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Speaker 1: I welcome to episode three thirty four with Jimmy Robbins, songwriter,

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Speaker 1: ten number ones, great guitar player. His story is wild

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Speaker 1: about his first year in Nashville. He's like, all right,

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Speaker 1: let's see how this goes. And then his first year

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Speaker 1: it's like bang bang bang. He's from Raleigh, North Carolina.

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Speaker 1: His career includes the Warp Tour, a solo album with

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Speaker 1: Motown Records, writing pop top lines for Disney. You know,

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Speaker 1: we get into the age he started touring, which is crazy,

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Speaker 1: and you know he had Blake Shelton. Should be cool

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Speaker 1: if you did, you don't have to. Also, Thomas Ready

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Speaker 1: goes like this, Keith and Mirando we were us. And

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Speaker 1: right now we'll play a clip of this. He's got

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Speaker 1: Marion Morris circles around this town, which he was a

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Speaker 1: writer on. And also he's a writer on Kelsey Ballerini

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Speaker 1: and Kenny chess Andy half of my hometown half. So

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Speaker 1: I think you'll enjoy this. I mean, he does talk

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Speaker 1: about later when he dropped out of high school. I mean,

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Speaker 1: so young, you'll hear it. It's a great interview. I

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Speaker 1: really enjoyed this. This is Jimmy Robbins here on the

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Speaker 1: body cast all right here with Jimmy Robbins, which I

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Speaker 1: guess I'm so inconsiderate as a human that I had

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Speaker 1: said to you recently we met on my show. I

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Speaker 1: was like, hey, first time to meet you, and you're like, oh, no,

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Speaker 1: we met. I don't even know where did we see

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Speaker 1: each other? You're with KELSI, Is that what you said?

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Speaker 1: I think so, I feel like we've been in the

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Speaker 1: same place but haven't. Like we don't hang out on

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Speaker 1: the weekends every weekend. Yeah, I mean I don't hang

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Speaker 1: with anybody that being said, uh, I felt like when

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Speaker 1: you came on the radio show and and Mike and

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Speaker 1: I were talking and that was a marine centric thing.

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Speaker 1: But I was like, dang, I really like Jimmy, like,

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Speaker 1: and you've you've accomplished so much and you mean, what

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Speaker 1: do you like, yeah, seventeen something like that. You've accomplished

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Speaker 1: so much in that time that I was that's that, Hey,

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Speaker 1: we should have them on for a little bit. So

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Speaker 1: I appreciate you coming over and coming over to the

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Speaker 1: house and saying what's up, even though you do live

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Speaker 1: super close, and I heard it was very easy. So

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Speaker 1: we like for it to be a little more of

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Speaker 1: a struggle. Well, I scoot it over here, which was fair,

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Speaker 1: and it is rush hour, So if you scoot it

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Speaker 1: and rush hour, we are good. Um. I have to think,

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Speaker 1: and I'll compare it to to a story of mine first,

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Speaker 1: to give you a bit of time to think about

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Speaker 1: the answer to this, that it's tough being a very

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Speaker 1: successful especially in the past five years, six years songwriter,

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Speaker 1: maybe even more than that, but we'll say, for the

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Speaker 1: sake of it, five years, you've been crushing it songwriter

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Speaker 1: in town because everybody wants to hang out with you

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Speaker 1: so they can work with you. Now, I'm gonna let

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Speaker 1: you think about that answer for a second because in

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Speaker 1: a way I understand that because I'm not cool. I'm

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Speaker 1: no barrel of monkeys to hang out with. But people

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Speaker 1: are always like, hey, man, we should hang out, we

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Speaker 1: should have dinner. And I always know there's a motivation,

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Speaker 1: not always, most times I assume there's a motivation behind

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Speaker 1: it that no, you wantaing out for something that will

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Speaker 1: help your career. You want to go to dinner, so

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Speaker 1: I'll put you on the radio show. I'll take you

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Speaker 1: to open for me, you know, when I'm playing theater

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Speaker 1: or something. So I have this trust issue with anyone

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Speaker 1: in their creative space in this town. Now, you are

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Speaker 1: killing it so much as a songwriter, it's almost like

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Speaker 1: you spin gold and you don't have to play humble,

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Speaker 1: but you've just done so much. Do you have that

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Speaker 1: fear with people when they someone out of the blues, like,

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Speaker 1: hey man, we should really get a beer hang out?

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Speaker 1: I think, yeah, I think there's a thing there where

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Speaker 1: you can feel when people have an ulterior motive. But

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Speaker 1: we a lot of the people I spend time with,

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Speaker 1: we were friends before any of us had success, which

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Speaker 1: is very safe. Yeah right, and you wind up having

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Speaker 1: success together most of that. Like I came up writing

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Speaker 1: with all the people that I write with now and

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Speaker 1: none of us had hits, So we wrote together because

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Speaker 1: the hit people wouldn't write with us. And that's still

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Speaker 1: a bulk of the people I spend time with are

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Speaker 1: those same same folks. Who are those people that you

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Speaker 1: against it her your group that you cut your teeth

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Speaker 1: together here in this town with. I mean the first

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Speaker 1: two names that come to town are John Knight and

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Speaker 1: Nicole Galleon Massive both massive now yeah yeah, they've done

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Speaker 1: so well and none of us had to cut together

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Speaker 1: and I didn't have a publishing deal. I don't know

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Speaker 1: why they wrote songs with me, but I've I've told

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Speaker 1: Nicole before that I feel like she taught me how

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Speaker 1: to write songs. And her version of that is she said,

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Speaker 1: she feels like I'm the first person that let her

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Speaker 1: be herself in the writing room. And we sort of

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Speaker 1: stumbled into writing songs together. And then John he's the

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Speaker 1: other guy that taught me everything. The first song we

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Speaker 1: ever wrote together was whatever She's Got for David Neil

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Speaker 1: and whatever She's Got? Yeah, and I did sing that again?

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Speaker 1: Sing that song? You sing that song? No, no, no,

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Speaker 1: because I'm I'm I'm getting too confused because I know

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Speaker 1: it's it's the mood ring like she's got the blue

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Speaker 1: Jeez paint it ont sight, she got the blue Jeez pain.

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Speaker 1: That's it? Did you did the high version? Which is better?

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Speaker 1: That's what I when I'm recording, I tend to go

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Speaker 1: up there and Okay, got it? So you and Call

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Speaker 1: wrote that, well, me and John wrote yeah. The first

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Speaker 1: time we ever met um but yeah, all those guys,

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Speaker 1: I mean Josh Osborne. I was riding with him the

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Speaker 1: day come over with went number one and that was

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Speaker 1: his first ever number one song. He's had nine thousand

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Speaker 1: sixty three since then. But it's you know, those are

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Speaker 1: all still my people. If you get the text, Hey Jimmy,

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Speaker 1: that's good. It's gonna beer, and you're like, I met

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Speaker 1: you twice? Do you and and you are a pleasant

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Speaker 1: guy to be around, And most likely they just want

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Speaker 1: to hang out with you because they like you. Do

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Speaker 1: you have that feeling that I have? Or I'm so

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Speaker 1: insecure with myself as a person, i just assumed they're

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Speaker 1: wanting to work with me, or or are you just

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Speaker 1: good and all healthy and therapiat up. I mean, I'm

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Speaker 1: not good nor my healthy, but I think, um I

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Speaker 1: have some of that. But a big thing that changed

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Speaker 1: for me was we had kids, and so now my

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Speaker 1: resting answer is no. If it's it's like I don't

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Speaker 1: see anybody because we're so busy with writing and stuff

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Speaker 1: that it takes a lot for me to say yes.

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Speaker 1: So generally I see the people that I've been friends

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Speaker 1: with forever. There's not a lot of like, I don't

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Speaker 1: know you, let's sing out, because it's more like I'm

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Speaker 1: gonna go see a kid. Sometimes I'll get those and

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Speaker 1: have there are a couple of artists that have hit

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Speaker 1: me up and been like, hey man, let's get a beer,

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Speaker 1: and we don't have a beer in forever and I

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Speaker 1: don't respond, but I'm like, I've never had a beer

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Speaker 1: in my life. Yeah, and forever literally forever because I

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Speaker 1: don't drink. And I know you just sent me this

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Speaker 1: to be like, um, so I don't know literally literally,

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Speaker 1: And I want to kind of bounce in and out

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Speaker 1: of your success as a songwriter here in town with

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Speaker 1: kind of your human story and I want to go

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Speaker 1: back to two. You know that I'm human. I don't.

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Speaker 1: We're gonna find out you have kids. I didn't say

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Speaker 1: human kids. God, you got me again. This guy, Blake

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Speaker 1: Shelton should be cool if you did. That's your first

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Speaker 1: number one? Yes? True or false? True? That was my

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Speaker 1: first cut? Are you kidding? That was your first and

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Speaker 1: it did you know? How long until you knew it

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Speaker 1: was going to be a cut, and then how long

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Speaker 1: until you knew that cut was gonna be a single? Well,

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Speaker 1: this is like an unfair story because we wrote it.

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Speaker 1: This is not the normal stories. I wrote a song

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Speaker 1: years ago and it just came out, but this one

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Speaker 1: we wrote it on a like Thursday and it got

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Speaker 1: cut the following Tuesday. Oh, it literally was cut like

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Speaker 1: five days later. Yeah. Yeah, because um, I wrote it

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Speaker 1: with Rodney Clawson and Chris Tompkins, who I had no

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Speaker 1: business writing with, and they just had such a report.

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Speaker 1: They sent it straight to Scott Hendricks because they knew

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Speaker 1: Blake was going into cut and they cut it. And

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Speaker 1: then that was in like November, and then he took

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Speaker 1: its radio after New Year's like January three. Yeah, that's

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Speaker 1: a wild story and that I have a friend who

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Speaker 1: played professional baseball, and I want to relate it to

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Speaker 1: you and see if you feel the same way. But

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Speaker 1: he was a really good college player. Are you sports

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Speaker 1: cat all? Uh, yeah, let's say I am okay, let's

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Speaker 1: go with that. Stories not I just wondered from my

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Speaker 1: own personals. Uh, he was a really good college baseball player.

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Speaker 1: He gets pulled, he gets called up to the pros. Uh,

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Speaker 1: plays minor league ball, gets taken to the major leagues,

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Speaker 1: and like his first two months and his first game

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Speaker 1: and the majors, he goes three for four. It gets

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Speaker 1: up four times hits. Uh what goes three for four

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Speaker 1: is like, oh my god, this is the easiest thing

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Speaker 1: ever who knew that being in the major leagues was

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Speaker 1: so easy. For like the next three weeks he barely

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Speaker 1: got a hit, But that first day up he was like,

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Speaker 1: I just crushed. I'm the greatest baseball player ever. Did

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Speaker 1: you feel that a little bit like this is pretty easy?

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Speaker 1: Who knew? Yeah? I would have? Yeah. No, the me

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Speaker 1: that I am right now versus the me and is

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Speaker 1: very different because I had like five number ones in

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Speaker 1: sixteen months or something, And the best thing that ever

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Speaker 1: happened to me was a bad year, a year where

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Speaker 1: stuff didn't get cut and then the things that we're

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Speaker 1: singles didn't work, and I had to ride that and

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Speaker 1: come out on the other side of it and remember that,

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Speaker 1: Like my favorite part of this is when the song

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Speaker 1: is finished, and writing songs is what I love, and

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Speaker 1: I I like, I tell people all the time, you

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Speaker 1: need a bad year, it's and then stay in it

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Speaker 1: and it's good for you. But I was definitely too

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Speaker 1: big for my bridges want me to. I relate to

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Speaker 1: that I got and I've had a pretty weird, wild

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Speaker 1: career of kind of coming from little to here now.

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Speaker 1: But when I got here, it was like, Okay, you've

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Speaker 1: now been annointed like you built this, but you're the guy.

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Speaker 1: And everybody was like, look at all you're doing. And

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Speaker 1: I'm like, wow, I'm the emperor has no clothes, like

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Speaker 1: this is the great And it took some try. I

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Speaker 1: gott find a million bucks. I got into some trouble

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Speaker 1: on the air, and I was like, Okay, now I'm

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Speaker 1: good with perspective. First I was just good and kind

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Speaker 1: of cocky. But now I'm good with perspective. Because I

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Speaker 1: had the good I thought that's what it was, and

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Speaker 1: then once I realized, oh, some I needed some crap

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Speaker 1: to make me a human again. It sounds like that's

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Speaker 1: about what happened to you too. Yeah, and I think

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Speaker 1: it makes you better at what you're doing. If you

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Speaker 1: can take those hits and then keep doing it, you're

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Speaker 1: gonna wind up better on the other side of it. Well,

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Speaker 1: let's talk about the good old days back. Here is

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Speaker 1: Thomas read. It goes like this your second number one.

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Speaker 1: This is TR's first number one, I believe right. So

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Speaker 1: now you've written Thomas rhett first number one song, he's

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Speaker 1: forever attached to you. Yeah, because his first number one

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Speaker 1: was the Jimmy song. Yeah, so you can call him

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Speaker 1: at any time, be like, dude, any remember that first

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Speaker 1: number one? I could probably leave a voicemail at any time.

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Speaker 1: And so you wrote that with Rhett his dad. Was

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Speaker 1: that the connection that got it to t r Yeah. Yeah.

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Speaker 1: At the time, Thomas, you know, he had had songs out,

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Speaker 1: but he wasn't a name you thought of necessarily. And

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Speaker 1: I remember being confused when Rhett was like, I'm gonna

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Speaker 1: send this to my son. I was like, cool man,

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Speaker 1: I'll send it to my dad too. That's great, let's

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Speaker 1: let's do that. But uh, it was. It was the

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Speaker 1: perfect storm of like the sound Thomas wanted to do,

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Speaker 1: because there were a couple of quirks with that demo

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Speaker 1: that stuck onto the record that people weren't really doing,

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Speaker 1: Like some of those drums sounds were a little left

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Speaker 1: of center at the time, and it sort of opened

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Speaker 1: the floodgates a little bit for that stuff. And it's

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Speaker 1: funny how left up center that becomes a hit is

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Speaker 1: now yeah, it's now center. Yeah, I want to do

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Speaker 1: one more up In this early section, this is Keith

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Speaker 1: and Miranda. We were us also from now. I put

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Speaker 1: those three together to start this because that was a

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Speaker 1: CMA triple play. Yeah, three. Explain what a CMA triple

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Speaker 1: play is. That's when you have three number one songs

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Speaker 1: in twelve calendar months, and it's a lot has to

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Speaker 1: go right for that, just with timing and everything. It

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Speaker 1: should be like c M a triple plate deluxe, because

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Speaker 1: you did in your first year as well. Yeah, my

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Speaker 1: first year of a pub deal too. The guys that

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Speaker 1: signed do they okay? Were you signed to a Hey,

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Speaker 1: this guy let a lot of potential, Let's pay him

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Speaker 1: some big bucks to be on the public pub deal?

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Speaker 1: Or were you like, oh this guy, we're gonna giveus

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Speaker 1: a guy, break them off a little something and let

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Speaker 1: them prove it. Man, they paid me so much twenty

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Speaker 1: three dollars, that's what I saw a year. You really

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Speaker 1: and how long was that deal for you? Three years? Well?

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Speaker 1: I bet you just but you know I was actually

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Speaker 1: signed to Keith Urban. I want to lose it. He's

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Speaker 1: the worst. He's the worst. Okay. So that being said,

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Speaker 1: we're gonna come back to your songs. I want to

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Speaker 1: play from two thousand six. This is seven letters. Oh god,

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Speaker 1: it's look after you, you shy easy for everybody. Seven

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Speaker 1: letters two thousand and six. That is you singing it's

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Speaker 1: me singing. There's there's a story there too that would

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Speaker 1: blow your mind. I'm ready. I was ready to be Okay,

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Speaker 1: I was. I was fifteen when I did that song,

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Speaker 1: and I met a guy in my space named Jordan

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Speaker 1: Schmidt who was sixteen, and I flew to Minnesota to

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Speaker 1: make an EP with him, and uh, we made this

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Speaker 1: EP that woind up being the thing that got me

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Speaker 1: a record deal. But now Jordan's is in Nashville writing

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Speaker 1: hit songs and we wrote his first hit song together

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Speaker 1: called Lights Come On And that was like ten years

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Speaker 1: after we had met in Minnesota. That EP two. Sorry

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Speaker 1: for apologies, Yes, one of my favorites. Yeah, I know

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Speaker 1: you you played that one a lot. I mean I

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Speaker 1: was at every show. Yeah remember that? And so you

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Speaker 1: were the one before but you just said it you

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Speaker 1: got a record deal? Yeah, yeah, I well I toured

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Speaker 1: a lot warp tour, Yeah, I did all. I did

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Speaker 1: all that stuff and lived in a van and did

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Speaker 1: that kind of touring, the kind where you're gone for

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Speaker 1: like four months at a time. And so when you

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Speaker 1: were a kid, you mentioned being fifteen sixteen, when you

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Speaker 1: were twelve, what artists did you the artist want to

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Speaker 1: want to be like, who did you see? And go up? Man,

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

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Speaker 1: really was huge on the sort of emo I know

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Speaker 1: it's kind of a dirty word these days, but the

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Speaker 1: emo music like Dashboard Confessional and Something Corporate and um

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Speaker 1: that Whole World, Jimmy World. They had a great name, Jimmy,

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Speaker 1: but those were like my favorite bands. And I've actually

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Speaker 1: gotten to write with those guys now in this new life,

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Speaker 1: which has been pretty cool. I became buddies with Andrew,

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Speaker 1: the singer for Something Corporate, and it's it's wild to

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Speaker 1: circle back to all that now from a bird's eye view.

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Speaker 1: One more song. This is hey you wait what why?

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Speaker 1: This is great stuff here and it also gives context. Yeah, no,

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Speaker 1: it's great. Let's listen to this and here's the song

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Speaker 1: and its entirety here. Yeah, you playing with my whole

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Speaker 1: always noxious? What do you say? Maybe it's better off

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Speaker 1: this way? Maybe with you? So what happened to the

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Speaker 1: artist's career? Honestly, getting a record deal introduced me to songwriting.

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Speaker 1: And I never wanted to be an artist, is what

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Speaker 1: I figured out. I just loved writing songs. Why you

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Speaker 1: mean ever? You just thought you wanted to be an artist, Yeah,

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Speaker 1: because I liked writing songs and I didn't know what

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Speaker 1: else to do with him and the bands that I

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Speaker 1: grew up listening to, if you looked at the liner notes,

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Speaker 1: they all wrote their own songs. And so when I

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Speaker 1: signed to Universal Motown, Uh, they started setting me up

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Speaker 1: on sessions and I'd never co written a song before,

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Speaker 1: and so I wound up asking out of my record

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Speaker 1: deal um to try to be a songwriter and quit

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Speaker 1: doing the artist thing as soon as I realized I

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Speaker 1: could try to write for people. But before you quit,

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Speaker 1: and this song I have, I mean, I have a lot.

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Speaker 1: I'm just gonna do one more. Yeah, No, it feels

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Speaker 1: right to me. Thank you. Whenever I see someone like

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Speaker 1: Grimacing and pay and I know I've I've hit the

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Speaker 1: right space. This is from two thousand nine. This is

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Speaker 1: going to get better. Yeah, yeah, and I saw you go. Okay,

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Speaker 1: I like this on a little better. Do you like better? No?

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Speaker 1: You don't, Okay, here you go when you go, I've

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Speaker 1: gotta elevated production. Yes, a couple of other instruments. Yes,

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Speaker 1: that's that's my opinion. That's the best one. Yeah, my favorite.

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Speaker 1: I do think listening to that, like you can hear.

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Speaker 1: Obviously I don't do the same thing anymore, but there's

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Speaker 1: that sounds like the same guy that would have written

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Speaker 1: whatever She's Got to me, Like, I didn't move to

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Speaker 1: Nashville and start doing something different. I just kind of

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Speaker 1: wound up here at a time when my natural instincts

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Speaker 1: were where country music was going. Same. Yeah, I didn't

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Speaker 1: move here and do a thing Deaf Front and we

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Speaker 1: were doing pop and hip hop and I was doing

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Speaker 1: a syndicated show there and nothing changed. What was weird

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Speaker 1: for me? And I think you've experienced this too, or

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Speaker 1: probably from like a fringe, because I have when I

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Speaker 1: was doing and probably not that specifically, but when I

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Speaker 1: was doing pop, I was too country to do pop,

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Speaker 1: and then when I came to country, I was too

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Speaker 1: pop to do country, and I was like, well, I

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Speaker 1: don't really have a place, so I'm just gonna be me.

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Speaker 1: It turns out that was the strongest thing I could

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Speaker 1: ever do. And who I am just somebody grew up

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Speaker 1: in a tiny town in Arkansas that was heavily influenced

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Speaker 1: by country music in the nineties, alternative music in the nineties,

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Speaker 1: hip hop in the nineties, and that ended up being

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Speaker 1: what has now hopefully bonded to meet a lot of

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Speaker 1: my listeners, like an honest person who really doesn't fit anywhere.

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Speaker 1: But heck, none of us do. None of us actually

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Speaker 1: fit anywhere. When we fit somewhere, it's because we force

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Speaker 1: ourselves to fit somewhere. And you coming from this background,

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Speaker 1: and you said it better than I could have said it.

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Speaker 1: You were just here at the time when you organically

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Speaker 1: made sense. Yeah, did you get from any of the

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Speaker 1: old school guys, Oh, here's the punk guy or or whatever.

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Speaker 1: I don't know if they would call you the here's

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Speaker 1: the EMAO guy. I had a big producer say to

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Speaker 1: my face because I early on I would get hired

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Speaker 1: on two sessions as a guitar player. Um, if they

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Speaker 1: were cutting a song I had written, just because the

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Speaker 1: way I played was sort of specific and not good

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Speaker 1: but stylistic. And he said, do my face, you're ruining

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Speaker 1: country music. Okay, go like that. That was a real moment.

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Speaker 1: And do you remember that person. I'm not telling you

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Speaker 1: to say who it is, but are they still here?

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Speaker 1: They still live here? Yeah? I've had those moments too, Yeah,

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Speaker 1: where it's hey, you're what's wrong with Yeah? Then those

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Speaker 1: are the people that don't. You gotta adapt and and

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Speaker 1: welcome new things. And you need and adapt and welcome

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Speaker 1: new things that even don't work, because sometimes you know

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Speaker 1: not to work to show that's not the direction that's going.

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Speaker 1: And so you moved to town two thous and thirteen.

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Speaker 1: You're just crushing it. You're king of the world, You're

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Speaker 1: king dingling of the new writers. I'm imagine everybody's like,

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Speaker 1: I got, all right, what did you feel? People like

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Speaker 1: I don't want to say begging, but we're people showing

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Speaker 1: up to go. I need to write with you. You've

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Speaker 1: done so much so quick. You've got to be like

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Speaker 1: the new um, the new methodology of country music, like

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Speaker 1: thinking wise. Yeah, I mean, I do think people wanted

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Speaker 1: to write with me. I was. I was one of

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Speaker 1: only a handful of guys doing something that's really common now,

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Speaker 1: which is like the quote unquote track guy thing, which

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Speaker 1: is a producer writer who's building a demo as they go,

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Speaker 1: and people weren't quite used to that here. The funny

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Speaker 1: thing is I didn't come here to do that. I

382
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Speaker 1: just came here broke and couldn't afford to do demo,

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Speaker 1: so I bought the pro tool starter kit and like

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Speaker 1: pretended that I knew what I was doing and I

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Speaker 1: had no idea. Is that still a thing that's used

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Speaker 1: against people? One of my friends, Ross Copperman, same like,

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00:20:00,800 --> 00:20:04,800
Speaker 1: we's all he's the track guy. But then once either

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Speaker 1: you hit a level of success or enough track guys.

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Speaker 1: I'm just saying that because at the term you threw

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Speaker 1: out there, and that was a term that was used.

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Speaker 1: Enough track guys have proved you're not just a track guy,

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Speaker 1: you're actually a writer producer. Is always a track guy?

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Speaker 1: Is that still said or is that kind of gone

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Speaker 1: at this point? Well, I think it's become a sliding scale,

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Speaker 1: and there's writer producers and there's producer writers, and so

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Speaker 1: I think I think people now know who the guys

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Speaker 1: are that are making really good demos, and they know

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Speaker 1: the guys that are helping you write a song and

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Speaker 1: then have the ability to demo it. And so I

400
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Speaker 1: would like to think I fall into that, like Ross

401
00:20:39,680 --> 00:20:41,720
Speaker 1: falls into that. He's a songwriter who's good at production.

402
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Speaker 1: You know. So the track guy term is it used

403
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Speaker 1: as much just thrown out, like if you're gonna write

404
00:20:51,640 --> 00:20:53,720
Speaker 1: from what I know something like, well, he's a track guy,

405
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Speaker 1: So let's make sure to not get another track guy

406
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Speaker 1: in the room. Yeah, I mean they say it, yeah, yeah,

407
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Speaker 1: it's not as much of a dirt. It was like

408
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Speaker 1: kind of a negative yeah, And that's the point. That's

409
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Speaker 1: the point I was making that it was as some

410
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Speaker 1: of that negativity gone from the term track guy. Yeah. Yeah,

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Speaker 1: it's And I don't know why because they still kind

412
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Speaker 1: of mean it in a negative way. Here's David Neil

413
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Speaker 1: whatever She's got, and here is Jaco and Beach in

414
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Speaker 1: from the same year. He's gotta be cool with a

415
00:21:41,960 --> 00:21:49,600
Speaker 1: song like Jake's that kind of was his image. Did

416
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Speaker 1: you write it for him or did he find it

417
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Speaker 1: and go this is what I am? Like, how did

418
00:21:54,400 --> 00:21:57,800
Speaker 1: that come about? Because he that Jake's beaching. Yeah, that's

419
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Speaker 1: what that song is. Yeah, it's like the perfect song.

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Speaker 1: Um It, we weren't really shooting for him, but there's

421
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Speaker 1: I think you would know this. There's kind of moments

422
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Speaker 1: in time where writers and artists connect to each other

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00:22:10,480 --> 00:22:14,200
Speaker 1: a lot and in that season and still true now,

424
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Speaker 1: but specifically then, Jaren Johnston was like a kindred spirit

425
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Speaker 1: to Jake, Like I think Jake thought Jarn was cool

426
00:22:21,520 --> 00:22:24,840
Speaker 1: and really loved what he was doing, and so that

427
00:22:24,960 --> 00:22:27,600
Speaker 1: I wrote that song with Jaren and John Knight and

428
00:22:27,800 --> 00:22:30,720
Speaker 1: it was really just kind of a singing stuff, and

429
00:22:30,800 --> 00:22:33,080
Speaker 1: Jared made it sound like he would do it, And

430
00:22:33,080 --> 00:22:35,399
Speaker 1: I think that's why I spoke to Jake. Did you

431
00:22:35,400 --> 00:22:37,120
Speaker 1: guys when you wrote it, did you think Jared would

432
00:22:37,160 --> 00:22:40,200
Speaker 1: would cut it with cattle like three? No? I don't,

433
00:22:40,200 --> 00:22:41,960
Speaker 1: but I don't think we thought of Jake for it,

434
00:22:42,280 --> 00:22:45,080
Speaker 1: which is wild because when I think of Jake, that's

435
00:22:45,119 --> 00:22:47,159
Speaker 1: one of the first songs I think of now and

436
00:22:47,240 --> 00:22:53,399
Speaker 1: Jack's a close friend, and that's still the image like

437
00:22:53,440 --> 00:22:55,320
Speaker 1: when it's like, what do you picture Jake singing? If

438
00:22:55,320 --> 00:22:57,679
Speaker 1: he's on stage one one, that's probably Beaching. Yeah, I

439
00:22:57,680 --> 00:22:59,800
Speaker 1: think most people would think Jake wrote that song because

440
00:22:59,840 --> 00:23:02,240
Speaker 1: it's so Jake. Yeah. Do you have any of those

441
00:23:02,280 --> 00:23:06,359
Speaker 1: other songs that you look at and go, Man, it

442
00:23:06,480 --> 00:23:08,560
Speaker 1: just fell on the right hands because it's the song

443
00:23:09,080 --> 00:23:11,359
Speaker 1: for the right person at the exact right time. Because

444
00:23:11,400 --> 00:23:14,560
Speaker 1: I feel that way about Beaching, Yeah, I mean I

445
00:23:14,640 --> 00:23:16,680
Speaker 1: kind of feel that way about all of them, because

446
00:23:16,880 --> 00:23:20,120
Speaker 1: what a copied answer is that because I feel like

447
00:23:20,680 --> 00:23:23,639
Speaker 1: I feel like, with the exception of like song of

448
00:23:23,640 --> 00:23:27,399
Speaker 1: the Year songs that a lot of songs could be

449
00:23:27,520 --> 00:23:30,560
Speaker 1: hits and couldn't be, and it's just got to be

450
00:23:30,760 --> 00:23:34,200
Speaker 1: the right person connecting with the message. And it feeling

451
00:23:34,280 --> 00:23:36,880
Speaker 1: sincere like I still think. I don't think the song

452
00:23:36,920 --> 00:23:39,879
Speaker 1: does everything. I think the right artist has to do it.

453
00:23:39,880 --> 00:23:42,480
Speaker 1: It's funny because you're coming at it from the songwriter perspective,

454
00:23:42,480 --> 00:23:44,760
Speaker 1: and I feel the same way from And I'm not

455
00:23:44,840 --> 00:23:47,399
Speaker 1: in the mix anymore in the radio world of I

456
00:23:47,440 --> 00:23:50,480
Speaker 1: don't pick songs. I just go on the air trying

457
00:23:50,480 --> 00:23:52,600
Speaker 1: to be compelling, try to be funny, bring up my

458
00:23:52,640 --> 00:23:55,440
Speaker 1: friend's interview them, get good ratings, go away right. That's

459
00:23:55,920 --> 00:23:57,360
Speaker 1: back in the day. I was more like, let's break

460
00:23:57,480 --> 00:24:00,320
Speaker 1: artists and do now. I'll let the music people do

461
00:24:00,359 --> 00:24:02,560
Speaker 1: the music things, and I'll so I can step away

462
00:24:02,560 --> 00:24:05,320
Speaker 1: and see it. And I feel the same way you say, well,

463
00:24:05,320 --> 00:24:07,160
Speaker 1: any song, I feel like you can almost make any

464
00:24:07,160 --> 00:24:10,600
Speaker 1: song a hit if the right team, the right label

465
00:24:10,640 --> 00:24:14,399
Speaker 1: gets behind it, puts enough effort into it, and spends

466
00:24:14,440 --> 00:24:16,280
Speaker 1: money and promotes it. I feel like they can make

467
00:24:16,320 --> 00:24:19,080
Speaker 1: almost any song it hit. The same way that you're

468
00:24:19,119 --> 00:24:22,240
Speaker 1: saying a well written almost any well written song with

469
00:24:22,359 --> 00:24:24,000
Speaker 1: the right person singing at the right time could be

470
00:24:24,040 --> 00:24:26,360
Speaker 1: a hit. Yeah, And I mean I do feel like

471
00:24:26,760 --> 00:24:28,280
Speaker 1: this is a gross word, but I'll say it anyway.

472
00:24:28,280 --> 00:24:31,159
Speaker 1: There's like hits and then there's like a smash, and

473
00:24:31,200 --> 00:24:34,160
Speaker 1: I don't think any song can do that. I will

474
00:24:34,200 --> 00:24:37,200
Speaker 1: agree with that too, that perfect storm of like this

475
00:24:37,280 --> 00:24:40,639
Speaker 1: is a moment, but that's a great that's a great comparison.

476
00:24:40,800 --> 00:24:43,800
Speaker 1: A moment is a great comparison. A moment. I drive

477
00:24:43,840 --> 00:24:49,119
Speaker 1: your truck a moment house to build me a moment

478
00:24:49,560 --> 00:24:52,520
Speaker 1: American kids. Right, I'm going through songs that that when

479
00:24:52,560 --> 00:24:55,920
Speaker 1: I just think that, But I think with the right

480
00:24:56,080 --> 00:25:00,520
Speaker 1: person in support, you can make any hit a legitimate

481
00:25:00,640 --> 00:25:03,520
Speaker 1: radio hit. Yeah, the same way you think from the

482
00:25:03,560 --> 00:25:07,040
Speaker 1: writer's side that any hit could make it with the

483
00:25:07,119 --> 00:25:10,120
Speaker 1: right person singing it. Yeah. Especially you do this long

484
00:25:10,240 --> 00:25:13,200
Speaker 1: enough and you see it's you know, not always the

485
00:25:13,240 --> 00:25:16,800
Speaker 1: best song is on the radio, and sometimes the best Yeah,

486
00:25:16,800 --> 00:25:20,359
Speaker 1: it's kind of I think the same thing. Let's just

487
00:25:20,400 --> 00:25:22,239
Speaker 1: list all the songs we hate you ready, let's go, Oh,

488
00:25:22,240 --> 00:25:23,680
Speaker 1: we'd be here all day. This would be a whole

489
00:25:23,720 --> 00:25:26,159
Speaker 1: different podcast. And I've done that in different places and

490
00:25:26,240 --> 00:25:27,800
Speaker 1: it usually gets me in that trouble I was talking

491
00:25:27,800 --> 00:25:32,560
Speaker 1: about earlier in this podcast, out Dean Lights come on

492
00:25:35,400 --> 00:25:42,520
Speaker 1: streaming everybody ever Before we get into the song specifically,

493
00:25:42,560 --> 00:25:44,120
Speaker 1: you had a two year gap. I don't I don't

494
00:25:44,119 --> 00:25:47,640
Speaker 1: see any number one. Yeah, yeah, no, that was my loaf,

495
00:25:47,840 --> 00:25:50,359
Speaker 1: that was my law and I was getting cuts. But

496
00:25:50,440 --> 00:25:53,560
Speaker 1: I had gotten really accustomed to the feeling of everything

497
00:25:53,600 --> 00:25:56,760
Speaker 1: working out and saying yes or not saying yes, being

498
00:25:56,760 --> 00:25:59,760
Speaker 1: told yes. Um, And I mean I got really low

499
00:25:59,840 --> 00:26:01,760
Speaker 1: about that. I was gonna ask in a serious way,

500
00:26:01,840 --> 00:26:05,399
Speaker 1: did you start to feel like maybe you lost whatever

501
00:26:05,480 --> 00:26:08,399
Speaker 1: you came to town with? Yeah. It's hard to not

502
00:26:08,440 --> 00:26:11,560
Speaker 1: take it personally, I mean, because it's you can't really

503
00:26:11,560 --> 00:26:14,800
Speaker 1: blame anybody but yourself, because you're making this thing that

504
00:26:14,840 --> 00:26:18,000
Speaker 1: didn't exist. Nobody's doing it for you. Um. So I

505
00:26:18,000 --> 00:26:21,520
Speaker 1: definitely took it personally and got really down and then

506
00:26:21,600 --> 00:26:24,240
Speaker 1: sort of started feeling like it would never happen again,

507
00:26:24,880 --> 00:26:26,560
Speaker 1: and then sort of fell back in love with just

508
00:26:26,600 --> 00:26:30,920
Speaker 1: writing songs, which got you the success to begin with. Right,

509
00:26:30,960 --> 00:26:32,800
Speaker 1: you kind of went, we weren't trying to write hits.

510
00:26:32,880 --> 00:26:35,240
Speaker 1: All the first hits I had were just writing songs

511
00:26:35,280 --> 00:26:38,760
Speaker 1: with my friends. And that's a that's totally right, that's

512
00:26:38,800 --> 00:26:41,199
Speaker 1: the whole thing. It's just write songs, and then the

513
00:26:41,280 --> 00:26:45,880
Speaker 1: hits happen. Were you and again, I think we're alike

514
00:26:45,920 --> 00:26:48,200
Speaker 1: in a lot of ways except for your superior talent

515
00:26:48,280 --> 00:26:54,119
Speaker 1: and looks. But were you embarrassed that the success wasn't

516
00:26:54,160 --> 00:26:57,080
Speaker 1: coming because you had already been elevated to that point

517
00:26:57,119 --> 00:26:58,439
Speaker 1: and people are like, hey, you got any songs out?

518
00:26:58,480 --> 00:27:00,400
Speaker 1: Now how they're doing? Did that happened to you at all? Yes?

519
00:27:00,440 --> 00:27:03,119
Speaker 1: Because I feel that way at times. Yes, And I

520
00:27:03,720 --> 00:27:08,440
Speaker 1: really felt that way. And then I learned partially, well

521
00:27:08,480 --> 00:27:11,199
Speaker 1: not partially a lot, because of my wife, who's a publisher,

522
00:27:11,880 --> 00:27:14,800
Speaker 1: started pointing out to me that we're all so busy

523
00:27:15,040 --> 00:27:17,800
Speaker 1: thinking about other people thinking about us, that nobody's thinking

524
00:27:17,800 --> 00:27:21,160
Speaker 1: about anybody else. And I started realizing. We started doing

525
00:27:21,160 --> 00:27:23,560
Speaker 1: other things in in that law, We started our own

526
00:27:23,560 --> 00:27:27,040
Speaker 1: company and started trying to support other people, and all

527
00:27:27,080 --> 00:27:29,520
Speaker 1: of a sudden, I realized people were congratulating me all

528
00:27:29,560 --> 00:27:31,320
Speaker 1: the time, And in my head, I was like, don't

529
00:27:31,359 --> 00:27:32,840
Speaker 1: they know I don't have a song on the radio.

530
00:27:32,880 --> 00:27:35,760
Speaker 1: I don't know what's happening. And then I kind of realized, like,

531
00:27:36,280 --> 00:27:38,479
Speaker 1: nobody's looking at me the way I'm looking at me,

532
00:27:39,280 --> 00:27:42,080
Speaker 1: and and I really got to a much healthier place

533
00:27:42,119 --> 00:27:43,840
Speaker 1: with all of it, where I don't feel so attached

534
00:27:43,960 --> 00:27:47,880
Speaker 1: to the success portion it. I mean, you're so right.

535
00:27:48,119 --> 00:27:52,679
Speaker 1: I compare it to on on a different level of

536
00:27:52,760 --> 00:27:57,360
Speaker 1: presentation at work, or somebody falling down somewhere and they're

537
00:27:57,400 --> 00:27:59,720
Speaker 1: so embarrassed because they didn't they either fell they didn't

538
00:27:59,720 --> 00:28:01,920
Speaker 1: do a good presentation, and they're like, you're you're humiliated

539
00:28:01,960 --> 00:28:03,480
Speaker 1: because you didn't do a good job and everybody saw

540
00:28:03,480 --> 00:28:05,680
Speaker 1: you not do a good job. And you're thinking, oh,

541
00:28:05,720 --> 00:28:08,399
Speaker 1: but the times I've seen a bad presentation or some

542
00:28:08,560 --> 00:28:11,919
Speaker 1: I don't I don't remember it ten minutes later, But

543
00:28:12,000 --> 00:28:14,720
Speaker 1: when it's you, you feel like everybody is focused and

544
00:28:14,800 --> 00:28:18,760
Speaker 1: remembering on what happened to me. I did it, Yeah,

545
00:28:18,920 --> 00:28:20,359
Speaker 1: you know what he is, And you have to kind

546
00:28:20,359 --> 00:28:22,080
Speaker 1: of turn it around and go, I don't remember when

547
00:28:22,080 --> 00:28:23,600
Speaker 1: people screw up. I may see it for a second

548
00:28:23,600 --> 00:28:26,159
Speaker 1: and be like ha ha, or that's unfortunate, but I

549
00:28:26,200 --> 00:28:30,280
Speaker 1: don't a day later even remember it. And it seems

550
00:28:30,280 --> 00:28:32,159
Speaker 1: a bit like that's what you're saying. They're like, there

551
00:28:32,240 --> 00:28:35,800
Speaker 1: was just an adjustment, perspective adjustments, yeah, yeah, and just

552
00:28:36,440 --> 00:28:39,280
Speaker 1: looking at everybody else and remembering like, am I thinking

553
00:28:39,280 --> 00:28:40,960
Speaker 1: about what songs they have on the radio? Am, I'm

554
00:28:40,960 --> 00:28:43,760
Speaker 1: just thinking that they're really good? And I was like, oh, yeah, no,

555
00:28:43,840 --> 00:28:46,320
Speaker 1: I just think they're good. Back to Audi and lights

556
00:28:46,360 --> 00:28:48,240
Speaker 1: come on. This is interesting for a couple of reasons.

557
00:28:48,560 --> 00:28:52,640
Speaker 1: I'm gonna say three reasons. The three reasons are one, uh,

558
00:28:52,920 --> 00:28:56,880
Speaker 1: it was written by seventy four people, Well, okay, but

559
00:28:57,000 --> 00:29:00,320
Speaker 1: really the best is that you mentioned Jordan earlier. Yes,

560
00:29:01,000 --> 00:29:05,560
Speaker 1: you guys wrote this song together, and you met when

561
00:29:05,560 --> 00:29:07,400
Speaker 1: you were fifteen and sixteen years old, and here you

562
00:29:07,400 --> 00:29:10,000
Speaker 1: are in two thousand sixteen writing and al Deane number one.

563
00:29:10,120 --> 00:29:12,560
Speaker 1: The other one is that the f g L guys

564
00:29:12,560 --> 00:29:14,600
Speaker 1: this this was always a story about this song, is

565
00:29:14,640 --> 00:29:16,440
Speaker 1: that the f GL guys were on it as writers

566
00:29:16,600 --> 00:29:18,680
Speaker 1: and they didn't cut it, but Aldine cut it. Yeah.

567
00:29:18,840 --> 00:29:21,840
Speaker 1: So I don't know if you're in the same room.

568
00:29:22,240 --> 00:29:23,480
Speaker 1: We were all in the same room, but it was

569
00:29:23,520 --> 00:29:26,480
Speaker 1: a double booking. We were not all supposed to be there,

570
00:29:26,560 --> 00:29:29,320
Speaker 1: and I was gonna not show up, and Tyler was

571
00:29:29,360 --> 00:29:30,880
Speaker 1: texting me and I was like, y'all just do it.

572
00:29:30,960 --> 00:29:32,840
Speaker 1: I'm not It's fine, don't worry about it. And he

573
00:29:32,880 --> 00:29:34,160
Speaker 1: was like, well, I'm gonna tell the Warren Brothers you

574
00:29:34,240 --> 00:29:36,960
Speaker 1: hate them. I was like, Okay, I'm gonna come. It's

575
00:29:37,040 --> 00:29:39,480
Speaker 1: like in wrestling sometimes they'll have tag team matches with

576
00:29:39,520 --> 00:29:41,640
Speaker 1: three different tag teams. It's rare, but here are the

577
00:29:41,680 --> 00:29:46,000
Speaker 1: three tag teams. You and Jordan's friends since kids. Yeah,

578
00:29:46,160 --> 00:29:48,360
Speaker 1: the Warren Brothers writting a ton of songs. Didn't write

579
00:29:48,360 --> 00:29:49,840
Speaker 1: with anybody else but themselves that you know, and they're

580
00:29:49,840 --> 00:29:52,000
Speaker 1: gonna write there writing together with other people, their literal

581
00:29:52,040 --> 00:29:54,360
Speaker 1: brothers and then Tyler and Brian from f g L.

582
00:29:54,560 --> 00:29:56,960
Speaker 1: It was like three tag teams and they're writing the

583
00:29:57,000 --> 00:29:59,960
Speaker 1: song and it can go one of two ways. Yeah,

584
00:30:00,120 --> 00:30:02,880
Speaker 1: can definitely go one of two ways. Amazing because there's

585
00:30:02,880 --> 00:30:05,600
Speaker 1: so much in that room talent songwrite, or there's just

586
00:30:05,600 --> 00:30:07,240
Speaker 1: too much in the room and you can't really control.

587
00:30:07,280 --> 00:30:09,680
Speaker 1: Everybody's talking over each other and you don't get anything.

588
00:30:09,800 --> 00:30:12,440
Speaker 1: How did what was the vibe? And this this right? Dude?

589
00:30:12,440 --> 00:30:15,640
Speaker 1: It this was like the second or third song. We

590
00:30:15,680 --> 00:30:18,440
Speaker 1: wrote three songs that day. God dang, you wrote three

591
00:30:18,440 --> 00:30:20,000
Speaker 1: songs on a day. Yeah, I think it was. The

592
00:30:20,000 --> 00:30:21,760
Speaker 1: Warm brothers were like, well, there's so many of us,

593
00:30:21,840 --> 00:30:23,960
Speaker 1: we should probably write a lot of songs to justify

594
00:30:24,160 --> 00:30:28,360
Speaker 1: our little splits um. But it was that one felt

595
00:30:28,400 --> 00:30:30,080
Speaker 1: awesome as soon as we got into it, and the

596
00:30:30,080 --> 00:30:32,200
Speaker 1: Warm Brothers came in with the vibe. But then we

597
00:30:32,240 --> 00:30:34,480
Speaker 1: got the Kiss of Death, which was when Brian said, man,

598
00:30:34,520 --> 00:30:36,640
Speaker 1: this would be great for al Deane. And you never

599
00:30:36,680 --> 00:30:38,280
Speaker 1: want to be writing with an artist and they tell

600
00:30:38,320 --> 00:30:40,560
Speaker 1: you this is great for another artist. So you were

601
00:30:40,600 --> 00:30:43,320
Speaker 1: writing in that room in your mind for f g L. Yeah,

602
00:30:43,360 --> 00:30:46,080
Speaker 1: they specifically needed a show opener, got it, and that

603
00:30:46,120 --> 00:30:48,160
Speaker 1: was they they wanted to show opener for the record,

604
00:30:48,600 --> 00:30:50,680
Speaker 1: and they were gearing up for tours. That was we

605
00:30:50,680 --> 00:30:54,520
Speaker 1: were there for with the job. So you you're writing

606
00:30:54,520 --> 00:30:57,080
Speaker 1: for them with them, and b K goes, man, this

607
00:30:57,160 --> 00:31:00,760
Speaker 1: is sound great for Aldine. Yeah, that's funny. And for

608
00:31:00,800 --> 00:31:03,200
Speaker 1: a second, tragic yes, in your head you're like, oh, cool,

609
00:31:03,320 --> 00:31:06,040
Speaker 1: we should stop because you obviously don't want it. Yeah,

610
00:31:06,080 --> 00:31:08,760
Speaker 1: and it's with the exception of those guys, it's tough

611
00:31:08,880 --> 00:31:11,880
Speaker 1: to get an artist cut with another artist and that

612
00:31:11,920 --> 00:31:13,600
Speaker 1: hasn't been true for them at all and obviously not

613
00:31:13,640 --> 00:31:15,400
Speaker 1: true for that song. But yeah, for a second, I

614
00:31:15,440 --> 00:31:17,360
Speaker 1: was like, cool, I'll just should I should I just

615
00:31:17,480 --> 00:31:20,880
Speaker 1: jump off this porch Michael Ray think a little less

616
00:31:20,880 --> 00:31:32,160
Speaker 1: from here you Go. Another first for an artist. Although

617
00:31:32,320 --> 00:31:35,400
Speaker 1: she had massive success, this was Maren's first number one

618
00:31:35,440 --> 00:31:41,640
Speaker 1: I could use a love song from so it takes

619
00:31:41,680 --> 00:31:46,600
Speaker 1: me back just like that. When so when you and

620
00:31:46,680 --> 00:31:49,000
Speaker 1: Maren first wrote together? Was it for this song or

621
00:31:49,040 --> 00:31:51,040
Speaker 1: did you right for right together for other songs? We

622
00:31:51,040 --> 00:31:54,440
Speaker 1: had written a handful of times before then, um, but

623
00:31:54,520 --> 00:31:56,960
Speaker 1: this was the first time she and I and Laura wrote,

624
00:31:57,320 --> 00:32:00,280
Speaker 1: which has kind of since become a thing. We written

625
00:32:00,280 --> 00:32:03,480
Speaker 1: a lot of songs, the three of us um and

626
00:32:03,520 --> 00:32:06,160
Speaker 1: at the time my wife was Marin's publisher at Big

627
00:32:06,240 --> 00:32:08,479
Speaker 1: Yellow Dog, so there was There's a lot I love

628
00:32:08,520 --> 00:32:10,719
Speaker 1: about this song. But it was the first thing my

629
00:32:10,720 --> 00:32:12,440
Speaker 1: wife had set up that I was a part of

630
00:32:12,480 --> 00:32:15,920
Speaker 1: that went on to do something, and that has always

631
00:32:15,920 --> 00:32:19,680
Speaker 1: made it special for me. Would you be considered in

632
00:32:19,720 --> 00:32:23,480
Speaker 1: the Marine Camp? I think so any other camps that

633
00:32:23,600 --> 00:32:25,960
Speaker 1: you because I would consider you in the Marine Camp? Yeah,

634
00:32:26,000 --> 00:32:28,800
Speaker 1: But I wonder what other camps do you consider yourself

635
00:32:28,880 --> 00:32:31,480
Speaker 1: part of? If anywhere there we're going to write, you know,

636
00:32:31,840 --> 00:32:34,240
Speaker 1: you're going to write with them for a new record. Yeah,

637
00:32:34,400 --> 00:32:36,000
Speaker 1: I like I feel like I write a lot with

638
00:32:36,080 --> 00:32:40,920
Speaker 1: Brett Young and I read a lot with Kelsey Ballerini. Um,

639
00:32:41,000 --> 00:32:42,760
Speaker 1: but it doesn't guarantee cuts or anything, but I know

640
00:32:42,800 --> 00:32:44,720
Speaker 1: I'll at least get to write some songs. And you know,

641
00:32:44,800 --> 00:32:46,800
Speaker 1: they feel comfortable enough with you that when they start

642
00:32:46,880 --> 00:32:52,080
Speaker 1: to position themselves and creatively look at the future, they're like, oh,

643
00:32:52,120 --> 00:32:54,120
Speaker 1: I gotta get Jimmy because he's part of the process.

644
00:32:54,120 --> 00:32:55,880
Speaker 1: Do you feel like that with all three of them? Yeah.

645
00:32:55,920 --> 00:32:59,240
Speaker 1: I think for artists, they get so busy that they

646
00:32:59,320 --> 00:33:01,480
Speaker 1: want to know if they're going to put time into

647
00:33:01,480 --> 00:33:05,000
Speaker 1: a song that they can. They want to raise their

648
00:33:05,040 --> 00:33:07,520
Speaker 1: odds of getting something that they feel good about. And

649
00:33:07,520 --> 00:33:09,560
Speaker 1: when you have a rapport with somebody, it's just you're

650
00:33:09,600 --> 00:33:12,280
Speaker 1: not starting from zero. You know, we can walk in

651
00:33:12,360 --> 00:33:15,120
Speaker 1: and we know each other's likes and dislikes, and it

652
00:33:15,200 --> 00:33:17,000
Speaker 1: just makes it a lot easier. How far do you

653
00:33:17,040 --> 00:33:20,760
Speaker 1: book out? I used to book out like three months,

654
00:33:21,400 --> 00:33:23,880
Speaker 1: and we now try to just book out like a

655
00:33:24,000 --> 00:33:26,760
Speaker 1: month or six weeks um, to leave a little more

656
00:33:26,760 --> 00:33:29,400
Speaker 1: flexibility because we found I was having to miss a

657
00:33:29,400 --> 00:33:32,960
Speaker 1: lot of opportunities because we're too rigid with it and

658
00:33:33,120 --> 00:33:35,400
Speaker 1: think it's been better and I don't have to look

659
00:33:35,440 --> 00:33:39,400
Speaker 1: at the calendar and think, well, that's that I've not

660
00:33:39,480 --> 00:33:43,400
Speaker 1: written yet and I don't have any ideas today. Are

661
00:33:43,400 --> 00:33:47,160
Speaker 1: you keeping a list of ideas in your phone and

662
00:33:47,160 --> 00:33:51,960
Speaker 1: then are you ranking them based on the artist that

663
00:33:52,000 --> 00:33:57,720
Speaker 1: you're going in with? Mhm. I'm not a big title guy,

664
00:33:58,320 --> 00:34:00,800
Speaker 1: like I don't some people have a fifty titles in

665
00:34:00,840 --> 00:34:04,360
Speaker 1: their phone all the time. I'll get some sometimes, but

666
00:34:04,480 --> 00:34:07,040
Speaker 1: I feel like my role in the room more often

667
00:34:07,880 --> 00:34:10,400
Speaker 1: is I'm pretty good at helping people figure out the

668
00:34:10,400 --> 00:34:13,279
Speaker 1: best way to do a title. So somebody will have

669
00:34:13,320 --> 00:34:15,440
Speaker 1: an idea and I might come up with three different

670
00:34:15,440 --> 00:34:18,000
Speaker 1: ways we could write it pretty fast. Like that's how

671
00:34:18,040 --> 00:34:20,680
Speaker 1: my brain connects the dots. And that's the best role.

672
00:34:20,680 --> 00:34:22,359
Speaker 1: If your role is to go and figure out what

673
00:34:22,440 --> 00:34:24,680
Speaker 1: they want by them telling you what they want, because

674
00:34:24,680 --> 00:34:26,879
Speaker 1: I ain't gonna do before you go in, except there's yeah,

675
00:34:26,880 --> 00:34:29,920
Speaker 1: there's less pressure. That's awesome, Yeah, and I did. I

676
00:34:30,040 --> 00:34:33,640
Speaker 1: used to do a lot of musical preparation, so since

677
00:34:33,680 --> 00:34:35,719
Speaker 1: I was the track guy in the room, I would

678
00:34:35,760 --> 00:34:38,319
Speaker 1: have I would try to have like four what I

679
00:34:38,360 --> 00:34:41,719
Speaker 1: called vibes, which would be a varying tempos and just

680
00:34:41,760 --> 00:34:44,560
Speaker 1: like eight bars of music, um and I kind of

681
00:34:44,600 --> 00:34:47,399
Speaker 1: stopped doing that too, because that I feel like music

682
00:34:47,440 --> 00:34:49,960
Speaker 1: has gotten a bit more musical again. And when you

683
00:34:50,000 --> 00:34:51,960
Speaker 1: have that, you get really boxed into writing over the

684
00:34:52,040 --> 00:34:54,560
Speaker 1: same chords the whole time. And I just feel like

685
00:34:54,560 --> 00:34:56,480
Speaker 1: we're allowed to play more chords than we were for

686
00:34:56,520 --> 00:34:58,960
Speaker 1: a minute, and so we're going from scratch a lot more.

687
00:34:59,600 --> 00:35:11,160
Speaker 1: Here's Aaron the Bones that this was a moment. Yeah,

688
00:35:11,320 --> 00:35:13,200
Speaker 1: this was a moment. You have a lot of hits,

689
00:35:13,760 --> 00:35:18,279
Speaker 1: you have are you defining songs with some artists? There

690
00:35:18,320 --> 00:35:21,640
Speaker 1: are so few moments I would say this is a moment.

691
00:35:22,080 --> 00:35:25,800
Speaker 1: Would you agree? Yeah, this one felt different. Did it

692
00:35:25,840 --> 00:35:29,320
Speaker 1: feel different immediately or did it feel different once people

693
00:35:29,360 --> 00:35:32,440
Speaker 1: started going, Wow, we need to really get on this

694
00:35:32,719 --> 00:35:34,400
Speaker 1: promote the crap out of it. I don't think I

695
00:35:34,480 --> 00:35:36,880
Speaker 1: knew that it was going to do what it was

696
00:35:36,920 --> 00:35:39,399
Speaker 1: gonna do. And mean, I think some of that said

697
00:35:39,440 --> 00:35:41,359
Speaker 1: it's I think a great song, but also I think

698
00:35:41,360 --> 00:35:44,120
Speaker 1: it was timing where the world wanted to hear that

699
00:35:44,200 --> 00:35:47,399
Speaker 1: message during that year, you know, they wanted to hear

700
00:35:47,440 --> 00:35:51,200
Speaker 1: some some positivity, and it was sort of a perfect

701
00:35:51,200 --> 00:35:54,520
Speaker 1: storm of all that. But now, I mean, the demo

702
00:35:54,600 --> 00:35:58,240
Speaker 1: of this song is the guitar vocal, which we always

703
00:35:58,280 --> 00:35:59,919
Speaker 1: we did that on purpose. We thought it was cool,

704
00:36:00,520 --> 00:36:02,440
Speaker 1: but I mean it was. It was my wife's favorite song.

705
00:36:02,480 --> 00:36:04,640
Speaker 1: But I just thought it was good. I didn't know

706
00:36:05,120 --> 00:36:08,839
Speaker 1: that it was going to be huge. This is your

707
00:36:08,880 --> 00:36:12,040
Speaker 1: tenth number one, but it is a pop number one.

708
00:36:12,080 --> 00:36:13,520
Speaker 1: It was This City a song that I have sang

709
00:36:13,560 --> 00:36:16,000
Speaker 1: back to you because it is I have a lovely voice.

710
00:36:16,000 --> 00:36:18,680
Speaker 1: If you haven't heard, Yes, thank you, this is Sam

711
00:36:18,719 --> 00:36:26,040
Speaker 1: Fish or this City, City's Gonna bring the City's gonna alone.

712
00:36:27,120 --> 00:36:29,839
Speaker 1: He's got me Chess. I feel like you could sing that,

713
00:36:29,840 --> 00:36:32,840
Speaker 1: that's your vibe. I would like. That's a song I

714
00:36:32,880 --> 00:36:35,560
Speaker 1: would do. I can't. I couldn't sing like Sam, but

715
00:36:35,680 --> 00:36:37,359
Speaker 1: as a song as an artist, that's like the kind

716
00:36:37,360 --> 00:36:40,879
Speaker 1: of music I would probably make. I feel that too. Yeah, yeah,

717
00:36:40,880 --> 00:36:43,719
Speaker 1: I feel like if my space existed. Now you put

718
00:36:43,719 --> 00:36:45,760
Speaker 1: that on you singing that, I think it does exist?

719
00:36:46,120 --> 00:36:49,239
Speaker 1: Does it? It? Does? It exists? But does it? Why

720
00:36:49,360 --> 00:36:53,920
Speaker 1: check it every day? My my Space? Nice Tom, Tom

721
00:36:56,040 --> 00:37:04,160
Speaker 1: and only two talking on m Let's see, I do

722
00:37:04,280 --> 00:37:06,200
Speaker 1: want to play circles around this town. This is on

723
00:37:06,600 --> 00:37:26,000
Speaker 1: Marion's new record Humble Quest that you guys came into

724
00:37:26,000 --> 00:37:27,839
Speaker 1: the show and played that when Marin said, hey, will

725
00:37:27,840 --> 00:37:29,719
Speaker 1: you come play with me? How did that conversation go

726
00:37:29,719 --> 00:37:30,839
Speaker 1: when she's like, hey, will you go to the show

727
00:37:30,840 --> 00:37:34,120
Speaker 1: with me? Yeah, she just asked me, like the night before, Um,

728
00:37:34,160 --> 00:37:36,680
Speaker 1: I guess her guitar player and backup guitar player had

729
00:37:36,719 --> 00:37:41,120
Speaker 1: COVID and she just texted me. Because we're really good

730
00:37:41,160 --> 00:37:44,600
Speaker 1: buddies like we are. Our kids are friends and friendly

731
00:37:44,760 --> 00:37:47,719
Speaker 1: and we get dinner with them a lot. Um. So

732
00:37:47,760 --> 00:37:50,360
Speaker 1: I was like, yeah, I'll play it. It's only three chords.

733
00:37:51,160 --> 00:37:54,200
Speaker 1: Do you get jealous at? Ryan is tall and ripped

734
00:37:54,280 --> 00:37:57,160
Speaker 1: and has like the perfect stubble, not that you have heard,

735
00:37:57,480 --> 00:38:00,480
Speaker 1: I really do. I really do. Yeah. Yeah, And I

736
00:38:00,480 --> 00:38:02,319
Speaker 1: don't feel like he tries very hard. I don't either.

737
00:38:02,400 --> 00:38:04,440
Speaker 1: That's what sucks. I mean, he for sure doesn't try

738
00:38:04,440 --> 00:38:06,920
Speaker 1: his height. He would no, yeah, he's not taking the

739
00:38:06,920 --> 00:38:10,240
Speaker 1: growth hormones for that, but no, he I remember he

740
00:38:10,239 --> 00:38:12,160
Speaker 1: he actually stayed with me for a few months back

741
00:38:12,200 --> 00:38:14,640
Speaker 1: in the day. We've been buddies for a long time,

742
00:38:14,920 --> 00:38:16,600
Speaker 1: and I remember he was like, I think I'm gonna

743
00:38:16,640 --> 00:38:19,640
Speaker 1: start doing pushups and then like four days later he

744
00:38:19,680 --> 00:38:22,080
Speaker 1: had a six pack. Because maybe that's what I need

745
00:38:22,120 --> 00:38:23,840
Speaker 1: to do my push push up. I was like, what

746
00:38:23,880 --> 00:38:26,239
Speaker 1: have you been doing? He's like doing like thirty push

747
00:38:26,360 --> 00:38:29,319
Speaker 1: ups in the morning. But like, okay, when you left

748
00:38:29,360 --> 00:38:30,759
Speaker 1: the show, you said you were gonna go to a

749
00:38:30,800 --> 00:38:33,000
Speaker 1: vocal with Brett Young. How did that go? It was great?

750
00:38:33,080 --> 00:38:35,399
Speaker 1: Yeh can he still sing? Yeah? He can still sing,

751
00:38:35,840 --> 00:38:38,640
Speaker 1: so that's good. So it was also tall and good looking. Yeah.

752
00:38:38,640 --> 00:38:40,080
Speaker 1: And I don't even like talking about him though he's

753
00:38:40,800 --> 00:38:43,080
Speaker 1: also to I can't talk about more than one. I

754
00:38:43,080 --> 00:38:44,840
Speaker 1: start to get really jealous. And he was like a

755
00:38:44,880 --> 00:38:48,239
Speaker 1: superior athlete. Yeah, he's good at everything, Like, shut up, right, Young,

756
00:38:48,320 --> 00:38:50,040
Speaker 1: we get it. I also don't think he tries that

757
00:38:50,080 --> 00:38:52,719
Speaker 1: hard to be awesome at every Right, you get it. Uh,

758
00:38:53,000 --> 00:38:55,160
Speaker 1: did you guys write that song that you have cut

759
00:38:55,160 --> 00:38:57,680
Speaker 1: the vocals on, like way before? Or it was the

760
00:38:57,719 --> 00:38:58,920
Speaker 1: one you've just written like the night a couple of

761
00:38:58,960 --> 00:39:04,800
Speaker 1: days before. We had just written it. Um, it's actually ah,

762
00:39:05,000 --> 00:39:06,160
Speaker 1: it's not out yet, so I don't know if I

763
00:39:06,160 --> 00:39:07,799
Speaker 1: can say I can say, don't say too much. I mean,

764
00:39:07,840 --> 00:39:09,600
Speaker 1: I'm just asking, like, was that a song you've written

765
00:39:09,640 --> 00:39:12,160
Speaker 1: way previous, you know, just a couple of days ago.

766
00:39:12,200 --> 00:39:14,600
Speaker 1: I think we actually know we had written it Sunday,

767
00:39:14,640 --> 00:39:15,920
Speaker 1: so I think I came in with you you're on

768
00:39:15,960 --> 00:39:18,800
Speaker 1: a Sunday. I did because he asked me to demand

769
00:39:18,840 --> 00:39:22,320
Speaker 1: over here weekend writing with stars. So you write it

770
00:39:22,360 --> 00:39:24,279
Speaker 1: and then you want to lay it down quickly so

771
00:39:24,360 --> 00:39:28,240
Speaker 1: it's still you can send it to the label or what. Yeah,

772
00:39:28,280 --> 00:39:31,160
Speaker 1: this one was an isolated event where we were writing

773
00:39:31,719 --> 00:39:34,240
Speaker 1: for an opportunity for him, like a like a placement

774
00:39:34,320 --> 00:39:39,000
Speaker 1: kind of song for a movie. And so it is.

775
00:39:39,040 --> 00:39:41,440
Speaker 1: It's top gun five. But that will never come out too.

776
00:39:41,440 --> 00:39:44,680
Speaker 1: It's taken three years to come out. That's not even done. Um,

777
00:39:44,760 --> 00:39:48,080
Speaker 1: So you've you've produced a lot as well, and some

778
00:39:48,160 --> 00:39:50,920
Speaker 1: of my some of my favorite people. If I'm correct,

779
00:39:51,000 --> 00:39:53,480
Speaker 1: you can you can correct me if I'm not correct.

780
00:39:53,800 --> 00:39:57,399
Speaker 1: Did you produce Maddie and tay Die from Broken Heart? Yeah? Yeah,

781
00:39:57,440 --> 00:40:00,120
Speaker 1: Me and Derek Wells co produced it. Do have a

782
00:40:00,120 --> 00:40:05,200
Speaker 1: clip of that, Mike, how does this love this other?

783
00:40:05,440 --> 00:40:07,360
Speaker 1: The production on that's so good. It's just the perfect

784
00:40:07,680 --> 00:40:11,360
Speaker 1: for them. This was it. Yeah, the riding, the vocal,

785
00:40:11,520 --> 00:40:14,320
Speaker 1: the production, Yeah, that's that's as good as it gets

786
00:40:14,840 --> 00:40:18,520
Speaker 1: for them to me, Like that's top level. Then you're

787
00:40:18,560 --> 00:40:21,239
Speaker 1: saying you made them top level. What I'm saying me personally,

788
00:40:22,520 --> 00:40:26,440
Speaker 1: I'm responsible when you go produce what is that? What

789
00:40:26,560 --> 00:40:27,520
Speaker 1: is that? Where do you go? Do you have your

790
00:40:27,520 --> 00:40:30,680
Speaker 1: own place? Do you do you hire a fancy studio?

791
00:40:30,960 --> 00:40:33,080
Speaker 1: What's what's the vibe when you produce a song? Well

792
00:40:33,160 --> 00:40:35,160
Speaker 1: kind of both things. I do have a place. I

793
00:40:35,200 --> 00:40:37,799
Speaker 1: have a studio in berry Hill, and it sort of

794
00:40:37,800 --> 00:40:40,279
Speaker 1: depends on the artist and on the record for how

795
00:40:40,320 --> 00:40:42,759
Speaker 1: they want to do it. Um So, like Maddie and Tay,

796
00:40:42,880 --> 00:40:45,520
Speaker 1: we track with the band and it's all live stuff,

797
00:40:46,120 --> 00:40:48,840
Speaker 1: and then there's there's other albums, like the way Kelsey

798
00:40:48,960 --> 00:40:51,360
Speaker 1: likes to do a lot of stuff. Historically it's me

799
00:40:51,440 --> 00:40:54,520
Speaker 1: playing everything at my place and that's just more the

800
00:40:54,560 --> 00:40:57,480
Speaker 1: process she likes. So it kind of depends I can

801
00:40:57,520 --> 00:40:59,920
Speaker 1: do what people need with the Kelsey stuff because I

802
00:41:00,040 --> 00:41:02,000
Speaker 1: pulled all the number ones I know you Kelsey have.

803
00:41:02,040 --> 00:41:04,600
Speaker 1: I've had some big singles. What were the what were

804
00:41:04,600 --> 00:41:07,839
Speaker 1: the Kelsey song we've done? I produced that Maybe that's

805
00:41:07,880 --> 00:41:09,840
Speaker 1: what it was, No, but I did. We had Homecoming

806
00:41:09,920 --> 00:41:12,200
Speaker 1: Queen that I wrote with her, and then we're at

807
00:41:12,200 --> 00:41:14,320
Speaker 1: like number two right now with half of my hometown.

808
00:41:14,360 --> 00:41:15,680
Speaker 1: I told you that's my favorite song, and it has

809
00:41:15,719 --> 00:41:19,120
Speaker 1: been for a long time. This song is like I

810
00:41:19,239 --> 00:41:21,360
Speaker 1: told her and her family listens to the show on

811
00:41:21,440 --> 00:41:24,040
Speaker 1: Knoxville and I was talking about it. She messaged me

812
00:41:24,040 --> 00:41:26,799
Speaker 1: and was like, I appreciate you. I wouldn't wake up play.

813
00:41:26,840 --> 00:41:28,880
Speaker 1: I was that I wouldn'ten to the show because, like

814
00:41:28,880 --> 00:41:30,520
Speaker 1: I heard from my parents, you were talking about the show.

815
00:41:30,560 --> 00:41:32,799
Speaker 1: I love this song, like you guys did a great job.

816
00:41:32,880 --> 00:41:35,960
Speaker 1: Thank you, And there's nineteen of us on that. Well,

817
00:41:36,040 --> 00:41:38,160
Speaker 1: I'm jaded. I'm glad. I'm jaded because I hear all

818
00:41:38,160 --> 00:41:40,360
Speaker 1: songs all the time, same with you, right, But occasionally

819
00:41:40,400 --> 00:41:43,680
Speaker 1: you hear something and you're like, like it's poking an Oregon. Yeah,

820
00:41:44,000 --> 00:41:47,040
Speaker 1: and this song maybe because I'm from a small town. Yeah,

821
00:41:47,120 --> 00:41:49,879
Speaker 1: this song did that. Who you can feel the honest ones,

822
00:41:50,719 --> 00:41:52,359
Speaker 1: you know what I mean, the ones that that's it's

823
00:41:52,400 --> 00:41:54,120
Speaker 1: to me. This song doesn't sound like we were like,

824
00:41:54,760 --> 00:41:56,560
Speaker 1: let's go check all the boxes and write a hit.

825
00:41:56,600 --> 00:41:58,719
Speaker 1: I think we just wrote something true to her. I'm

826
00:41:58,760 --> 00:42:00,440
Speaker 1: gonna put you on the spot in the writing part

827
00:42:00,440 --> 00:42:01,640
Speaker 1: of it because you mentioned it was written by a

828
00:42:01,680 --> 00:42:03,560
Speaker 1: lot of people. Do you remember who wrote it? Yeah,

829
00:42:03,760 --> 00:42:07,640
Speaker 1: well it was me. You mentioned Ross, Comperman, Kelsey, Shane

830
00:42:07,719 --> 00:42:11,240
Speaker 1: McNally and Nicole Galleon. I mean that's a powerful room.

831
00:42:11,239 --> 00:42:12,640
Speaker 1: It's a good If you don't come up with a

832
00:42:12,719 --> 00:42:15,160
Speaker 1: hit with all those people, somebody must die. Yeah that

833
00:42:15,280 --> 00:42:18,319
Speaker 1: like on paper, we should, this should happen. And so

834
00:42:18,400 --> 00:42:21,799
Speaker 1: do you write that as a duet? We well, yeah,

835
00:42:22,040 --> 00:42:25,359
Speaker 1: kind of well we wrote it in Florida. We all

836
00:42:25,360 --> 00:42:27,279
Speaker 1: went down to do a retreat with Kelsey and it

837
00:42:27,360 --> 00:42:30,200
Speaker 1: was meant to be her writing with two groups of

838
00:42:30,200 --> 00:42:31,960
Speaker 1: people and we were going to split up and kind

839
00:42:31,960 --> 00:42:34,440
Speaker 1: of change everybody. And we tried it for a minute,

840
00:42:34,440 --> 00:42:35,840
Speaker 1: and I think it was me who was like, we

841
00:42:35,840 --> 00:42:39,000
Speaker 1: should probably just all right together. This feels weird. Um

842
00:42:39,080 --> 00:42:41,520
Speaker 1: until we wrote that song in a swimming pool, did

843
00:42:41,560 --> 00:42:44,279
Speaker 1: the demo at the Airbnb, and then a little bit

844
00:42:44,320 --> 00:42:47,640
Speaker 1: of liquid courage at like three am. She sent it

845
00:42:47,680 --> 00:42:49,520
Speaker 1: to Kenny because we were like, this would be great

846
00:42:49,520 --> 00:42:51,440
Speaker 1: for Kitty. She was like, I'm gonna do it. That's

847
00:42:51,440 --> 00:42:53,080
Speaker 1: what you do. You get always drunk to send them

848
00:42:53,520 --> 00:42:55,120
Speaker 1: for them to send songs that you should make a

849
00:42:55,120 --> 00:42:58,000
Speaker 1: big make big decisions when you drunk, because people like

850
00:42:58,040 --> 00:43:00,359
Speaker 1: I don't want to bother them. But if you get

851
00:43:00,360 --> 00:43:04,799
Speaker 1: them drunk, they'll they'll do it absolutely. It's you told me.

852
00:43:05,440 --> 00:43:08,959
Speaker 1: I think you told me right. You're can sound effective beaching.

853
00:43:09,200 --> 00:43:11,560
Speaker 1: Yeah yeah, Like at the beginning of that song. How

854
00:43:11,560 --> 00:43:13,720
Speaker 1: do you not get an award for that? Dude? I

855
00:43:13,800 --> 00:43:17,120
Speaker 1: actually reached out. He was at Sony still at the

856
00:43:17,160 --> 00:43:19,480
Speaker 1: time on that record. I reached out like ten times

857
00:43:19,520 --> 00:43:20,600
Speaker 1: to try to get them to put me in the

858
00:43:20,640 --> 00:43:24,240
Speaker 1: liner notes for for beer Can, and it never happened.

859
00:43:24,239 --> 00:43:28,120
Speaker 1: Like that's what you played? Give me this on Base

860
00:43:28,200 --> 00:43:31,919
Speaker 1: Jimmy on beer Can the beat. The lyrics to beach

861
00:43:31,920 --> 00:43:34,759
Speaker 1: and are interesting and are sometimes misheard. We had a

862
00:43:34,760 --> 00:43:38,439
Speaker 1: whole segment on our show about it years ago because cocaine. Yeah,

863
00:43:38,480 --> 00:43:44,360
Speaker 1: my dad thoughts cooking too. It's safe, yeah, okay, And

864
00:43:44,440 --> 00:43:46,080
Speaker 1: I can hear and I want to do this trick

865
00:43:46,719 --> 00:43:52,359
Speaker 1: because green Needle, what's the other people here? It's it's

866
00:43:52,360 --> 00:43:54,040
Speaker 1: two things, like you can hear either hear the personal

867
00:43:54,120 --> 00:43:57,640
Speaker 1: green Needle or monster mash. I don't know. It's like

868
00:43:57,719 --> 00:43:59,279
Speaker 1: two words, but if you listen, you can hear it

869
00:43:59,280 --> 00:44:02,719
Speaker 1: different ways. You have one is Laurel and Yanny. That's

870
00:44:02,760 --> 00:44:06,160
Speaker 1: another one, right, you ever hear Laurel and Yanny you're

871
00:44:06,719 --> 00:44:10,200
Speaker 1: are you kidding? Oh, we gotta, we gotta lot him

872
00:44:10,200 --> 00:44:13,640
Speaker 1: see what he hears? Green Needle and brainstorm is one. Okay,

873
00:44:13,680 --> 00:44:18,319
Speaker 1: when you get those ready, I would like to do them. Um,

874
00:44:18,440 --> 00:44:20,880
Speaker 1: are you only writing songs and not watching the internet

875
00:44:20,920 --> 00:44:23,840
Speaker 1: at all? Pretty much? Have you? Have you missed everything?

876
00:44:23,880 --> 00:44:27,319
Speaker 1: Have you heard of Charlie but my Finger? Yeah? Okay, alright, alright,

877
00:44:28,200 --> 00:44:30,840
Speaker 1: we'll start there. We'll work our way up. But the

878
00:44:31,360 --> 00:44:36,160
Speaker 1: lyrics are and it's sunshine, blue eyes, tan lines, It's

879
00:44:36,200 --> 00:44:40,920
Speaker 1: low tide, rolling white sand, cold can. Now if you

880
00:44:41,040 --> 00:44:44,040
Speaker 1: listen to it, let's do this experiment. Can you do it, Mike, right,

881
00:44:45,040 --> 00:44:47,160
Speaker 1: and just think to yourself cold can read? Think to

882
00:44:47,200 --> 00:44:55,239
Speaker 1: yourself cold can. Okay, that's the actual lyric. Go ahead, okay,

883
00:44:56,000 --> 00:44:58,560
Speaker 1: now everybody at home, you're probably not at home, listen

884
00:44:58,560 --> 00:45:01,120
Speaker 1: to this, but walking or running or your car, think

885
00:45:01,160 --> 00:45:06,520
Speaker 1: to yourself, cocaine, Yeah, think cocaine. Be cocaine for a second,

886
00:45:06,680 --> 00:45:17,480
Speaker 1: play it again, like it's there now. My dad swore

887
00:45:17,560 --> 00:45:19,640
Speaker 1: that's what it was, and he didn't really care for

888
00:45:19,680 --> 00:45:22,480
Speaker 1: the song. Like my dad, he's never an alcohol or

889
00:45:22,480 --> 00:45:25,799
Speaker 1: anything like, certainly not cocaine. And I had we had

890
00:45:25,840 --> 00:45:27,759
Speaker 1: a hard time why don't you like this song? It's

891
00:45:27,800 --> 00:45:31,080
Speaker 1: like pretty simple and good. It's like, I just don't

892
00:45:31,080 --> 00:45:36,640
Speaker 1: like that drug stuff. What are you talking about? This

893
00:45:36,800 --> 00:45:39,759
Speaker 1: is like the cocaine line. Y'all lost me? You lost

894
00:45:39,800 --> 00:45:42,960
Speaker 1: me at cocaine. We uh, Mike, you can do that.

895
00:45:42,960 --> 00:45:47,840
Speaker 1: I'll keep talking. Let me have the Brainstorm and Green Needle. Jimmy,

896
00:45:47,880 --> 00:45:49,520
Speaker 1: tell me what you hear here. It's either gonna be

897
00:45:49,560 --> 00:45:58,360
Speaker 1: brainstorm or Green Needle. Okay, Wait, should my headphones have

898
00:45:58,400 --> 00:46:00,880
Speaker 1: been on this whole time? Yeah? They haven't been. Have

899
00:46:01,000 --> 00:46:03,120
Speaker 1: you been listening to nothing and you have the headphones?

900
00:46:03,160 --> 00:46:06,719
Speaker 1: I could hear it from these headphones over there. Are

901
00:46:06,719 --> 00:46:08,920
Speaker 1: you serious? Yeah? You haven't heard the clips of your

902
00:46:08,920 --> 00:46:12,520
Speaker 1: own songs? Well I've heard them through those headphones. Yeah,

903
00:46:12,600 --> 00:46:15,600
Speaker 1: trade with them. Yes, they should have been on. Jimmy

904
00:46:15,600 --> 00:46:18,959
Speaker 1: has been more in headphones that don't work. It's oh god,

905
00:46:19,040 --> 00:46:23,759
Speaker 1: okay are they too loud? We can't hear myself really quiet? Okay,

906
00:46:23,760 --> 00:46:25,680
Speaker 1: you're gonna hear them, then you're gonna hear it. Say

907
00:46:25,719 --> 00:46:38,600
Speaker 1: green needle or brainstorm. Definitely green needle. Okay. Now if

908
00:46:38,640 --> 00:46:41,319
Speaker 1: we think brainstorm, now, I want you to think brainstorm

909
00:46:41,320 --> 00:46:55,040
Speaker 1: on this one. Okay, it's still green needle. I don't

910
00:46:55,080 --> 00:46:57,319
Speaker 1: think he's all all there much. I think he's missing

911
00:46:57,360 --> 00:46:59,440
Speaker 1: a little something. It sounds like brainstorm. Yeah, well it

912
00:46:59,480 --> 00:47:02,560
Speaker 1: sounds like green needle first, but then you can hear brainstorm.

913
00:47:02,600 --> 00:47:05,200
Speaker 1: What is the actual thing? I don't know. I never

914
00:47:05,239 --> 00:47:07,600
Speaker 1: got that far. I just went and then turn it off.

915
00:47:07,680 --> 00:47:09,600
Speaker 1: I don't know. We'll find the other one find out.

916
00:47:09,640 --> 00:47:12,640
Speaker 1: It's like it's saying haill satan. Yeah backwards, it says

917
00:47:12,680 --> 00:47:15,879
Speaker 1: kill three people if you reverse it. We found let's

918
00:47:15,920 --> 00:47:18,120
Speaker 1: see here, oh here it is? What's that? I think

919
00:47:18,200 --> 00:47:23,640
Speaker 1: this is this? Laurel or Yanny? Okay, go ahead, Laurel,

920
00:47:25,120 --> 00:47:34,000
Speaker 1: Laurel's Laurel Laurel, Laurel Laurel on that one too? Do

921
00:47:34,040 --> 00:47:37,120
Speaker 1: you hear you hear Yanny? Is that a joking where

922
00:47:37,120 --> 00:47:48,080
Speaker 1: it's only Laurel. Here we go, Okay, here we go, Laurel, Laurel, Laurel, Laurel, Laurel, Laurel.

923
00:47:48,120 --> 00:47:50,640
Speaker 1: What are you kidding? All? I hears Janny. I don't

924
00:47:50,640 --> 00:47:57,000
Speaker 1: hear Laurel in any way? Whatsoever? Are you serious? Laurel Laurel?

925
00:47:57,040 --> 00:47:59,799
Speaker 1: I feel like you're missing I swear to God, what

926
00:47:59,800 --> 00:48:02,200
Speaker 1: do you a read? I hear Laurel. Every time I

927
00:48:02,280 --> 00:48:05,640
Speaker 1: hear Danny, Danny, Mike, what do you hear? I hear Laurel?

928
00:48:05,640 --> 00:48:10,600
Speaker 1: And what do you really? Yeah? I heard Yanny every time.

929
00:48:10,719 --> 00:48:12,399
Speaker 1: I sort of feel like there's something wrong with me.

930
00:48:12,960 --> 00:48:14,600
Speaker 1: Oh no, no, no, they're no, I do too. But

931
00:48:14,800 --> 00:48:18,319
Speaker 1: yeah for Devera, Yeah, okay, but I but when this

932
00:48:18,360 --> 00:48:21,040
Speaker 1: isn't like a wegi board where someone's screwing with you

933
00:48:21,560 --> 00:48:24,600
Speaker 1: and like someone's really controlling it. I hear you heard Laurel. Yeah,

934
00:48:24,680 --> 00:48:29,560
Speaker 1: I heard Yanny without a doubt, Danny, Yanny. I wish

935
00:48:29,600 --> 00:48:30,800
Speaker 1: there was a way to share that with you, but

936
00:48:30,840 --> 00:48:35,160
Speaker 1: there is no one. I was excited for the change. Um, okay,

937
00:48:35,160 --> 00:48:39,640
Speaker 1: what's hey? What's the meaning behind your name on Instagram?

938
00:48:39,760 --> 00:48:42,839
Speaker 1: The meaning is um. When I had a record deal,

939
00:48:43,719 --> 00:48:46,000
Speaker 1: somebody else had Jimmy Robbins, and we tried to get

940
00:48:46,080 --> 00:48:47,360
Speaker 1: them to give it to us, and they asked for

941
00:48:47,400 --> 00:48:51,239
Speaker 1: twenty dollars and so I just changed the letters of

942
00:48:51,280 --> 00:48:55,399
Speaker 1: my name. Yeah. I thought about flipping it. At the time,

943
00:48:55,400 --> 00:48:58,080
Speaker 1: it was popular, people were saying like busting Jeeber and stuff,

944
00:48:58,120 --> 00:48:59,480
Speaker 1: and I was like, oh, I'll do that with my name.

945
00:49:00,040 --> 00:49:02,439
Speaker 1: And when you flip mine it's not a name E one,

946
00:49:03,239 --> 00:49:07,719
Speaker 1: Remy Javins, Remy Jabins. Yeah. Yeah's interesting. Yeah, I wo

947
00:49:07,840 --> 00:49:09,319
Speaker 1: I wouldn't have gone with that either. Wasn't the one

948
00:49:09,360 --> 00:49:11,600
Speaker 1: for me. It's funny I couldn't get mine. I told

949
00:49:11,640 --> 00:49:15,279
Speaker 1: you that the guy twenty that's a lot. Yeah. Well,

950
00:49:15,400 --> 00:49:18,360
Speaker 1: and this was ten years ago. Instagram wasn't even like popping.

951
00:49:25,640 --> 00:49:28,719
Speaker 1: Does the number five six to six oh six oh

952
00:49:28,800 --> 00:49:31,600
Speaker 1: nine oh three mean anything to you? Is that my

953
00:49:31,600 --> 00:49:37,520
Speaker 1: old phone number? Yeah? Is it on my Space? The

954
00:49:37,600 --> 00:49:43,480
Speaker 1: location is Wesleyan College, North Carolina? Yeah, basically Rocky Mount.

955
00:49:43,480 --> 00:49:46,200
Speaker 1: How do you say that? Wesleyan Wesleyan? Yeah? Uh. And

956
00:49:46,280 --> 00:49:48,960
Speaker 1: you had eighty five thousand friends. Yeah, you were kind

957
00:49:48,960 --> 00:49:50,480
Speaker 1: of making it. That's a lot of friends for back

958
00:49:50,480 --> 00:49:52,600
Speaker 1: in there on my space. Yeah, that was I treated

959
00:49:52,719 --> 00:49:54,280
Speaker 1: like a job. I was on my Space. I dropped

960
00:49:54,280 --> 00:49:57,000
Speaker 1: out of ninth grade and just treated my space like

961
00:49:57,040 --> 00:50:00,040
Speaker 1: a job. I don't know if you're being serious. I

962
00:50:00,080 --> 00:50:01,880
Speaker 1: dropped out when I was fourteen. You dropped out of

963
00:50:01,920 --> 00:50:04,800
Speaker 1: high school? Yeah? What did your parents say about that? Um?

964
00:50:05,320 --> 00:50:08,520
Speaker 1: They weren't thrilled. How do you have that conversation? That's

965
00:50:08,560 --> 00:50:10,879
Speaker 1: a really young age to drop out. It was sort

966
00:50:10,920 --> 00:50:14,040
Speaker 1: of complicated. My my mom had just passed away, and

967
00:50:14,239 --> 00:50:18,320
Speaker 1: my dad was sort of whatever will make me okay.

968
00:50:18,680 --> 00:50:20,960
Speaker 1: He was there for that. I don't think it was ideal,

969
00:50:21,760 --> 00:50:25,200
Speaker 1: but he uh he, he was great. He let me

970
00:50:25,680 --> 00:50:28,080
Speaker 1: pursue what I wanted to do. What do you pursue it?

971
00:50:28,480 --> 00:50:31,759
Speaker 1: Fourteen or fifteen, I started doing the MySpace thing, and

972
00:50:31,800 --> 00:50:35,719
Speaker 1: I turned that into a living. Um. Wow, yeah, I

973
00:50:35,760 --> 00:50:37,880
Speaker 1: was making a living when I was like fifteen. You

974
00:50:37,880 --> 00:50:41,040
Speaker 1: were an influencer. Yeah. I mean I'm not even joking,

975
00:50:41,040 --> 00:50:44,360
Speaker 1: but I mean you made your money by a social

976
00:50:44,440 --> 00:50:47,160
Speaker 1: by social media before that was really a thing. Yeah. Yeah,

977
00:50:47,200 --> 00:50:50,480
Speaker 1: I was packaging CDs and shipping them all over the country,

978
00:50:50,880 --> 00:50:54,439
Speaker 1: Like I sold thousands and thousands of CDs back then. Yeah,

979
00:50:54,719 --> 00:50:58,600
Speaker 1: that was wild. So what was just unfortunate? They sounded

980
00:50:58,640 --> 00:51:02,279
Speaker 1: like what you played? That was the real downside. But

981
00:51:02,440 --> 00:51:04,920
Speaker 1: the third song was really that one I might have

982
00:51:05,000 --> 00:51:07,080
Speaker 1: put on my page. That's the one nobody bought. How

983
00:51:07,120 --> 00:51:09,279
Speaker 1: about that? Really? Yeah? Well because the album kind of

984
00:51:09,440 --> 00:51:13,520
Speaker 1: only sort of came out. M How long did you

985
00:51:13,560 --> 00:51:19,120
Speaker 1: stay home after you started to go independent making music? Fourteen?

986
00:51:19,120 --> 00:51:23,440
Speaker 1: Fifteen years old? I started touring when I was fourteen. Um,

987
00:51:23,480 --> 00:51:25,680
Speaker 1: So I was in a band with some guys that

988
00:51:25,680 --> 00:51:29,200
Speaker 1: were older than me. They were eighteen and nineteen, and

989
00:51:29,440 --> 00:51:31,560
Speaker 1: my dad signed a piece of paper giving the singer

990
00:51:31,600 --> 00:51:34,880
Speaker 1: permission to take me to the hospital if anything happened,

991
00:51:35,600 --> 00:51:38,720
Speaker 1: and then I was gone. Did you get any trouble?

992
00:51:39,320 --> 00:51:44,959
Speaker 1: I did not. Um. I was raised really like uh PG.

993
00:51:45,719 --> 00:51:47,600
Speaker 1: And so there were nights like I chose to sleep

994
00:51:47,600 --> 00:51:50,120
Speaker 1: in the van because the dudes were like doing some

995
00:51:50,160 --> 00:51:52,479
Speaker 1: stuff and at a house and I would just sleep

996
00:51:52,480 --> 00:51:55,479
Speaker 1: in the van, or we would sleep in parking lots

997
00:51:55,480 --> 00:51:58,480
Speaker 1: and stuff too. But wow, you had to grow up

998
00:51:58,560 --> 00:52:02,239
Speaker 1: pretty quick, huh in a few ways. Yeah, yeah, your

999
00:52:02,239 --> 00:52:04,640
Speaker 1: mom passing that early. Yeah, you have to grow up,

1000
00:52:04,800 --> 00:52:06,960
Speaker 1: you know. And then also you decide I'm just gonna

1001
00:52:07,000 --> 00:52:10,000
Speaker 1: go hit life at fourteen fifteen years old? What would

1002
00:52:10,000 --> 00:52:14,040
Speaker 1: you say to that kid? Now? I mean, I sort

1003
00:52:14,040 --> 00:52:16,759
Speaker 1: of would do that all the same. I would do

1004
00:52:16,800 --> 00:52:20,000
Speaker 1: all of the same things because I think even more

1005
00:52:20,040 --> 00:52:23,759
Speaker 1: so now because I believe now more more with perspective

1006
00:52:23,840 --> 00:52:26,680
Speaker 1: that like school wasn't going to get me where I

1007
00:52:26,719 --> 00:52:29,000
Speaker 1: wanted to go. And I mean I would like for

1008
00:52:29,040 --> 00:52:31,759
Speaker 1: my kids to finish high school. Um, just because of

1009
00:52:31,760 --> 00:52:34,200
Speaker 1: the age part of it. More than anything. But I

1010
00:52:34,400 --> 00:52:36,319
Speaker 1: would do all the same stuff. But what if they say,

1011
00:52:36,400 --> 00:52:39,359
Speaker 1: but dad, what if they say, remy javins? She does

1012
00:52:39,400 --> 00:52:43,040
Speaker 1: call me that you did? Now, I know. I think

1013
00:52:43,080 --> 00:52:45,080
Speaker 1: about that all the time. I would have a hard

1014
00:52:45,080 --> 00:52:48,760
Speaker 1: time telling her no, but I would hope she was good.

1015
00:52:49,840 --> 00:52:54,399
Speaker 1: But what were you know? Um? I want to play

1016
00:52:54,480 --> 00:52:57,200
Speaker 1: the two openings to both this This City and the

1017
00:52:57,239 --> 00:53:03,160
Speaker 1: Bones first this Mike, and I'm gonna play the Bones

1018
00:53:03,200 --> 00:53:05,759
Speaker 1: and it because I'm gonna play the guitar licks right,

1019
00:53:05,880 --> 00:53:09,680
Speaker 1: both of them. And if you consider this kind of

1020
00:53:09,680 --> 00:53:13,360
Speaker 1: your trademark as a player, producer and a later audience.

1021
00:53:13,400 --> 00:53:21,560
Speaker 1: Here at first, I haven't seen Lonely Baby. Okay, here's

1022
00:53:21,560 --> 00:53:33,920
Speaker 1: the other. Like the tone feels pretty similar. Yeah, it's

1023
00:53:33,960 --> 00:53:38,720
Speaker 1: like the same guy playing guitar. Do you is that you? Yeah?

1024
00:53:39,080 --> 00:53:41,040
Speaker 1: That's like that's the way I play. It's it's a

1025
00:53:41,120 --> 00:53:44,239
Speaker 1: thing called tense, which is like a guitar phrasing that

1026
00:53:44,280 --> 00:53:46,600
Speaker 1: I fall into a lot. Just I always like the

1027
00:53:46,640 --> 00:53:51,560
Speaker 1: wait it sounds tense. Yeah, it's like because the talk

1028
00:53:51,600 --> 00:53:54,080
Speaker 1: talk to talk to dumb guy who plays like eight chords. Well,

1029
00:53:54,080 --> 00:53:56,920
Speaker 1: it's like you're playing the one and then an octave

1030
00:53:56,960 --> 00:53:58,880
Speaker 1: of the fifth, So it's the tenth. Stop talking to

1031
00:53:58,880 --> 00:54:01,280
Speaker 1: a dumb guy who play the chord? The need rosetta

1032
00:54:01,320 --> 00:54:04,520
Speaker 1: stone for that one. Uh. As a songwriter, do you

1033
00:54:04,560 --> 00:54:08,840
Speaker 1: get approached for approval like when Maren does the bones

1034
00:54:09,040 --> 00:54:11,200
Speaker 1: and then hose your drops on and they want to

1035
00:54:11,200 --> 00:54:13,839
Speaker 1: be do they come to you? I think they would

1036
00:54:13,840 --> 00:54:15,560
Speaker 1: only come to us if it was going to affect

1037
00:54:16,320 --> 00:54:19,600
Speaker 1: like the copyright. But Josia didn't ask for a piece

1038
00:54:19,600 --> 00:54:21,840
Speaker 1: of it or anything, at least on the writer's side.

1039
00:54:22,040 --> 00:54:25,840
Speaker 1: I'm sure he did. On that. The master said, well

1040
00:54:27,160 --> 00:54:31,040
Speaker 1: he came in killed the interview. It's probably gonna be

1041
00:54:31,080 --> 00:54:33,600
Speaker 1: a number one. Yeah they do that, right, they rank

1042
00:54:33,640 --> 00:54:36,120
Speaker 1: your interviews. OK, I do anyway, Yeah, yeah, it's probably

1043
00:54:36,160 --> 00:54:38,839
Speaker 1: gonna be a number one for at least today. It's

1044
00:54:38,880 --> 00:54:41,200
Speaker 1: the only what I'm doing today. You really can't lose

1045
00:54:41,200 --> 00:54:44,400
Speaker 1: all so, but I mean, really, congratulations, man. I I

1046
00:54:44,480 --> 00:54:47,759
Speaker 1: just always enjoy someone who comes knows who they are

1047
00:54:49,239 --> 00:54:52,640
Speaker 1: and stays who they are, even though there's like an

1048
00:54:52,640 --> 00:54:54,960
Speaker 1: outside ring that's like, that's not who we are in

1049
00:54:55,000 --> 00:54:59,640
Speaker 1: this town. Because once you do you and it proves

1050
00:54:59,680 --> 00:55:02,160
Speaker 1: to be successful, everybody else like, oh yeah, we know

1051
00:55:02,200 --> 00:55:03,719
Speaker 1: the whold time yeah, we we will do that now.

1052
00:55:04,040 --> 00:55:06,040
Speaker 1: I mean, it's crazy. It's crazy to see how and

1053
00:55:06,239 --> 00:55:08,120
Speaker 1: it's gonna happen as you get older. There's gonna somebody

1054
00:55:08,120 --> 00:55:11,200
Speaker 1: else coming this how different and you have to remind yourself,

1055
00:55:11,200 --> 00:55:12,919
Speaker 1: Oh yeah, I was that person, not the same way,

1056
00:55:12,960 --> 00:55:15,080
Speaker 1: but I was that Like I was different. I was

1057
00:55:15,080 --> 00:55:17,600
Speaker 1: a different splash in the milk here. So but I

1058
00:55:17,640 --> 00:55:19,279
Speaker 1: like that. I like that about you. I think that

1059
00:55:19,640 --> 00:55:22,200
Speaker 1: it's good to have guys like you in town. They're

1060
00:55:22,239 --> 00:55:25,840
Speaker 1: just kind of pushing to make it better and stretch

1061
00:55:25,880 --> 00:55:28,160
Speaker 1: it a little bit. And now you've got wild success

1062
00:55:28,239 --> 00:55:33,120
Speaker 1: and so much money, just the fancy watch, so I

1063
00:55:33,160 --> 00:55:36,560
Speaker 1: can afford to be your neighbor. Yeah, I need to

1064
00:55:36,560 --> 00:55:41,040
Speaker 1: see your mortgage paper. Uh, big fan? Really yeah, big fan.

1065
00:55:41,080 --> 00:55:43,160
Speaker 1: I know we haven't spent much time together, um, but

1066
00:55:43,320 --> 00:55:46,160
Speaker 1: just a big fan of your work and well, I

1067
00:55:46,160 --> 00:55:49,239
Speaker 1: mean the stuff you and Maren do together just for

1068
00:55:49,280 --> 00:55:52,399
Speaker 1: me is like next level. Just I mean, I feel

1069
00:55:52,440 --> 00:55:55,239
Speaker 1: like when you and Maren started writing songs together, like

1070
00:55:55,320 --> 00:55:56,719
Speaker 1: for me, that was the mirror and stuff that that

1071
00:55:56,920 --> 00:56:00,480
Speaker 1: hit me the hardest. And so just to great job

1072
00:56:00,520 --> 00:56:02,440
Speaker 1: and to wrap this up, read, I'm gonna give your

1073
00:56:02,480 --> 00:56:04,919
Speaker 1: one question we let read our our camera guy ask

1074
00:56:05,040 --> 00:56:08,959
Speaker 1: one question. Read go ahead, all right, how often would

1075
00:56:08,960 --> 00:56:11,239
Speaker 1: you say you deal with the writer's blog? And if

1076
00:56:11,239 --> 00:56:15,200
Speaker 1: you have any tips to overcome that. What he whispered

1077
00:56:15,200 --> 00:56:17,879
Speaker 1: to you is how I know you. Also, we made

1078
00:56:17,880 --> 00:56:20,880
Speaker 1: a lot of eye contact. I feel really really nervous

1079
00:56:20,920 --> 00:56:25,240
Speaker 1: over here. Um, No, I every day I feel that way.

1080
00:56:25,080 --> 00:56:28,640
Speaker 1: I think the deal with writer's block. One huge cure

1081
00:56:28,800 --> 00:56:32,080
Speaker 1: in Nashville is collaboration. Um. I'm really lucky that I

1082
00:56:32,080 --> 00:56:36,640
Speaker 1: write with other people and and just showing up because

1083
00:56:36,680 --> 00:56:38,120
Speaker 1: there's a lot of days where I don't feel like

1084
00:56:38,120 --> 00:56:40,319
Speaker 1: writing a song. I don't think I have anything to say,

1085
00:56:40,440 --> 00:56:42,280
Speaker 1: and I show up and I talked to my friends

1086
00:56:42,440 --> 00:56:46,040
Speaker 1: and we find something. Like every day we find something.

1087
00:56:46,239 --> 00:56:49,560
Speaker 1: So I think I think show up and collaborate. All right,

1088
00:56:50,480 --> 00:56:54,560
Speaker 1: taking notes now read good question, Thank you, sir. Um.

1089
00:56:54,640 --> 00:56:56,800
Speaker 1: I think that's it. Well. I feel like I was

1090
00:56:56,840 --> 00:57:00,320
Speaker 1: gonna ask you one other thing I got hind some

1091
00:57:01,000 --> 00:57:02,759
Speaker 1: I don't believe that people are ever late because of

1092
00:57:02,760 --> 00:57:05,000
Speaker 1: bad traffic. I just don't believe that's really a thing.

1093
00:57:05,040 --> 00:57:07,319
Speaker 1: I think times that you used out of a hundred,

1094
00:57:07,360 --> 00:57:09,120
Speaker 1: it's a lie. And I was caught up in bad

1095
00:57:09,120 --> 00:57:10,840
Speaker 1: traffic coming home. So I called Mike and I was like,

1096
00:57:10,880 --> 00:57:13,719
Speaker 1: I'm stuck behind. It wasn't about traffic an accident. So

1097
00:57:13,920 --> 00:57:16,600
Speaker 1: traffic maybe an accident? No, I mean, let me refresh this.

1098
00:57:18,240 --> 00:57:20,160
Speaker 1: Most people say I got by an accident. They're lying

1099
00:57:21,080 --> 00:57:22,880
Speaker 1: I was behind an accident. I thought you were gonna

1100
00:57:22,880 --> 00:57:25,800
Speaker 1: beat me here to my own house. Well I got

1101
00:57:25,840 --> 00:57:29,240
Speaker 1: here yesterday. Mm hmm. You don't go into that one

1102
00:57:29,240 --> 00:57:31,840
Speaker 1: bedroom very often. I don't. Yeah, well I don't actually

1103
00:57:31,920 --> 00:57:35,840
Speaker 1: live here, I live over there, but still um. And

1104
00:57:35,920 --> 00:57:38,440
Speaker 1: so I thought I thought that you were gonna beat

1105
00:57:38,480 --> 00:57:41,040
Speaker 1: me here. And you're this big famous songwriter, and you

1106
00:57:41,080 --> 00:57:44,160
Speaker 1: know you probably did you right before you got here,

1107
00:57:44,960 --> 00:57:47,320
Speaker 1: I did. I wrote two songs today, So this is

1108
00:57:47,360 --> 00:57:51,400
Speaker 1: you mentally exhausted kind of. I'm just always mentally exhausted.

1109
00:57:51,800 --> 00:57:54,800
Speaker 1: And what no titles over the themes of the two

1110
00:57:54,800 --> 00:57:58,760
Speaker 1: songs you wrote today? Uh, very different things. The first

1111
00:57:58,760 --> 00:58:02,600
Speaker 1: song was sort of about the second song it was

1112
00:58:02,640 --> 00:58:05,880
Speaker 1: like a like a country life song. I can't wait

1113
00:58:05,920 --> 00:58:08,320
Speaker 1: for that country life one. I'm predicting a hit, are

1114
00:58:08,360 --> 00:58:11,040
Speaker 1: you might? I'm waiting for the death one okay, and

1115
00:58:11,480 --> 00:58:15,840
Speaker 1: some could be both. Yeah, alright, that's it. That's the

1116
00:58:15,920 --> 00:58:19,720
Speaker 1: end of the show. At Jamie Rabbins on Instagram Jammie Rabbins.

1117
00:58:20,760 --> 00:58:30,560
Speaker 1: I don't know who has Remy Jabbins at Jamie Rabbins songwriter, producer, publisher,

1118
00:58:30,840 --> 00:58:33,720
Speaker 1: Lillian Ridges, dad and Sarah's husband. Yeah, all those things

1119
00:58:33,760 --> 00:58:36,920
Speaker 1: there it is, but most importantly those last things. All right,

1120
00:58:36,920 --> 00:58:39,080
Speaker 1: thanks Jimmy, thank you, and I'm glad your headphones is

1121
00:58:39,120 --> 00:58:42,400
Speaker 1: work for the last seven minutes. Liked the ending better