Speaker 1: I was a teenager. I was a hardcore secret segregationist. 429 00:24:49,720 --> 00:24:51,960 Speaker 1: I didn't think blacks and white people should go to 430 00:24:52,000 --> 00:24:55,240 Speaker 1: school together. I really believe that shit. So the line 431 00:24:55,280 --> 00:25:00,320 Speaker 1: I have here was I try to be a good 432 00:25:00,359 --> 00:25:03,919 Speaker 1: man and everything I do. And the line I had was, 433 00:25:05,400 --> 00:25:07,720 Speaker 1: you know, I love Jesus and I love my country too. 434 00:25:08,400 --> 00:25:11,840 Speaker 1: And in the early two thousands, you could do that. 435 00:25:12,400 --> 00:25:15,600 Speaker 1: You could do that when the country demographic was very 436 00:25:15,600 --> 00:25:22,440 Speaker 1: conservative and there were all these patriotic songs and country radio. Now, 437 00:25:22,560 --> 00:25:25,000 Speaker 1: if you had something like God and country right together, 438 00:25:25,840 --> 00:25:27,560 Speaker 1: I think they wouldn't play it because it would sound 439 00:25:27,680 --> 00:25:29,600 Speaker 1: like it was political, and they just don't want to 440 00:25:29,640 --> 00:25:32,600 Speaker 1: go there because of the demographic country demographic. It's like 441 00:25:33,160 --> 00:25:36,000 Speaker 1: it's like America itself. It's split right down the middle, 442 00:25:36,359 --> 00:25:40,040 Speaker 1: and it's controversial. They don't want controversial. They don't want 443 00:25:40,040 --> 00:25:42,400 Speaker 1: somebody to turn the dial. They don't want to lose 444 00:25:43,359 --> 00:25:46,520 Speaker 1: half of their audience. So but you can still sing 445 00:25:46,560 --> 00:25:49,640 Speaker 1: about Jesus occasionally, you know, you'll hear Jesus in the song, 446 00:25:50,080 --> 00:25:53,439 Speaker 1: and you sure sing about whiskey. So I thought, what 447 00:25:53,480 --> 00:25:56,399 Speaker 1: I'm going to do there? Then it said, yes, I 448 00:25:56,440 --> 00:25:59,240 Speaker 1: love my whiskey, but I love Jesus too, And I 449 00:25:59,280 --> 00:26:02,560 Speaker 1: think that made it probably exceptable. Can I can I 450 00:26:02,600 --> 00:26:07,080 Speaker 1: point out the the hilariously absurd irony of that that 451 00:26:07,119 --> 00:26:12,240 Speaker 1: it's moreible now for us to talk about whiskey than country. Huh. 452 00:26:12,280 --> 00:26:16,200 Speaker 1: You can talk about whiskey's fine. Whiskey is not divisive, 453 00:26:16,680 --> 00:26:24,160 Speaker 1: but country is. Like Bobby, I played Indeep, I played 454 00:26:24,160 --> 00:26:30,280 Speaker 1: a little bit of Forever and Ever. Can you play that? Yeah? Alright? 455 00:26:32,640 --> 00:26:40,760 Speaker 1: Second little backup vocals, Are you a union? Are all right? Adam? 456 00:26:40,840 --> 00:26:48,120 Speaker 1: He's not union? No card. That was Don Schlitz, Don 457 00:26:48,160 --> 00:26:52,480 Speaker 1: Henry and Bobby Braddock from Sony Tree Studios on Nashville's 458 00:26:52,520 --> 00:26:56,720 Speaker 1: Music Row. Broken Record is produced by Justin Richmond and 459 00:26:56,880 --> 00:27:01,840 Speaker 1: Jason Gambrel, with help from Bruce hadlam Me Label Jaquita Pascal, 460 00:27:02,080 --> 00:27:06,880 Speaker 1: Jacob Smith, Julia Barton, Jacob Weisberg, and of course el Hafe, 461 00:27:07,640 --> 00:27:11,720 Speaker 1: Rick Rubin. Special thanks to Adam Engelhardt, who engineered the 462 00:27:11,760 --> 00:27:15,280 Speaker 1: session in Nashville to hear the song speech you in 463 00:27:15,320 --> 00:27:18,720 Speaker 1: today's episode, sung by the artists who made them famous. 464 00:27:19,119 --> 00:27:23,879 Speaker 1: Check out Broken Record podcast dot com. This show was 465 00:27:23,920 --> 00:27:27,800 Speaker 1: brought to you by Pushkin Industries. I'm Malcolm Gladwell.