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Speaker 1: I welcome to another episode of the Bobby Cast, Episode

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Speaker 1: one eight team with Jesse Frasier, who's a songwriter, a producer,

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Speaker 1: a DJ, a remixer. You're gonna hear that. I really

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Speaker 1: had a good time. I don't know what to expect,

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Speaker 1: which I said, we've met before. We spent some time

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Speaker 1: together in New York, but it was with other people.

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Speaker 1: But I really enjoyed this one. Got a bunch of

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Speaker 1: Number One's unforgettable, marry Me, dirt on my boots, no

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Speaker 1: such thing as a broken heart. So yeah, that's coming up.

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Speaker 1: Just know. Even when this was over, right, Michael, I

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Speaker 1: was like, man, I thought it'd be pretty good, but

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Speaker 1: I enjoyed it. Yeah, I was wait a good time.

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Speaker 1: Some other episodes to check out. Kimberly Schlapman from a

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Speaker 1: Little Big Town, Scott Hamilton's that's an interesting one. The

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Speaker 1: Olympic gold ice skater become a friend recently, The Trouble

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Speaker 1: tapes all about the billboards that I bought back in

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Speaker 1: the day. It's part of a series we're doing upcoming.

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Speaker 1: There is I think next week a Bobby Cast with

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Speaker 1: Lindsay l which I haven't hyped at all, but she

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Speaker 1: has a new record coming out, a John Mayor album

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Speaker 1: cover album, and then John Hamlin is scheduled to appear

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Speaker 1: the producer of the c MT Awards TV producer. So

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Speaker 1: I think it's good. I'll be check out Jake's which,

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Speaker 1: by the way, that Jake Owen's Good Company podcast. But

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Speaker 1: Christian Bush's podcast has Rita Wilson, who is Tom Hanks's wife,

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Speaker 1: and I believe they're talking about geeking out about watercolors.

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Speaker 1: So seeking out in the name of the Christian Bush podcast.

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Speaker 1: If you're looking for country music podcasting, Whiskey Riff Guys

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Speaker 1: have one and Velvet's Edge does episode two? Does that

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Speaker 1: exist yet? With Amy? There you go. So as we

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Speaker 1: get into this episode one eight Team with Jesse Fraser,

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Speaker 1: I encourage you to tell your friends about this. If

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Speaker 1: you like it, check out those other podcasts and check

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Speaker 1: out others. And away we go, all right here with

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Speaker 1: Jesse Frasier. As we turn our phones off, I don't

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Speaker 1: know if that was mere you. Is that somebody cool

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Speaker 1: texting you? This is low Cash? Oh yeah, look for songs.

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Speaker 1: It's either songs or sneakers. With Low Cash and the

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Speaker 1: sneaker part of it, they're very kind. They will, They'll

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Speaker 1: send me sneakers to it. They're good dudes. Chris and

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Speaker 1: loc has got great sneaker hookups. Yeah, they have the

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Speaker 1: By the way, Jesse Frazier's here. We were talking abo

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Speaker 1: before we went on. They have the hook up at

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Speaker 1: under Armour, and so they recently sent me some shoes,

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Speaker 1: some of the rock shoes and the thing about because

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Speaker 1: you're a shoe guy like me, I'm a sneaker head. Yeah. See,

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Speaker 1: I don't call myself that because I'm not that emotionally invested.

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Speaker 1: I have a lot of shoes, have a lot of sneakers,

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Speaker 1: but I feel like real sneaker heads, like you spend time,

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Speaker 1: like really looking at the craft of shoes. Well, it's

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Speaker 1: the hunt. It's like anything a collector. You know. We

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Speaker 1: kind of get off on having that thing, you know, like, oh,

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Speaker 1: he's got the belt crows, so you want this special, Yeah,

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Speaker 1: you want that soft after thing. We have a guest

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Speaker 1: room at our house. Luckily I got my wife hooked now,

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Speaker 1: but that probably would have been a divorce aspect, So

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Speaker 1: now she kind of gets it because she likes shoes now.

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Speaker 1: But yeah, we have a guest bedroom that's dedicated to sneaker. Dum,

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Speaker 1: what do you have one? Right now? These are just

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Speaker 1: basic Nike Cortez. Which. The thing about basic, though is

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Speaker 1: if you're known for your shoes and you wear basic,

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Speaker 1: then people think your basics are awesome. That's what I've

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Speaker 1: noticed about my most basic Nikes. I'll where the people go, oh,

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Speaker 1: what are those, and I'll be like, Oh, these are

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Speaker 1: just air maxes. You know. I love a good Adidastan

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Speaker 1: Smith or Nike Cortez clean white. You can throw them

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Speaker 1: away every year because they're not extremely expensive, so you

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Speaker 1: can trash them and go with everything there. Yeah, which

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Speaker 1: are very comfortable. Yet these are probably my favorite travel shoe. Yeah,

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Speaker 1: because they're very comfortable. Yeah, So you gotta have a

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Speaker 1: good airport shoe because they can slat them off airport sweats.

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Speaker 1: For as much as I travel and airport shoes, like,

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Speaker 1: I have a complete airport wardrobe at this point, I'm

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Speaker 1: an airport something. It's like a big pajama party two

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Speaker 1: at the airport, Like Mike and I put up a

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Speaker 1: jamazon and we get our blankets. We're just going to

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Speaker 1: That's the one place you're allowed to look like a

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Speaker 1: church with sunglasses on too, right, so we can all

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Speaker 1: wear sunglasses and airports my eye glasses, my eyes just about.

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Speaker 1: I can't wear sunglasses because I can't see, and so

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Speaker 1: I have to get prescription sunglasses and I have one pair,

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Speaker 1: but I can't keep up with them. So yeah, so

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Speaker 1: I'm it's not that I mean, I'm a douche, so

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Speaker 1: I don't care about looking like a douche, but it's

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Speaker 1: just that it's as difficult for me to wear sunglasses

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Speaker 1: because I can't see, and so I can never just

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Speaker 1: like borrows, I can never borrow someone's guitar because I'm

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Speaker 1: left handed, which is a little bit of a drag.

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Speaker 1: If you're sitting around everybody's playing songs, passing around, I'm like,

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Speaker 1: oh yeah, pass. I don't even sit at camp fires.

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Speaker 1: But sometimes I'm in the room or I'll be, you know,

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Speaker 1: writing a song for you know, the kids record or

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Speaker 1: one of the raging idiot things, and like here like,

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Speaker 1: oh man, let me use your guitar. Nope, because I'm

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Speaker 1: left handed. Same thing with sunglasseslass. We're talking about your day.

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Speaker 1: You walked in and I was like, hey, you know

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Speaker 1: what you do today? And you said you wrote today. Yep.

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Speaker 1: Ashley Gourley, who's one of my buds and regulars. Um,

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Speaker 1: we kind of have a fairly often. I don't keep

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Speaker 1: anything regular. I always find if we keep regul other

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Speaker 1: things on the calendar, it gets a little lexa days ago,

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Speaker 1: or we end up canceling on each other because they're like, oh,

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Speaker 1: I've got him next Tuesday. But Ashley is one of

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Speaker 1: the few that you know, it's on the calendar quite

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Speaker 1: a bit. We've had a good little run and then

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Speaker 1: Emily wise band, and Emily is the one. I don't know.

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Speaker 1: I was saying that to you before, Like I know,

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Speaker 1: everybody else have either played like with Ashley. We haven't socially.

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Speaker 1: I mean maybe a little bit, but we played doing

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Speaker 1: this in a in a couple of weeks or so,

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Speaker 1: he said her. You guys were reached. I think so,

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Speaker 1: but but I know actually we played a couple of

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Speaker 1: charity rounds together. I do my Goofie song. He plays

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Speaker 1: awesome songs that she's like he plays one of his

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Speaker 1: thirties playing keys and just playing the crap out of it.

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Speaker 1: Or we've seen each other like like kell think Kelsey's

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Speaker 1: number one party. Yeah that makes sense. But Emily, everyone's

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Speaker 1: like she's so cool, like she's a singer too, righte.

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Speaker 1: She's like, yeah, great voice. Um, she's got a couple

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Speaker 1: of cuts with Trum. That's what. That's how we know

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Speaker 1: each other, you and I bet. Yeah, it's from from

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Speaker 1: the It was I Heeart thing together in New York. Yeah.

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Speaker 1: We set up on stage age and basically it was

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Speaker 1: the only time that they've ever done this on like

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Speaker 1: a national live radio platform. We set up and actually

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Speaker 1: talked about the record, which is Thomas Schart's last record,

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Speaker 1: which you co produced and wrote some of the songs

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Speaker 1: on it, which, by the way, let me say this,

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Speaker 1: by the way, Jesse Fraser, I don't know if have

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Speaker 1: I already even introduced him? Have I? You feel like

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Speaker 1: we just started talking. It's because you three, that's what

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Speaker 1: we're asking about. That that's true. Well, that's the thing

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Speaker 1: for me. I need structure, right, I have to have

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Speaker 1: this structure. Now. I'll do different things inside of my structure,

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Speaker 1: but I have to wake up at three three am

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Speaker 1: every show morning, and I'm down. I may not fall asleep,

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Speaker 1: but I'm down by eight thirty at least I have

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Speaker 1: to be because I have to get up at three.

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Speaker 1: Now I may not fall until eleven, but I'm down

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Speaker 1: by eight thirty. But then I do stand up on

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Speaker 1: the weekends and I won't go on stage of the

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Speaker 1: theater until nine, so I'm off at ten thirty. I'll

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Speaker 1: meet people till eleven fifteen. So it's like back and

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Speaker 1: forth back right, So there's never really a I'm always rested,

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Speaker 1: because I'm never rested. That's what it is. Uh. You

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Speaker 1: and I met in New York at the My Heart

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Speaker 1: Country UM Thomas Rrette album released, and so I started

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Speaker 1: looking at some of the songs that you either co

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Speaker 1: producer or co wrote, and I have some of them here. So,

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Speaker 1: by the way, there's a article on Variety about you today.

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Speaker 1: How about that ready yet? But um, we have partners

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Speaker 1: with the Rock Nation. Then yeah, it says this is one.

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Speaker 1: It says like that I pulled out here. I did

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Speaker 1: my research. A Grammy nominated hit maker with a background,

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Speaker 1: and E. D. M says that while fift of our

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Speaker 1: time its spent working in country music, we want to

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Speaker 1: have a multi genre focus, so most of our writers

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Speaker 1: come from different worlds. I think that's very important. I mean,

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Speaker 1: I think you're probably you probably will get hate from

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Speaker 1: the very loud minority. It's a very loud mind because

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Speaker 1: they scream at me too, because I'm playing hip hop

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Speaker 1: on the country radio station. So I know how frustrating

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Speaker 1: it is to be the person that here's the very

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Speaker 1: vocal minority scream at you. You gotta feel that. Yeah,

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Speaker 1: I mean Thomas talk about at the time. We have

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Speaker 1: a fictitious character that we call him at Buck Slayer

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Speaker 1: seventy nine, who thinks basically I'm the anti Christ for

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Speaker 1: doing the uh you know, pop and fuse country. The

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Speaker 1: funny thing is, I've been a part of some pretty

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Speaker 1: country songs like yeah, I'm gonna go through some of

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Speaker 1: those really country songs. Yeah, like dirt country songs like

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Speaker 1: Dirt on My Boots or whatever else. But yeah, I mean,

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Speaker 1: I'm not on a mission to to popify anything. I

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Speaker 1: just I tend to like a wide variety and come

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Speaker 1: from Detroit. My parents kind of raised me listening to

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Speaker 1: oldies music and classics and was in the nineties, so

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Speaker 1: I grew up in nineties. Tupac and Biggie who didn't

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Speaker 1: we both we're basically say you so that we all

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Speaker 1: listened to all things. Once Napster came along, Yes, everything

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Speaker 1: was over as far as you have to listen to

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Speaker 1: a specific genre because of where you're located in America.

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Speaker 1: Right Absolutely, Napster broke down all those doors for us

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Speaker 1: because it was us wants to start with L. I'll

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Speaker 1: download every song that starts with L for free right now.

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Speaker 1: There were some real problems with that system because it

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Speaker 1: was all free and arts screwed um. But you know

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Speaker 1: who hate choose the guy from Saving Country Music. Oh yeah,

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Speaker 1: he's kind of several times. I love him so much.

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Speaker 1: I love him. I'm such a fan of him because

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Speaker 1: I know exactly what he's gonna say, Like he stands

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Speaker 1: for something. I don't agree with him a lot of

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Speaker 1: the time, but I'm such a fan of that dude

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Speaker 1: because he is just consistently on his message and in

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Speaker 1: a world where you just wonder where everybody stands, I

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Speaker 1: don't wonder what's him and he will tear apart anybody

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Speaker 1: for anything. I'm a huge fan. And he bashes me

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Speaker 1: like he punches me in the nuts. Sometimes that's it's

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Speaker 1: a badge to me. That's all I know. Like we're

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Speaker 1: on our way. Absolutely, if he's hating on you, then

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Speaker 1: you're making something. Let's let's get like a try. Let's

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Speaker 1: put your gun out because you're chewing No, no, no,

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Speaker 1: we started talking. That's my fault because we never sat

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Speaker 1: down and went, let's start the deal. Michael, you getta

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Speaker 1: like here taking Yeah, I spent that to that paper

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Speaker 1: right there. That was my fault because I just said, hey,

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Speaker 1: let's just start it, let's start talking. No, you're not

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Speaker 1: gonna saw that. Yeah, oh I think it's a myth. No. No,

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Speaker 1: I just still wouldn't swallow something that you can't chew up.

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Speaker 1: I was fine. I've been swalling gum my whole life.

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Speaker 1: You do that. My wife thinks it stays in your pit.

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Speaker 1: How do you know it doesn't? Though, I don't know,

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Speaker 1: but I know that I've been doing it since. I

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Speaker 1: don't make a habit of it, but I've done it

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Speaker 1: since I was a kid. To me, it's like the

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Speaker 1: frog awarts thing. But I was with the guy and

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Speaker 1: he we were in Las Vegas at the A c M.

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Speaker 1: And it's han't dinner with him, and he runs a

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Speaker 1: record label. Rare for me to get what they wanted

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Speaker 1: a record label. But one of my friends, it knows him,

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Speaker 1: is on the label. So he did he cuts an

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Speaker 1: orange up and he does. He leaves the outside of

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Speaker 1: the orangeine just eats the orange, the whole thing with

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Speaker 1: the peel. And that's why I said. I was like,

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Speaker 1: what is happening here? And he goes it cleans on palette.

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Speaker 1: There's nothing wrong with Bill. I'd never just like you

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Speaker 1: swallow the gum and I was like, what are you doing?

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Speaker 1: He severe Though they're equally, it's cractic. I think yours

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Speaker 1: is crazier than his, because at least you know that

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Speaker 1: orange will break down. Well that's true. Yeah, you might

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Speaker 1: be right. Just sall rubber and he at least organic.

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Speaker 1: Here's some some of the Thomas Red stuff. So this

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Speaker 1: is let's see. You produced die Happy Man by the way,

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Speaker 1: which is not on the new record, but you produced

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Speaker 1: this song here. When you produced a song, are you

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Speaker 1: getting any points on that forever? Okay? You are? So

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Speaker 1: it's not just a producer fee upfront and then you're done.

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Speaker 1: We have getting advance and we get points on it. Here. Oh,

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Speaker 1: come on, you're printing money. Just wait until you hear

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Speaker 1: this other stuff. And like, I'm happy for I love

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Speaker 1: to see people make it. I love to see people

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Speaker 1: be successful, especially if they're working hard. Uh so, here's

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Speaker 1: some songs that the europe for tire Life Changes, which

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Speaker 1: is the current single here Change such a good song.

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Speaker 1: He texts me about two months ago. And I don't

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Speaker 1: know how much I factored into any decision, but he goes, hey, man,

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Speaker 1: do you think life changes as too personal? And I said,

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Speaker 1: for what? He goes for a radio song, and I said,

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Speaker 1: I don't think there's a such thing as too personal ever,

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Speaker 1: And then he's sort of if you let people into

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Speaker 1: your life, but in a world when things don't matter

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Speaker 1: to anybody anymore, because there are so many things like

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Speaker 1: you're basically putting out a biography in three minutes, and

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Speaker 1: people get to know you with the super catchy hook

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Speaker 1: this song and caps like Tom trap perfectly. You guys

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Speaker 1: had a great job of the song. Thank you. But

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Speaker 1: he knows you'd be honest too. For sure. I would

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Speaker 1: have said no, I don't think so, and he does.

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Speaker 1: You know, is for someone being as confident as he

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Speaker 1: is in his place and taking risks and and pushing boundaries,

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Speaker 1: he does think about that, what is the next fan

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Speaker 1: going to think? Is this a fan song or is

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Speaker 1: this a universal song? And in those kind of concepts.

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Speaker 1: So I'm sure he knows you're gonna shoot him straight

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Speaker 1: on that. When you guys write that, though, is that

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Speaker 1: a conversation in the room too, Like, oh, is this

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Speaker 1: too personal of a song? And then is it a

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Speaker 1: conversation before you put on the record? Yeah. I mean,

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Speaker 1: to be honest with you, I don't think any of

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Speaker 1: us expected to be a single. It was one of

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Speaker 1: the last songs we wrote. We wrote at the farm.

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Speaker 1: His dad was there as me and Ashley and Rhett

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Speaker 1: and Thomas and we were in the little guest house

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Speaker 1: there and it he was going through a lot. I

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Speaker 1: mean literally, I think here was nerves that life was

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Speaker 1: about to get turned upside down. So um, it was

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Speaker 1: a little bit of unknown and I think we were

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Speaker 1: just sort of having fun and it was just a

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Speaker 1: we figured we already had the whole record written, you know,

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Speaker 1: take a stab at it. So it's such a smart

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Speaker 1: move if that play works too, put out something that

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Speaker 1: people would like to consume while they learned about you

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Speaker 1: at the same time, just for the Thomas brand. Because

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Speaker 1: and I learned this, I put out a book. I

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Speaker 1: think it was gonna read the thing, Honest to god,

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Speaker 1: I wrote a book. I thought that I was gonna

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Speaker 1: read this. It was best seller for four weeks, and

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Speaker 1: I didn't know what I was doing when I was,

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Speaker 1: but I learned, Wow, if I can make something good

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Speaker 1: that also people relate to and learn about me, it

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Speaker 1: helps my message. And so I think you guys capture

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Speaker 1: that with the song. Like I think the song is

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Speaker 1: really thank you and really cool for an artist to do,

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Speaker 1: to put like what if Luke puts out a song

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Speaker 1: goes like it's rosborn. I mean, it's just so it's

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Speaker 1: just a perfect thing for a brand where you're trying

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Speaker 1: to brand yourself right now because it's so hard to

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Speaker 1: be enough. We actually changed the lyric and the second verse, uh,

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Speaker 1: just to go to radio with just because he had

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Speaker 1: already had the other baby, so it was you know

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Speaker 1: what was the original verse? The original was um one

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Speaker 1: on the way, and now we've changed it to the

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Speaker 1: you know another sweet baby, James. How about this? Because

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Speaker 1: weeks from the record Unforgettable, So before the record came out,

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Speaker 1: Tom's Wreck came in the studio and he played like

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Speaker 1: five or six songs in a row from the record.

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Speaker 1: He came in the studio and he was playing this

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Speaker 1: and I said, Hey, is that really about Lauren. He's like, no,

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Speaker 1: it's not. And he doesn't say that a lot now

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Speaker 1: because he said it early. And I don't scream because

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Speaker 1: it care I like for people. But he's like, not really,

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Speaker 1: we just kind of wrote a song. What can you

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Speaker 1: add to that? What he told me? No, that's true.

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Speaker 1: This was a bus song. Um, unforgettable Marry Me kind

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Speaker 1: of happened in the same a week period on bus trips.

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Speaker 1: It's amazing that we had this amazing run. There's actually

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Speaker 1: a song called eight that was on a Target exclusive

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Speaker 1: that the number two. Yeah. Um, so we had this

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Speaker 1: amazing two week run, which, by the way, side note,

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Speaker 1: we most of Thomas's records come from bus trips. He

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Speaker 1: writes on the road more. It feels like that's like

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Speaker 1: his office. So he doesn't write as much in town

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Speaker 1: as he used to, just because when he's home he's

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Speaker 1: with family. But yeah, it's just kind of one of

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Speaker 1: those things. I think the mango Margharita thing came out

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Speaker 1: and it just sort of felt like a fun up

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Speaker 1: tempo because sometimes we struggle with up tempos and Thomas

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Speaker 1: brand when we're writing for him, because naturally he kind

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Speaker 1: of gets drawn to those singer songwriter ballads and um,

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Speaker 1: it just was sort of a high energy thing with

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Speaker 1: Ashley banging out on piano while we were on the bus.

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Speaker 1: We set up a little Protol's rigs like this like

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Speaker 1: you have here and basically capture it right there before

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Speaker 1: he goes to meet and greet, tell me about this

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Speaker 1: bus thing. So you go out Wednesday nights, meet at

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Speaker 1: the Kroger. That's where the bus right like the buses

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Speaker 1: parked in some big parking over Walmart, So you get it.

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Speaker 1: Does does he have a bus for just you guys?

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Speaker 1: A lot of times we'll get a rider bus. I

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Speaker 1: prefer it because then they can kind of have their

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Speaker 1: own space. A lot of times they've got tour managers

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Speaker 1: with them or whatever. So it's great when we've got

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Speaker 1: a rider bus out. Sometimes, like last weekend I was

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Speaker 1: with him, we were on his bus. So we'll meet

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Speaker 1: the buses park there or uber to the buses hop

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Speaker 1: on around Wednesday at midnight typically and wake up somewhere

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Speaker 1: Thursday morning. I'll set up the pro tools studio on

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Speaker 1: the table there right in the lounge and uh start

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Speaker 1: writing around ten thirty right till fourth thirty just and

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Speaker 1: then pack up, put it back in the suitcases. We

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Speaker 1: roll and do it the next morning, come back Sunday afternoons.

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Speaker 1: He'll go on stage after he rides, so you're right,

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Speaker 1: he'll pack up, he'll go do his thing is meet

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Speaker 1: and greet. Absolutely, he'll go on stage. Yep. That that grinders.

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Speaker 1: So like he'll come right off stage or he'll come

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Speaker 1: back from Meet and greet. Want to hear where the

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Speaker 1: mix is at or do a background vocal after the

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Speaker 1: you know, get right back into writing. So like we

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Speaker 1: finished four or five things last week and got vocals

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Speaker 1: on seven. I mean, one great thing. And one reason

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Speaker 1: like Ashley or myself love going out with him is

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Speaker 1: we know we're out there to work. I mean, we're

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Speaker 1: just out there to grind because we're all away from

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Speaker 1: our families. So it's not just a party. Go see

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Speaker 1: the show. I want to get some songs written, so

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Speaker 1: it's pretty efficient. Here's marry me this one. This is

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Speaker 1: a massive number one too. So the concept of this song,

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Speaker 1: it flips on you pretty quick because you're going, okay, well,

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Speaker 1: first you read the title in your guard a song

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Speaker 1: about getting married, please marry me. But then it turns

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Speaker 1: out wise not she's not marrying him because he's screwed up? Right?

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Speaker 1: Where where'd that concept come from? Basically it was the

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Speaker 1: opposite of what truly happened. He had broke up with

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Speaker 1: Lauren and actually went and said or they were friends

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Speaker 1: for a long time. I think it was a story,

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Speaker 1: and he actually went and said, look, I think you're

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Speaker 1: making a mistake. You know, you're dating this other guy.

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Speaker 1: So sort of was what would happened if I didn't

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Speaker 1: speak up and say something. I think the song works

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Speaker 1: so well because we had set up this brand of

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Speaker 1: I love my wife. He puts Lauren on the pedestal,

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Speaker 1: and in that marriage is part of his brand and

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Speaker 1: and his message and songs. So to have that twist

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Speaker 1: and a song coming from Thomas Rhett, I think was

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Speaker 1: even more effective than it would be, you know, coming

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Speaker 1: from another artist. And so I have a demo. Who's

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Speaker 1: singing on the demo? Here? Here is this you? Is

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Speaker 1: this life? She was too Shane. Oh yeah, so you

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Speaker 1: wrote this with Shane and Ashley and Thomas. So same

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Speaker 1: same setup, right in the middle of the bus playing keyboard.

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Speaker 1: Is that myke out in the country? Not too man?

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Speaker 1: So Thomas did. A lot of times he does. It

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Speaker 1: depends on where his voices. If he knows he's done

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Speaker 1: one and he's got to sing a show, his voice

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Speaker 1: is tired. Last year we wore his voice out a

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Speaker 1: couple of times to do a demn most so you

396
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Speaker 1: would be singing on the bus and he's gotta go singing.

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Speaker 1: He's like, you actually spoke up about this song too,

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Speaker 1: just because you're like, it was this one unforgettable. You're like, man,

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Speaker 1: I feel like that song it was just getting heard

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Speaker 1: by the time the charts for sure. Yeah. Yeah, That's

401
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Speaker 1: a big irritating thing to me as a consumer, because

402
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Speaker 1: I try to walk that fine line of being someone

403
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Speaker 1: that has millions of people listening to them and knowing

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Speaker 1: that I do have a bit of influence, but at

405
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Speaker 1: the same time, I want to still take in music

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Speaker 1: like my people do, and it's a really hard line

407
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Speaker 1: from in fine line for me to walk. But so

408
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Speaker 1: I try to watch these charts and go, this song

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Speaker 1: is just now starting to be a thing before the

410
00:19:37,119 --> 00:19:38,960
Speaker 1: record levels are moving off of it, because they shot

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Speaker 1: at number one so quickly, and so I think it

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Speaker 1: was a maybe even a three week number one, two

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Speaker 1: or three, whatever it was. I was like this he

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Speaker 1: has two or three more weeks in it, right, Like

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Speaker 1: if this were real life, this is a six or

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Speaker 1: seven week number one. But in the world, they're just

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Speaker 1: throwing songs up. You number want to jerk it down,

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Speaker 1: which long term hurts the artist because Okay, Blake has

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Speaker 1: thirty number one. Let's just Blake for an example. How

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Speaker 1: many of those thirty number ones are people really resonate with? Nine? Really? They?

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Speaker 1: I mean there are number two's from ten years ago

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Speaker 1: that are huge deals because this has only started happening

423
00:20:13,600 --> 00:20:16,879
Speaker 1: in the past eight to ten years, where they're shooting

424
00:20:16,920 --> 00:20:20,639
Speaker 1: these songs up. Great for trophies, you know, number one

425
00:20:20,640 --> 00:20:23,320
Speaker 1: trophies are fun. Everybody likes to get there, but really,

426
00:20:23,640 --> 00:20:25,960
Speaker 1: long term, not good for the big artists that have multiples,

427
00:20:26,160 --> 00:20:28,600
Speaker 1: and not good for the consumer because they're they're off

428
00:20:28,640 --> 00:20:31,520
Speaker 1: up again. Do you think it's unique? You come from

429
00:20:31,680 --> 00:20:34,680
Speaker 1: other formats as well, So is it unique in our format? Absolutely?

430
00:20:34,920 --> 00:20:39,600
Speaker 1: The speed, Absolutely the speed, because one, this is such

431
00:20:39,640 --> 00:20:43,560
Speaker 1: a superstar format. Once you've become a superstar, you're given

432
00:20:43,560 --> 00:20:47,320
Speaker 1: a pass. Your song doesn't have to research when everybody

433
00:20:47,359 --> 00:20:49,840
Speaker 1: else researches. You know, it's a long time on a song,

434
00:20:49,880 --> 00:20:53,639
Speaker 1: researching will radio play it. So if you're a superstar,

435
00:20:54,200 --> 00:20:55,879
Speaker 1: sometimes your song will be number one before it even

436
00:20:55,920 --> 00:20:59,560
Speaker 1: starts researching. I've seen songs from we'll call it the

437
00:20:59,560 --> 00:21:02,080
Speaker 1: A List. There's like that's top seven or eight artists,

438
00:21:02,119 --> 00:21:04,960
Speaker 1: which now tr is in at the time he wasn't.

439
00:21:05,280 --> 00:21:07,960
Speaker 1: This is three years ago. I've seen songs that would

440
00:21:07,960 --> 00:21:10,400
Speaker 1: fly at the chart, not registers, research, be number one

441
00:21:10,440 --> 00:21:12,480
Speaker 1: and then fall off the chart and then go, oh,

442
00:21:12,480 --> 00:21:15,040
Speaker 1: the research was terrible for it, where if it would

443
00:21:15,040 --> 00:21:18,320
Speaker 1: have really spent the time, but it would have not

444
00:21:18,359 --> 00:21:21,960
Speaker 1: been number one. That being said, it's not realistic for

445
00:21:21,960 --> 00:21:24,800
Speaker 1: anyone that's not a superstar. If you're a B level

446
00:21:24,920 --> 00:21:27,240
Speaker 1: act and he's a real positive, that's you know, that's

447
00:21:27,280 --> 00:21:29,119
Speaker 1: not the Entertainer of the Year category. But it's like,

448
00:21:29,200 --> 00:21:30,960
Speaker 1: let's go male or female vocal list of the year.

449
00:21:31,320 --> 00:21:34,040
Speaker 1: So let's say you're in that B category and you

450
00:21:34,119 --> 00:21:37,080
Speaker 1: have a song, so it'll take fifty weeks forty weeks

451
00:21:37,080 --> 00:21:40,360
Speaker 1: to be number one when it's a smash and it shouldn't.

452
00:21:40,720 --> 00:21:43,520
Speaker 1: It should have shot it faster than the superstar and pop.

453
00:21:43,720 --> 00:21:47,159
Speaker 1: It's all really, who's got the best song? Come in

454
00:21:48,080 --> 00:21:52,320
Speaker 1: six weeks number one, z marin nine weeks, number one,

455
00:21:52,359 --> 00:21:54,480
Speaker 1: and then it will stay there for four or five weeks.

456
00:21:54,480 --> 00:21:59,600
Speaker 1: It's really dictated on research plus streams, non playlisted streams.

457
00:21:59,600 --> 00:22:02,560
Speaker 1: By the way, playlists, you know, what's the big You

458
00:22:02,560 --> 00:22:04,000
Speaker 1: put a song on a play list, who knows how

459
00:22:04,000 --> 00:22:06,320
Speaker 1: that's going to count? So people don't look it's looked

460
00:22:06,359 --> 00:22:09,879
Speaker 1: at differently as well. But anyway, I mean the weird

461
00:22:09,920 --> 00:22:14,760
Speaker 1: thing here, not to get too inside, but no, the

462
00:22:15,119 --> 00:22:18,000
Speaker 1: remember first coming and seen behind the curtain of OZ

463
00:22:18,080 --> 00:22:21,120
Speaker 1: and going, oh, there's push weeks and they target meets

464
00:22:21,160 --> 00:22:24,040
Speaker 1: and they know these numbers and the syndications, spins and

465
00:22:24,040 --> 00:22:26,400
Speaker 1: all this stuff. It does kind of remove a little

466
00:22:26,400 --> 00:22:28,040
Speaker 1: bit of that mystery when you were a kid going

467
00:22:28,040 --> 00:22:30,880
Speaker 1: on the Billboard charts. And you know, obviously I make

468
00:22:30,920 --> 00:22:35,760
Speaker 1: a living off of airplay predominantly, especially these days, you know,

469
00:22:36,520 --> 00:22:39,880
Speaker 1: but it is wildest to see what goes into the

470
00:22:39,920 --> 00:22:43,119
Speaker 1: business of the charts, um compared to what you thought

471
00:22:43,119 --> 00:22:45,479
Speaker 1: it was before you peek behind the curtain. I mean,

472
00:22:45,480 --> 00:22:48,880
Speaker 1: I hosted Countingdown on thirty sessions so much and something

473
00:22:48,920 --> 00:22:51,240
Speaker 1: like that, and I know, you know, at this time,

474
00:22:51,280 --> 00:22:53,639
Speaker 1: I know what's coming because I see the formula of

475
00:22:53,680 --> 00:22:56,320
Speaker 1: record labels, I'm sure, But I listen to Casey gave

476
00:22:56,400 --> 00:22:58,000
Speaker 1: some as a kid or Rigds and go one of

477
00:22:58,080 --> 00:23:00,800
Speaker 1: what's number one? Is it really the thing? And now

478
00:23:00,880 --> 00:23:02,800
Speaker 1: it's just like, well was number two last week, that's

479
00:23:02,800 --> 00:23:06,040
Speaker 1: probably gonna be number one this week. So there are

480
00:23:06,080 --> 00:23:08,760
Speaker 1: those heartbreaking moments where you like Devin, you know, I

481
00:23:08,800 --> 00:23:11,639
Speaker 1: was like that Devin Dawson. He missed it by one spin,

482
00:23:11,920 --> 00:23:13,600
Speaker 1: not even a full spin in a major market. I

483
00:23:13,640 --> 00:23:17,399
Speaker 1: think it was six points, which you get the an

484
00:23:17,400 --> 00:23:20,600
Speaker 1: amount of points if you're listening to this, it's so inside.

485
00:23:20,600 --> 00:23:25,000
Speaker 1: But the bigger the market you are, the more valuable

486
00:23:25,080 --> 00:23:28,320
Speaker 1: your spin is worth. So for example, let's say you

487
00:23:28,359 --> 00:23:30,520
Speaker 1: spent a song in Houston, it could be worth ten points.

488
00:23:30,560 --> 00:23:33,960
Speaker 1: A spin one play in Houston's worth ten points. Devin

489
00:23:34,040 --> 00:23:36,960
Speaker 1: Dawson was at number two, he lost by six points

490
00:23:37,720 --> 00:23:42,119
Speaker 1: less then a spin in a big city, one spin,

491
00:23:42,480 --> 00:23:44,600
Speaker 1: he finished number two. I've never seen anything like that before.

492
00:23:44,640 --> 00:23:46,960
Speaker 1: By the way, that's an outlier. That's gonna be pretty unique.

493
00:23:47,720 --> 00:23:51,480
Speaker 1: In my five plus years, I've never seen anything like that.

494
00:23:51,560 --> 00:23:54,680
Speaker 1: Song got so close before I got here, Glory on

495
00:23:54,800 --> 00:23:57,959
Speaker 1: a Lost to um Love and theft like in that

496
00:23:58,040 --> 00:23:59,760
Speaker 1: year or so far, I got here and it was

497
00:23:59,840 --> 00:24:02,240
Speaker 1: very close, but I have never that Devin taught that

498
00:24:02,320 --> 00:24:04,480
Speaker 1: was crazy to me. So it's a spin. It's that

499
00:24:04,520 --> 00:24:06,800
Speaker 1: was one. It was less than one spin. If I

500
00:24:06,840 --> 00:24:09,440
Speaker 1: spent a song on my show, it's worth sixty or

501
00:24:09,480 --> 00:24:13,280
Speaker 1: seventy points once spen. So it's a significant and I

502
00:24:13,280 --> 00:24:15,280
Speaker 1: don't screw with that if it's close, because I'm standing

503
00:24:15,280 --> 00:24:18,320
Speaker 1: out of any battles just because I'm not having a

504
00:24:18,440 --> 00:24:21,000
Speaker 1: label or a management team or an artist upset with me.

505
00:24:21,720 --> 00:24:23,919
Speaker 1: And what if if you you know how you do

506
00:24:23,920 --> 00:24:26,280
Speaker 1: snippet sometimes in the morning when you're like going through us,

507
00:24:26,320 --> 00:24:29,199
Speaker 1: you're talking about something. How much of a song before

508
00:24:29,240 --> 00:24:31,639
Speaker 1: it counts as a spin? So that's the that's a

509
00:24:31,640 --> 00:24:33,879
Speaker 1: great question because what happens is you don't really know

510
00:24:33,880 --> 00:24:37,040
Speaker 1: where the tone is in a song, so I have

511
00:24:37,080 --> 00:24:39,280
Speaker 1: no idea. So it it'll have to hit a certain

512
00:24:39,320 --> 00:24:41,800
Speaker 1: amount of time, and the tone has to play. Usually

513
00:24:41,840 --> 00:24:44,080
Speaker 1: it's in the first half of the song. But a

514
00:24:44,200 --> 00:24:47,600
Speaker 1: tone hits since is it says, oh, this is counted

515
00:24:47,600 --> 00:24:50,959
Speaker 1: as a spin. And sometimes I've spun songs without meaning

516
00:24:51,000 --> 00:24:53,960
Speaker 1: to and given a song away more value but the

517
00:24:53,960 --> 00:24:57,040
Speaker 1: problem is the next week they have to go above

518
00:24:57,080 --> 00:24:59,560
Speaker 1: what they did the week before the song dies, and

519
00:24:59,600 --> 00:25:01,119
Speaker 1: I have to put them in a bad spot. So

520
00:25:01,160 --> 00:25:02,920
Speaker 1: I really try to watch that now. But that's a

521
00:25:02,920 --> 00:25:05,119
Speaker 1: really good question. There's a hidden tone and songs. Did

522
00:25:05,160 --> 00:25:10,480
Speaker 1: you know that? And so what happened was Here's the

523
00:25:10,520 --> 00:25:12,560
Speaker 1: reason it's hidden is because back when I was no

524
00:25:12,680 --> 00:25:16,080
Speaker 1: pop radio, what would happen is record labels would buy

525
00:25:16,680 --> 00:25:19,359
Speaker 1: spots and they would go, Okay, I'll buy a sixty

526
00:25:19,400 --> 00:25:20,959
Speaker 1: second spot, and they would take the part where they

527
00:25:21,000 --> 00:25:23,359
Speaker 1: knew the tone was and put it seven times in

528
00:25:23,359 --> 00:25:25,600
Speaker 1: the middle of a commercial, so it counted as seven

529
00:25:25,680 --> 00:25:29,879
Speaker 1: spins in the market, and so they had to eliminate that,

530
00:25:30,359 --> 00:25:33,760
Speaker 1: so you couldn't buy spins? Is what happened? Aren't the crazy?

531
00:25:34,560 --> 00:25:36,920
Speaker 1: Oh yeah, it's so nutty, so nutty that I'm I'm

532
00:25:36,960 --> 00:25:38,960
Speaker 1: out of that when it's if it's a close battle,

533
00:25:39,200 --> 00:25:40,960
Speaker 1: I'm checking out. Like I like the kind of music

534
00:25:41,000 --> 00:25:43,560
Speaker 1: I like, I like to push across, but if it's close,

535
00:25:44,400 --> 00:25:47,480
Speaker 1: I'm out. So let me do a commercial over. By

536
00:25:47,480 --> 00:25:49,280
Speaker 1: the way, let me say this, you're probably talking about

537
00:25:49,280 --> 00:25:51,239
Speaker 1: my sleeping number bed and how great I sleep, my

538
00:25:51,320 --> 00:25:54,120
Speaker 1: sleep number setting is thirty. Maybe you've considered a Sleep

539
00:25:54,200 --> 00:25:55,919
Speaker 1: Number bed but you thought you couldn't afford one. Well,

540
00:25:56,000 --> 00:25:57,320
Speaker 1: let me tell you this before you do anything. Go

541
00:25:57,359 --> 00:26:00,399
Speaker 1: to a sleep number store and experience the a ustible

542
00:26:00,440 --> 00:26:02,840
Speaker 1: comfort of a sleep number bed. And I really, honestly

543
00:26:02,920 --> 00:26:05,240
Speaker 1: legitimate do have a sleep numb bread. The Sleep Number

544
00:26:05,240 --> 00:26:07,040
Speaker 1: bed lets you choose the comfort and the support that's

545
00:26:07,119 --> 00:26:09,159
Speaker 1: right for you. At adjusts on each side, so the

546
00:26:09,200 --> 00:26:11,200
Speaker 1: bed is perfect for couples and you can feel hot

547
00:26:11,240 --> 00:26:14,239
Speaker 1: contrast to your neck, your shoulders, your back, your hips, right,

548
00:26:14,320 --> 00:26:20,680
Speaker 1: Mike D Yeah, number to get you want to hook

549
00:26:20,720 --> 00:26:23,480
Speaker 1: me up? You were laid in my bed? Okay, you

550
00:26:23,640 --> 00:26:26,600
Speaker 1: know you know. I don't want to say anything. Wait

551
00:26:26,880 --> 00:26:28,400
Speaker 1: you didn't. I didn't know you let in my bed.

552
00:26:29,040 --> 00:26:31,800
Speaker 1: When did you get on my bed? Stayed like over

553
00:26:31,840 --> 00:26:33,400
Speaker 1: your house one time when you were out of town

554
00:26:33,880 --> 00:26:36,119
Speaker 1: and you stuff on my bed? Yeah, you got to

555
00:26:36,160 --> 00:26:39,119
Speaker 1: use the shot I know, right? My sleep never setting

556
00:26:39,119 --> 00:26:42,520
Speaker 1: his thirty. Uh, Mike, that's weird my sleep I Q

557
00:26:42,600 --> 00:26:44,240
Speaker 1: score last night. I don't even know what it was,

558
00:26:44,240 --> 00:26:46,800
Speaker 1: but usually it's in the nineties. There's a semi annuals sell.

559
00:26:46,880 --> 00:26:49,879
Speaker 1: You will find clearance savings of five bucks on the pressure.

560
00:26:49,880 --> 00:26:53,280
Speaker 1: We're leaving Sleep Number Queen C four mattress for only

561
00:26:55,000 --> 00:26:57,400
Speaker 1: there are more than five fifty Sleep Number stores. Visit

562
00:26:57,480 --> 00:27:00,440
Speaker 1: sleep number dot com slash bones to find a store

563
00:27:00,520 --> 00:27:02,880
Speaker 1: near you. Thank you very much, and learned something about

564
00:27:02,920 --> 00:27:07,399
Speaker 1: Mike there too. So, UM, you know the variety of

565
00:27:07,440 --> 00:27:09,520
Speaker 1: article that you haven't read yet that that I read

566
00:27:09,560 --> 00:27:12,560
Speaker 1: was talking about so you and I could get this wrong.

567
00:27:13,240 --> 00:27:18,960
Speaker 1: You run the Nashville based publishing a Rock Nation. In

568
00:27:19,000 --> 00:27:22,280
Speaker 1: two thousand and sixteen, I left a small publishing company

569
00:27:22,320 --> 00:27:25,480
Speaker 1: called Major Bob Music and UM started a joint venture

570
00:27:25,520 --> 00:27:28,240
Speaker 1: with a rock Nation called Rhythm House. So so it's

571
00:27:28,280 --> 00:27:31,400
Speaker 1: part of yours? Yeah, Um, I signed with rock Nation

572
00:27:31,440 --> 00:27:34,640
Speaker 1: and Chapel myself and then Rhythm Houses is our little

573
00:27:34,800 --> 00:27:38,080
Speaker 1: j V with them. But yeah, it was UM. Thomas

574
00:27:38,119 --> 00:27:41,280
Speaker 1: Retz got a UM j V with Rock Nation him

575
00:27:41,280 --> 00:27:44,760
Speaker 1: in Virginia and then we're the other company in town.

576
00:27:45,280 --> 00:27:48,760
Speaker 1: That's UM. We got four writers including myself. Now my

577
00:27:48,760 --> 00:27:52,080
Speaker 1: wife's works there in the creative team currently, j Hill

578
00:27:52,160 --> 00:27:55,440
Speaker 1: and my wife's been in business around sixteen seventeen years.

579
00:27:56,080 --> 00:27:58,479
Speaker 1: What do you mean she was at Warner Brothers at

580
00:27:58,480 --> 00:28:03,119
Speaker 1: the time. She was interning, and um I was an intern.

581
00:28:03,200 --> 00:28:04,840
Speaker 1: A lot of us kind of all came up to

582
00:28:04,840 --> 00:28:08,840
Speaker 1: get it here in town. Yeah. Man, Yeah, and if

583
00:28:08,880 --> 00:28:12,320
Speaker 1: I'm an intern, right, Mike bol you grew up in

584
00:28:12,320 --> 00:28:15,240
Speaker 1: a Troy. You mentioned that earlier. So I was reading

585
00:28:15,640 --> 00:28:17,480
Speaker 1: because I didn't know this, and I like to do

586
00:28:17,520 --> 00:28:21,920
Speaker 1: my research. So you will DJ celebrity parties. Yeah, I mean,

587
00:28:22,800 --> 00:28:25,760
Speaker 1: oddly enough, even though I was sort of a country

588
00:28:25,840 --> 00:28:28,560
Speaker 1: music publisher when I first moved to town that this

589
00:28:28,640 --> 00:28:31,919
Speaker 1: was a very different town. I came to be a songwriter,

590
00:28:32,600 --> 00:28:34,719
Speaker 1: took some classes at Belmont, I was fishing. I went

591
00:28:34,720 --> 00:28:37,320
Speaker 1: to Michigan State and then transferred down here, and I

592
00:28:37,359 --> 00:28:41,760
Speaker 1: just was sort of intimidated by country music songwriting. Um so,

593
00:28:41,880 --> 00:28:43,920
Speaker 1: and I learned about music publishing and kind of fell

594
00:28:43,960 --> 00:28:45,600
Speaker 1: in love with the business side. I thought, you know what,

595
00:28:45,680 --> 00:28:48,640
Speaker 1: I'm just gonna be a businessman and I'll just keep

596
00:28:48,680 --> 00:28:51,880
Speaker 1: DJ in for my kind of creative kicks. So I

597
00:28:52,080 --> 00:28:55,720
Speaker 1: started getting kind of hooked up with weird private parties.

598
00:28:55,760 --> 00:28:58,200
Speaker 1: And uh, there was an event planner by the name

599
00:28:58,200 --> 00:29:00,760
Speaker 1: of Colin Cowie, and he was like this crazy party

600
00:29:00,760 --> 00:29:03,640
Speaker 1: thrower and ended up kind of flying around the world

601
00:29:03,720 --> 00:29:07,040
Speaker 1: doing fifty year old birthday parties in Barbados or really

602
00:29:07,160 --> 00:29:11,440
Speaker 1: New Year's even Atlantis, and and he kind of hooked

603
00:29:11,480 --> 00:29:14,240
Speaker 1: us up with some cash Money records gigs, so I did,

604
00:29:14,360 --> 00:29:17,280
Speaker 1: like they're Grammy parties three years in a row like this,

605
00:29:17,480 --> 00:29:19,880
Speaker 1: like cash money, like New Orleans cash. Yeah, so weird,

606
00:29:19,920 --> 00:29:22,120
Speaker 1: like flying a white kid from I was in Nashville,

607
00:29:22,360 --> 00:29:24,760
Speaker 1: So flying a white kid from Nashville to do cash

608
00:29:24,800 --> 00:29:27,440
Speaker 1: money Grammy parties. But it was like the section of

609
00:29:27,480 --> 00:29:30,960
Speaker 1: the party where before, like Birdman would show up with

610
00:29:31,000 --> 00:29:34,680
Speaker 1: the entourage. It's like the controlled portion of the night.

611
00:29:35,280 --> 00:29:40,360
Speaker 1: But do you ever meet Loan? Yeah? Yeah, actually on stage,

612
00:29:41,040 --> 00:29:44,280
Speaker 1: you know, with him smoking cigars and and drinking and

613
00:29:44,400 --> 00:29:47,480
Speaker 1: party and so that's kind of that led me to

614
00:29:47,520 --> 00:29:49,760
Speaker 1: going on the road with Lord Georgia Line and dj

615
00:29:49,920 --> 00:29:52,600
Speaker 1: and when they did that Nelly Tour Baseball Stadium Tour

616
00:29:52,880 --> 00:29:55,800
Speaker 1: where we wrote Sundays. So in a lot of ways,

617
00:29:55,920 --> 00:30:00,480
Speaker 1: me djaying helped my songwriting career. The towns Ange too,

618
00:30:00,720 --> 00:30:04,560
Speaker 1: you know, Megan Trainer moved here, uh and Shaye was

619
00:30:04,560 --> 00:30:06,680
Speaker 1: signed to te Pain at the time. So me and

620
00:30:06,720 --> 00:30:09,280
Speaker 1: Megan and Shay would write and then I mean Stable

621
00:30:09,280 --> 00:30:12,120
Speaker 1: Tune would write but we were all doing just kind

622
00:30:12,160 --> 00:30:14,719
Speaker 1: of pop music and fooling around. And so as this

623
00:30:14,800 --> 00:30:17,920
Speaker 1: new creative crew was moving to town, and as artists

624
00:30:17,920 --> 00:30:20,360
Speaker 1: like Thomas Rhett were coming up and influenced by all

625
00:30:20,360 --> 00:30:24,160
Speaker 1: different music, I was deejaying and doing these gigs with

626
00:30:24,200 --> 00:30:27,040
Speaker 1: country artists and it all sort of next thing, you know,

627
00:30:27,120 --> 00:30:31,160
Speaker 1: I'm writing country music like I actually came to do man.

628
00:30:31,240 --> 00:30:33,720
Speaker 1: Good for you. Hey, we turned the air down. I'm

629
00:30:33,920 --> 00:30:38,479
Speaker 1: sweating my balls off. Holy cow, we're still learning how

630
00:30:38,480 --> 00:30:39,920
Speaker 1: to do this house. I don't know. You know what's

631
00:30:39,920 --> 00:30:42,840
Speaker 1: going on here? Where are you from? Arkansas? And then

632
00:30:42,880 --> 00:30:45,120
Speaker 1: I lived in Uh do you know any about Arkansas?

633
00:30:45,560 --> 00:30:49,480
Speaker 1: I mean, yeah, I'm from Mountain Pine, which is close

634
00:30:49,480 --> 00:30:52,600
Speaker 1: to Hot Springs, which is close to Little Rock, so

635
00:30:52,680 --> 00:30:55,560
Speaker 1: central Arkansas. But then I lived in Austin for th four.

636
00:30:55,880 --> 00:30:58,160
Speaker 1: It's all was born in Arkansas. That's my home, But

637
00:30:58,280 --> 00:31:02,320
Speaker 1: Austin's like home. If I go to chill out and

638
00:31:02,440 --> 00:31:04,239
Speaker 1: it's like, hey, go back, I go to Austin, right

639
00:31:04,320 --> 00:31:07,920
Speaker 1: because that's my favorite city in America because it's they've

640
00:31:07,960 --> 00:31:10,600
Speaker 1: been Austin. I still have a house there. I love it.

641
00:31:10,760 --> 00:31:13,640
Speaker 1: You still have aust It's the best and when you

642
00:31:13,760 --> 00:31:15,840
Speaker 1: what year did you do switch? Because you were in pop.

643
00:31:16,480 --> 00:31:19,920
Speaker 1: So I started My whole story is I go when

644
00:31:19,920 --> 00:31:21,840
Speaker 1: I'm seventeen and begged for a job at the country

645
00:31:21,920 --> 00:31:24,520
Speaker 1: radio station and they say no. But then I learned

646
00:31:24,520 --> 00:31:26,600
Speaker 1: from that experience that I can't go I was seventeen,

647
00:31:26,600 --> 00:31:28,640
Speaker 1: I can't go ask for a job being on the radio.

648
00:31:29,240 --> 00:31:31,200
Speaker 1: So then I went to the pop station across the street.

649
00:31:31,240 --> 00:31:33,280
Speaker 1: They hadn't turned me down yet, and I said, Hey,

650
00:31:33,280 --> 00:31:35,720
Speaker 1: can I clean the studio and clean the lobby? And

651
00:31:35,760 --> 00:31:38,640
Speaker 1: they said absolutely, And I said, okay, let'son learn from

652
00:31:38,640 --> 00:31:42,040
Speaker 1: that first note. And so before you know, a week passed,

653
00:31:42,120 --> 00:31:44,600
Speaker 1: they fired some dudes for stealing and they threw me

654
00:31:44,640 --> 00:31:47,040
Speaker 1: on the air, which was the plan anyway. And so

655
00:31:47,560 --> 00:31:50,080
Speaker 1: I worked in Hot Springs at a pop station, but

656
00:31:50,160 --> 00:31:53,000
Speaker 1: I did a national alternative show, did a national sports

657
00:31:53,000 --> 00:31:55,600
Speaker 1: talk show on Fox Sports for fun stations. Yeah, so

658
00:31:55,640 --> 00:31:57,680
Speaker 1: I've kind of you when you tell your story, I'm

659
00:31:57,680 --> 00:32:01,320
Speaker 1: just like, oh, this is the consumer like all things,

660
00:32:01,520 --> 00:32:03,880
Speaker 1: because like no things but all things at the same time,

661
00:32:04,440 --> 00:32:06,160
Speaker 1: like they like a little bit of everything. They're not

662
00:32:06,160 --> 00:32:10,200
Speaker 1: really gonna identify super with anything, like I'm all anything,

663
00:32:10,760 --> 00:32:13,920
Speaker 1: but there are a lot of everything. And so that's

664
00:32:13,920 --> 00:32:16,160
Speaker 1: even how my career has been. Like I'm from Arkansas,

665
00:32:16,160 --> 00:32:17,800
Speaker 1: where it was hardcore country, but I grew up in

666
00:32:17,840 --> 00:32:21,560
Speaker 1: the nineties when I was an alternative kid, complete hip hop, nerd,

667
00:32:22,440 --> 00:32:25,240
Speaker 1: and then it was how do I I'm not really

668
00:32:25,240 --> 00:32:27,280
Speaker 1: good at anything, so let me do every a little

669
00:32:27,280 --> 00:32:29,920
Speaker 1: bit of everything. And then that's kind of where I

670
00:32:30,000 --> 00:32:31,640
Speaker 1: ended up now because they finally said, what do you

671
00:32:31,680 --> 00:32:34,400
Speaker 1: want to do? I built my own, you know, syndication company.

672
00:32:34,400 --> 00:32:36,719
Speaker 1: I was like, I want to go to Nashville if

673
00:32:36,720 --> 00:32:39,080
Speaker 1: you're offering it. So that's why I moved here. But dude,

674
00:32:39,080 --> 00:32:41,560
Speaker 1: I got the same. It is miserable for me for

675
00:32:41,560 --> 00:32:44,960
Speaker 1: a while because they're like, oh, you're not country, Well

676
00:32:45,080 --> 00:32:48,960
Speaker 1: yeah I am, but you don't understand what country means anymore.

677
00:32:49,720 --> 00:32:51,520
Speaker 1: That's always my thing, like, well, what do you think

678
00:32:51,520 --> 00:32:54,400
Speaker 1: country means? It doesn't mean cowboy hats to some people,

679
00:32:55,000 --> 00:32:57,640
Speaker 1: but go look at a Thomas Red concert. Don really

680
00:32:57,680 --> 00:33:00,000
Speaker 1: look at the people at a Thomas Red or Floor

681
00:33:00,000 --> 00:33:03,840
Speaker 1: George Line concert. It's just people, right, absolutely, there's not

682
00:33:04,000 --> 00:33:07,800
Speaker 1: no cowboy hats, but it's not all cowboy hats, and

683
00:33:07,920 --> 00:33:11,280
Speaker 1: so you know your background. I mean you're far more talented,

684
00:33:11,760 --> 00:33:15,040
Speaker 1: but you have uh you know it. The mean, it's

685
00:33:15,080 --> 00:33:18,000
Speaker 1: refreshing to talk to you. I've always felt like, you know,

686
00:33:18,320 --> 00:33:21,920
Speaker 1: I never I don't. I don't consider myself a prolific writer.

687
00:33:22,080 --> 00:33:24,680
Speaker 1: I just I'm a music fan and I always feel

688
00:33:24,680 --> 00:33:26,080
Speaker 1: like if we like it in the room, maybe someone

689
00:33:26,080 --> 00:33:29,120
Speaker 1: else will, because I to this day love listening and

690
00:33:29,160 --> 00:33:34,040
Speaker 1: consuming music, you know. Um. So it's it's been really

691
00:33:34,080 --> 00:33:36,320
Speaker 1: fun for me to watch this town change. I mean,

692
00:33:36,360 --> 00:33:39,120
Speaker 1: aside from maybe a little bit of extra traffic, um,

693
00:33:39,200 --> 00:33:41,480
Speaker 1: but I remember being here when there wasn't a ton

694
00:33:41,520 --> 00:33:44,280
Speaker 1: of restaurants and days in was still on West End

695
00:33:44,360 --> 00:33:47,240
Speaker 1: and not the Hutton or whatever. So it's been fun

696
00:33:47,240 --> 00:33:49,440
Speaker 1: to watch the town grow, but more specifically, watch the

697
00:33:49,440 --> 00:33:51,960
Speaker 1: creative community grow and watch these people come through town

698
00:33:52,040 --> 00:33:56,600
Speaker 1: that are collaborating. And you know the fact that we

699
00:33:56,680 --> 00:34:01,280
Speaker 1: just saw an MHL single with a aren't pop artist

700
00:34:01,680 --> 00:34:04,120
Speaker 1: not because we used to like borrow from like some

701
00:34:04,160 --> 00:34:07,760
Speaker 1: of the retired community or whatever, you know. So it's

702
00:34:07,840 --> 00:34:11,239
Speaker 1: nice to see. I think the relevance of Nashville being

703
00:34:11,680 --> 00:34:14,279
Speaker 1: you know, respected more than ever maybe back in the

704
00:34:14,360 --> 00:34:17,799
Speaker 1: Zomba days or or some of the nineties aspects. There

705
00:34:17,840 --> 00:34:20,239
Speaker 1: was a song community that was respected and pop. But

706
00:34:20,600 --> 00:34:23,080
Speaker 1: I do think that this community really has gained a

707
00:34:23,080 --> 00:34:26,600
Speaker 1: lot of traction and in recent years, and people love

708
00:34:26,719 --> 00:34:29,520
Speaker 1: to come here and create. There's an amazing efficiency and

709
00:34:29,800 --> 00:34:33,840
Speaker 1: creative climate. You know, you mentioned Stapleton earlier. You and

710
00:34:33,920 --> 00:34:38,959
Speaker 1: Chris wrote Crash and Burn right, and through writing this song,

711
00:34:39,160 --> 00:34:41,799
Speaker 1: that's how you met Tomas Rtte. Is that accurate? Yeah,

712
00:34:42,000 --> 00:34:44,719
Speaker 1: me and Tom and my wife actually induced. She was

713
00:34:44,760 --> 00:34:48,719
Speaker 1: really close with Morgan his wife, and um she was

714
00:34:48,760 --> 00:34:50,759
Speaker 1: in the EMI publishing system at the time and he

715
00:34:50,800 --> 00:34:54,359
Speaker 1: was a writer there. And you know, I think we

716
00:34:54,360 --> 00:34:57,920
Speaker 1: were just Adell's record had came out. I think it

717
00:34:57,960 --> 00:35:02,040
Speaker 1: was the twenty one record and I always loved Chris's

718
00:35:02,120 --> 00:35:05,719
Speaker 1: voice on kind of diverse, different soundy music. So we

719
00:35:05,760 --> 00:35:09,880
Speaker 1: would just write pop sounding music and soul music and

720
00:35:09,920 --> 00:35:13,360
Speaker 1: stuff like that in the evenings. And a couple of

721
00:35:13,440 --> 00:35:15,279
Speaker 1: years later, actually it was like a year and a

722
00:35:15,320 --> 00:35:18,600
Speaker 1: half later, some of those demos that we did we're

723
00:35:18,600 --> 00:35:23,000
Speaker 1: circulating around and I think Thomas Read's uh business manager

724
00:35:23,160 --> 00:35:26,120
Speaker 1: at the time, gave it to Thomas and he was

725
00:35:26,160 --> 00:35:28,720
Speaker 1: just jamming on the bus and called me up and

726
00:35:28,719 --> 00:35:30,719
Speaker 1: I said, man, I'd like this, you know, can we

727
00:35:30,760 --> 00:35:33,440
Speaker 1: write a little bit? And that led to me, you know,

728
00:35:33,520 --> 00:35:36,640
Speaker 1: having the production relationship with him as well. So that

729
00:35:36,719 --> 00:35:39,080
Speaker 1: song was a kind of a bridge into a lot

730
00:35:39,080 --> 00:35:41,840
Speaker 1: of worlds. What artists gave you the first thing you

731
00:35:41,840 --> 00:35:44,640
Speaker 1: should produce this record like the first artist of substance

732
00:35:44,640 --> 00:35:45,920
Speaker 1: to other people looked at and go oh, if he's

733
00:35:45,920 --> 00:35:49,239
Speaker 1: producing him, then he's probably pretty good, probably Thomas. I mean,

734
00:35:49,280 --> 00:35:51,920
Speaker 1: as far as production, Jim Katino at Sony gave me

735
00:35:51,960 --> 00:35:55,040
Speaker 1: my first like production shot with an artist named Leah

736
00:35:55,080 --> 00:35:58,480
Speaker 1: Turner at the time. Um, but as far as like

737
00:35:58,760 --> 00:36:02,080
Speaker 1: people going, that's song and some of the things that came.

738
00:36:02,120 --> 00:36:04,000
Speaker 1: There was another song called Lonely Girl that me and

739
00:36:04,080 --> 00:36:06,360
Speaker 1: Chris did that Charles Kelly put on his solo record.

740
00:36:06,800 --> 00:36:09,239
Speaker 1: Those kind of songs circulating town. I think kind of

741
00:36:09,360 --> 00:36:12,160
Speaker 1: put a brand on some production stuff for me and

742
00:36:12,200 --> 00:36:14,440
Speaker 1: guys like Dan. We're you know, gracious enough to go,

743
00:36:14,840 --> 00:36:17,680
Speaker 1: you know, co produce this with you and Dan Hu

744
00:36:17,840 --> 00:36:21,279
Speaker 1: a legend and an amazing person. I don't know, if

745
00:36:21,280 --> 00:36:23,200
Speaker 1: you you spend the little time with him, he will

746
00:36:23,239 --> 00:36:26,600
Speaker 1: call and leave me the nicest voicemails. He won't send

747
00:36:26,640 --> 00:36:30,080
Speaker 1: a long text and send his voice text. I always

748
00:36:30,120 --> 00:36:32,279
Speaker 1: tease him about that, and he goes, hey, Bobby's Dan.

749
00:36:32,800 --> 00:36:35,239
Speaker 1: We listen to show this morning. I just want to say, uh,

750
00:36:35,400 --> 00:36:37,080
Speaker 1: in a segment you did, I was moved by it.

751
00:36:37,280 --> 00:36:39,000
Speaker 1: It just really it's just the fan. And he leaves

752
00:36:39,040 --> 00:36:41,359
Speaker 1: the kindest voice text, and then I'd like to save

753
00:36:41,560 --> 00:36:43,560
Speaker 1: for posterity, but it goes it's disappearing in two minutes.

754
00:36:43,719 --> 00:36:46,319
Speaker 1: But I can't say, but my dad text are gone.

755
00:36:46,360 --> 00:36:48,680
Speaker 1: I've said the exact thing to my wife and like, man,

756
00:36:48,719 --> 00:36:50,640
Speaker 1: I wish I can't remember. We were leaving the Number

757
00:36:50,680 --> 00:36:52,480
Speaker 1: one party or an award show or something, and he

758
00:36:52,520 --> 00:36:55,200
Speaker 1: sent me this one and like about made you cry,

759
00:36:55,280 --> 00:36:57,640
Speaker 1: and like I need to record this because I'd never

760
00:36:57,640 --> 00:37:00,480
Speaker 1: figured out how to keep it or whatever. He's smart.

761
00:37:00,560 --> 00:37:04,160
Speaker 1: Like that was just sweet. Kind messages vanished into the ether.

762
00:37:04,360 --> 00:37:06,480
Speaker 1: Do you ever get to ask him, because it's hard

763
00:37:06,520 --> 00:37:10,399
Speaker 1: when you're working with someone and there's this respect of okay,

764
00:37:10,400 --> 00:37:12,960
Speaker 1: we're working together. You don't want to nerd out. But

765
00:37:13,000 --> 00:37:14,520
Speaker 1: I got the nerd out on him and do one

766
00:37:14,520 --> 00:37:16,960
Speaker 1: of these and he talking about Michael Jackson. Do you

767
00:37:16,960 --> 00:37:18,239
Speaker 1: ever ask him any of that step or do you

768
00:37:18,280 --> 00:37:20,439
Speaker 1: just try to keep it cool. Oh definitely. I mean

769
00:37:21,000 --> 00:37:23,360
Speaker 1: I'll go over this house and have coffee before we

770
00:37:23,400 --> 00:37:25,759
Speaker 1: get started and just vent to him. I mean he's

771
00:37:25,840 --> 00:37:28,920
Speaker 1: kind of turned into like a mentor second father figure

772
00:37:28,960 --> 00:37:33,520
Speaker 1: for me. You know, he's like the Jedi of like calm,

773
00:37:33,560 --> 00:37:38,200
Speaker 1: because this business is really intriguing. It's it's a lot

774
00:37:38,239 --> 00:37:41,759
Speaker 1: of ups and downs, and it can be um. You

775
00:37:41,760 --> 00:37:43,920
Speaker 1: can go from telling you know, if I told you

776
00:37:44,040 --> 00:37:46,080
Speaker 1: my seventeen year old self what I've been able to

777
00:37:46,120 --> 00:37:49,840
Speaker 1: accomplish the last few years, I think it's crazy. But

778
00:37:49,920 --> 00:37:52,000
Speaker 1: yet when you're in the moment, you're always thinking about

779
00:37:52,040 --> 00:37:54,439
Speaker 1: what's next, what do I gotta do? But he's got

780
00:37:54,480 --> 00:37:58,200
Speaker 1: this kind of even killed you know, coolness about him

781
00:37:58,239 --> 00:38:00,359
Speaker 1: at all times. That and he's been through a lot.

782
00:38:00,560 --> 00:38:03,719
Speaker 1: You know, he's been through you know, loyalty changes or

783
00:38:03,800 --> 00:38:06,680
Speaker 1: you know where an artist was working with him many

784
00:38:06,760 --> 00:38:10,279
Speaker 1: years and and changes things or they go through you know,

785
00:38:10,360 --> 00:38:14,759
Speaker 1: song dramas or label frustrations or whatever it is. And

786
00:38:15,000 --> 00:38:17,000
Speaker 1: the what you know, what he can pass on to

787
00:38:17,080 --> 00:38:20,040
Speaker 1: guys like me that are still I feel new to

788
00:38:20,120 --> 00:38:23,840
Speaker 1: a lot of aspects of this business. You know, I

789
00:38:23,880 --> 00:38:27,560
Speaker 1: can't say enough about his calmness. You know, talking through

790
00:38:27,600 --> 00:38:30,359
Speaker 1: some of these processes with him has been amazing. Him

791
00:38:30,360 --> 00:38:32,800
Speaker 1: and I were talking about him listening to the radio

792
00:38:33,120 --> 00:38:35,000
Speaker 1: and he was listening to I think it was a

793
00:38:35,000 --> 00:38:37,279
Speaker 1: Paul Abduld track and he's talking to his brother and

794
00:38:37,280 --> 00:38:38,640
Speaker 1: he goes, man, who ever played this? I love it?

795
00:38:38,640 --> 00:38:42,480
Speaker 1: And and it brotherly goes, dude, that's you. He goes, oh,

796
00:38:42,600 --> 00:38:43,960
Speaker 1: he didn't even know he played. I think it was

797
00:38:43,960 --> 00:38:46,319
Speaker 1: one of it was like Opposite attract Or, one of

798
00:38:46,320 --> 00:38:47,800
Speaker 1: the big Paul built singles. And he's like, man, this

799
00:38:47,840 --> 00:38:50,520
Speaker 1: guitar sounds great on this. His brother said, you played that,

800
00:38:50,560 --> 00:38:52,640
Speaker 1: but he didn't never hear the vocals. He just wanted

801
00:38:52,640 --> 00:38:54,279
Speaker 1: to play the guitar part. And now that I feel

802
00:38:54,280 --> 00:38:56,640
Speaker 1: like there's almost like urban legends about like does he

803
00:38:56,680 --> 00:38:59,680
Speaker 1: play on danger Zone or is that part of the Dan?

804
00:38:59,800 --> 00:39:01,640
Speaker 1: How urban legend? Do you know? If people are we

805
00:39:01,680 --> 00:39:04,399
Speaker 1: talking about re Yeah, I don't either some of them.

806
00:39:04,440 --> 00:39:07,560
Speaker 1: Now I feel like it gets confusing on what's real.

807
00:39:07,640 --> 00:39:09,399
Speaker 1: I need to like, go, here's a pen and paper

808
00:39:09,480 --> 00:39:12,080
Speaker 1: right down the reality. There's a Bobby cast with him

809
00:39:12,080 --> 00:39:13,959
Speaker 1: and he talks about Michael Jackson, and I believe watching

810
00:39:14,040 --> 00:39:15,919
Speaker 1: him peel his face off or like peel a mask

811
00:39:15,920 --> 00:39:18,360
Speaker 1: off because he didn't want to be seen. And he

812
00:39:18,400 --> 00:39:20,279
Speaker 1: walked in the bathroom, doors open, and he's like taking

813
00:39:20,280 --> 00:39:22,759
Speaker 1: his face off because he was having to lead this

814
00:39:22,800 --> 00:39:25,359
Speaker 1: life where he couldn't go anywhere because people are all

815
00:39:25,360 --> 00:39:29,400
Speaker 1: like the whole time. It's fascinating. I love Dan huff Um.

816
00:39:29,440 --> 00:39:31,799
Speaker 1: So tell me about this thing with that I read

817
00:39:31,800 --> 00:39:33,840
Speaker 1: today about DJ Mustard. So you just signed d J

818
00:39:34,000 --> 00:39:36,560
Speaker 1: Mustard but it's not Mustard anymore. That probably got a

819
00:39:36,560 --> 00:39:40,040
Speaker 1: little confusing in the article. He's a rock Nation writer there,

820
00:39:40,080 --> 00:39:43,160
Speaker 1: so they he signed Mustard, rock Nation sign him, but

821
00:39:43,200 --> 00:39:45,200
Speaker 1: that has nothing to do with us as far as

822
00:39:45,280 --> 00:39:47,879
Speaker 1: nash was concerned. I'm a huge Mustard fan. I think

823
00:39:47,880 --> 00:39:50,239
Speaker 1: he just did the Nick Jonas single that's coming out.

824
00:39:50,640 --> 00:39:53,680
Speaker 1: But that probably got a little confusing there on the wording.

825
00:39:53,800 --> 00:39:57,759
Speaker 1: If that's what it's saying that we signed him something

826
00:39:57,800 --> 00:39:59,799
Speaker 1: like that. Yeah, like you switched over or something and

827
00:40:00,000 --> 00:40:03,640
Speaker 1: age his name from DJ Mustard to Mustard. Really Yeah, alright,

828
00:40:04,840 --> 00:40:06,640
Speaker 1: I wish we signed him in Nashville, but we we did.

829
00:40:06,840 --> 00:40:09,440
Speaker 1: Rememberhen EMC Hammer took EMC office had Hammers Hamper and

830
00:40:09,440 --> 00:40:10,960
Speaker 1: he had that's when he had too legit to quit,

831
00:40:11,160 --> 00:40:12,960
Speaker 1: and I was like, dang, hammer is hard now, and

832
00:40:12,960 --> 00:40:15,600
Speaker 1: he's like, it's the pool and he was all really buff,

833
00:40:15,680 --> 00:40:18,120
Speaker 1: and I mean hammer didn't last that long, but I remember,

834
00:40:18,440 --> 00:40:20,040
Speaker 1: and then he went back. Man. I was such a

835
00:40:20,120 --> 00:40:22,120
Speaker 1: MC hammer fan. I had the guy had a cassette

836
00:40:22,160 --> 00:40:24,719
Speaker 1: single to legit. What was the other one? You gotta

837
00:40:24,719 --> 00:40:26,160
Speaker 1: pray just to make it well? So that was on

838
00:40:26,239 --> 00:40:29,279
Speaker 1: Police HAMMERD heard the second side. I still know all

839
00:40:29,280 --> 00:40:32,120
Speaker 1: the words of that song, pray all of it all

840
00:40:32,120 --> 00:40:33,719
Speaker 1: my life. I wanted to make it to the top.

841
00:40:33,719 --> 00:40:35,680
Speaker 1: That's why we pray, Subtobin that they said I couldn't,

842
00:40:35,680 --> 00:40:37,680
Speaker 1: but I didn't stop. That's why we pray. Oh dude,

843
00:40:37,719 --> 00:40:41,480
Speaker 1: I love that. I loved Hammer Hammer and see Music Factory.

844
00:40:41,520 --> 00:40:43,200
Speaker 1: We feel like it was the same kind of era,

845
00:40:43,600 --> 00:40:47,239
Speaker 1: like I had all these cassette singles. DJ J in

846
00:40:47,280 --> 00:40:49,960
Speaker 1: the Fresh Prince like the parents just don't understand, and

847
00:40:50,080 --> 00:40:54,800
Speaker 1: the um the one after that, which was Summertime. Summertime

848
00:40:54,920 --> 00:40:57,920
Speaker 1: was jam Man and I remember thinking, why is DJ

849
00:40:58,160 --> 00:41:02,239
Speaker 1: Jazzy Jeff first in this combination? Well, because you know,

850
00:41:02,280 --> 00:41:05,200
Speaker 1: the MC was was around to support the DJ and

851
00:41:05,280 --> 00:41:07,760
Speaker 1: hype up the crowd for the DJ. It wasn't about

852
00:41:08,160 --> 00:41:10,120
Speaker 1: at the time. I was nine. I was like, I'm

853
00:41:10,239 --> 00:41:13,360
Speaker 1: hearing will Smith the fresh Prince, right, who was the

854
00:41:13,440 --> 00:41:18,799
Speaker 1: DJ Jeff that came from a different era? I keep

855
00:41:18,800 --> 00:41:20,680
Speaker 1: thinking that, and I love a lot of hip hop.

856
00:41:20,680 --> 00:41:22,920
Speaker 1: Now I'm a huge post Balone fan, and but I

857
00:41:22,920 --> 00:41:25,200
Speaker 1: am I keep waiting because you know it's coming. There's

858
00:41:25,239 --> 00:41:28,120
Speaker 1: gonna be a nineties joint. It's coming. Someone's gonna come

859
00:41:28,120 --> 00:41:33,279
Speaker 1: with it. It's gonna sound like it. Sure, I mean,

860
00:41:33,520 --> 00:41:35,719
Speaker 1: has new Jack swing pull that out for a second.

861
00:41:36,000 --> 00:41:39,440
Speaker 1: The first time I heard that, I was like, Okay, yeah,

862
00:41:39,480 --> 00:41:42,719
Speaker 1: that's yeah, that's that's a sample to right, you know what.

863
00:41:42,800 --> 00:41:45,680
Speaker 1: It's funny. We just worked with the Stereotypes were in town.

864
00:41:45,760 --> 00:41:48,680
Speaker 1: Who did that record? They came and we had a

865
00:41:48,760 --> 00:41:51,840
Speaker 1: couple of days with Thomas just hanging out and working

866
00:41:51,840 --> 00:41:55,880
Speaker 1: with Ashley and Karen Fairchild was there. But it's different groove,

867
00:41:56,040 --> 00:41:58,560
Speaker 1: but it is just reminiscent of that. It sounds like

868
00:41:58,560 --> 00:42:09,680
Speaker 1: that poison. Yeah. Yeah, this song. So some of your

869
00:42:09,760 --> 00:42:13,920
Speaker 1: number one we've mentioned because you have as country of

870
00:42:13,960 --> 00:42:16,719
Speaker 1: country songs you could possibly have, because you wrote Dart

871
00:42:16,760 --> 00:42:18,840
Speaker 1: on My Boots for John Party, Yes, yeah, and we

872
00:42:18,880 --> 00:42:21,919
Speaker 1: had Red in you wrote this Red Aikins, Tom's the Dead,

873
00:42:22,080 --> 00:42:23,799
Speaker 1: but it just you two in the right, Me and

874
00:42:23,880 --> 00:42:27,320
Speaker 1: Ashley Red on this one. And so it's funny because

875
00:42:27,320 --> 00:42:29,120
Speaker 1: there here you are going. You know, I have all

876
00:42:29,120 --> 00:42:31,440
Speaker 1: these influences, but there's not a country or song on

877
00:42:31,520 --> 00:42:34,520
Speaker 1: this song. Yeah, I'll send you when when we go,

878
00:42:34,760 --> 00:42:37,320
Speaker 1: when I get home, I'll send you some demos of

879
00:42:37,400 --> 00:42:38,719
Speaker 1: some of this stuff. I don't know if you ever

880
00:42:38,719 --> 00:42:41,200
Speaker 1: heard the demo this when Red singing, um do we

881
00:42:41,239 --> 00:42:43,560
Speaker 1: have that? We didn't have that play. I'll send you

882
00:42:43,760 --> 00:42:46,000
Speaker 1: a drop box of some stuff. Not like you have

883
00:42:46,120 --> 00:42:48,200
Speaker 1: time to listen to music when you're wake up three am,

884
00:42:48,280 --> 00:42:51,200
Speaker 1: but I'll send it to you because it definitely had

885
00:42:51,239 --> 00:42:54,080
Speaker 1: a little bit more swagger on it, like hip hop flavor.

886
00:42:54,160 --> 00:42:56,759
Speaker 1: It just sort of R and B influence. But this

887
00:42:56,800 --> 00:42:58,600
Speaker 1: one kind of came to life when John and Bart

888
00:42:58,640 --> 00:43:01,560
Speaker 1: cut this I do this song and he was talking

889
00:43:01,560 --> 00:43:03,520
Speaker 1: about how well already have head over boots. There's no

890
00:43:03,520 --> 00:43:05,320
Speaker 1: way they're gonna put dirt on my boots, and I

891
00:43:05,400 --> 00:43:07,120
Speaker 1: was shock. I was like, they're doing a whole boot

892
00:43:07,160 --> 00:43:09,040
Speaker 1: concept down what he's going to deal with the boot

893
00:43:09,040 --> 00:43:10,960
Speaker 1: company and said they don't want to kick in my

894
00:43:11,040 --> 00:43:14,960
Speaker 1: phone to porch. Have a little All right, let me

895
00:43:14,960 --> 00:43:17,120
Speaker 1: talk about life flock for one second. Have you some

896
00:43:17,160 --> 00:43:18,759
Speaker 1: water over there? Every time I ask you a question,

897
00:43:18,760 --> 00:43:20,439
Speaker 1: you about get a drink. It's like whenever you're gonna eat.

898
00:43:20,719 --> 00:43:22,200
Speaker 1: He's about about food in his mouth and I'm going

899
00:43:22,600 --> 00:43:26,560
Speaker 1: but tell me about Yes, Yeah, it's so hot in here.

900
00:43:26,600 --> 00:43:28,880
Speaker 1: Sorry about that? Uh so let me talk about LifeLock.

901
00:43:28,920 --> 00:43:32,040
Speaker 1: Watch out for links being sent via Facebook Messenger. According

902
00:43:32,080 --> 00:43:36,080
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903
00:43:36,080 --> 00:43:38,520
Speaker 1: worm malware. If you click on the link, you'll be

904
00:43:38,520 --> 00:43:40,080
Speaker 1: taking to a fake YouTube page. I'll try to get

905
00:43:40,080 --> 00:43:43,080
Speaker 1: your information and from there they can still passwords. Yeah,

906
00:43:43,320 --> 00:43:45,719
Speaker 1: use personal computers, it's a whole thing. Just don't click

907
00:43:45,760 --> 00:43:48,320
Speaker 1: on stuff. I have life flock because people try to

908
00:43:48,400 --> 00:43:50,600
Speaker 1: still my identity, open credit cards in my name. There's

909
00:43:50,640 --> 00:43:52,799
Speaker 1: so many threats in today's world. Good thing new life

910
00:43:52,840 --> 00:43:55,840
Speaker 1: flock identity that protection as the power of Norton Security

911
00:43:56,080 --> 00:43:58,279
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912
00:43:58,400 --> 00:44:00,839
Speaker 1: your devices that you can't or fix on your own.

913
00:44:00,840 --> 00:44:02,960
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914
00:44:03,160 --> 00:44:06,480
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915
00:44:06,520 --> 00:44:10,440
Speaker 1: transactions at all businesses, new LifeLock with Norton Security can

916
00:44:10,560 --> 00:44:13,520
Speaker 1: uncover threats you out otherwise miss. Go to life flock

917
00:44:13,680 --> 00:44:16,360
Speaker 1: dot com are called flock and the promo code is

918
00:44:16,400 --> 00:44:18,960
Speaker 1: bones for an additional ten percent off your first year.

919
00:44:19,200 --> 00:44:21,759
Speaker 1: So life flock dot com promo code is bones. Get

920
00:44:21,800 --> 00:44:24,279
Speaker 1: ten percent off and you'll be happy. I can tell

921
00:44:24,280 --> 00:44:26,239
Speaker 1: you from experience. They've saved me a few times. So

922
00:44:26,719 --> 00:44:29,040
Speaker 1: there was a woman by the way Jesse that I

923
00:44:29,120 --> 00:44:32,160
Speaker 1: put this up on my Instagram. She's calling riders in

924
00:44:32,239 --> 00:44:35,279
Speaker 1: town going, hey, I work for the Bybones Show. We're

925
00:44:35,480 --> 00:44:38,000
Speaker 1: looking for some writers to come play. Can you send

926
00:44:38,080 --> 00:44:41,960
Speaker 1: me your songs? I don't understand even what the I

927
00:44:42,000 --> 00:44:44,480
Speaker 1: don't know what the scam is. There's a there's a

928
00:44:44,480 --> 00:44:47,000
Speaker 1: lot of scams going around lately. What's happened with you?

929
00:44:47,040 --> 00:44:48,839
Speaker 1: What are they trying to get from? Communities getting hit

930
00:44:48,920 --> 00:44:53,000
Speaker 1: up by? And it's pretty it's amazing how kind of

931
00:44:53,040 --> 00:44:55,560
Speaker 1: smart and savvy, or at least tricky they are. Like

932
00:44:55,680 --> 00:44:57,880
Speaker 1: you'll come back from a bus trip and maybe someone

933
00:44:57,960 --> 00:45:00,360
Speaker 1: posts a picture of you on a bus writing and

934
00:45:00,440 --> 00:45:02,160
Speaker 1: next thing you know, you get an email or my

935
00:45:02,200 --> 00:45:04,919
Speaker 1: wife will get an email going and the email looks

936
00:45:05,000 --> 00:45:08,080
Speaker 1: very similar, so maybe it's a songwriter Jimmy Robbins. But

937
00:45:08,719 --> 00:45:11,520
Speaker 1: there's one letter different from his real email and and

938
00:45:11,760 --> 00:45:15,040
Speaker 1: it says, Hey, it's Jimmy, UM, I lost the drop

939
00:45:15,080 --> 00:45:18,400
Speaker 1: box link from the bus trip this weekend? Uh can

940
00:45:18,440 --> 00:45:20,560
Speaker 1: you send? Can you resend those to me? And if

941
00:45:20,600 --> 00:45:23,560
Speaker 1: you're not kind of like catching yourself, and sometimes it

942
00:45:23,600 --> 00:45:27,439
Speaker 1: would be an artist's name, you know how Gmail pops

943
00:45:27,520 --> 00:45:29,719
Speaker 1: up and it just says the name, and if you're

944
00:45:29,719 --> 00:45:32,279
Speaker 1: not careful, you you end up sending these demos. And

945
00:45:32,280 --> 00:45:34,480
Speaker 1: these demos have these artists vocals on them. So I

946
00:45:34,480 --> 00:45:38,239
Speaker 1: don't know what is happening. If these people just get

947
00:45:38,239 --> 00:45:41,439
Speaker 1: off on collecting these songs, if they're gonna like trying

948
00:45:41,440 --> 00:45:43,520
Speaker 1: to release them or black mail. I don't know what

949
00:45:43,560 --> 00:45:48,280
Speaker 1: the story is, but it's kind of pathetic. It's so nutty.

950
00:45:48,280 --> 00:45:50,239
Speaker 1: I watched these prison shows. Sometimes we look at these

951
00:45:50,320 --> 00:45:52,960
Speaker 1: geniuses in president will create a radio at a piece

952
00:45:52,960 --> 00:45:55,759
Speaker 1: of bologny and tinfoil, and I go, if you're so

953
00:45:55,840 --> 00:45:58,240
Speaker 1: smart that, why weren't you being smart out of jail

954
00:45:58,880 --> 00:46:01,680
Speaker 1: like you create of this scanda still songs, Go write

955
00:46:01,680 --> 00:46:05,319
Speaker 1: a freaking song or publish a song or get into music.

956
00:46:05,520 --> 00:46:07,520
Speaker 1: You're obviously smart enough to figure out how to get

957
00:46:07,560 --> 00:46:09,759
Speaker 1: an email address of an artist or close to it,

958
00:46:10,239 --> 00:46:11,960
Speaker 1: and that's a pretty good like, or at least put

959
00:46:11,960 --> 00:46:15,359
Speaker 1: the compilation together. Yeah right, let's drop this thing. Let

960
00:46:15,360 --> 00:46:17,600
Speaker 1: me write there some of your big number ones here

961
00:46:17,600 --> 00:46:20,600
Speaker 1: Old Dominion. No such thing as a broken heart, Damn

962
00:46:22,320 --> 00:46:41,719
Speaker 1: sho no matter how Lauren Atlanta, road Less Travel, Rascal Flats.

963
00:46:41,920 --> 00:46:48,920
Speaker 1: I like the sound of that printing money over here.

964
00:46:49,080 --> 00:46:52,040
Speaker 1: Holy cow, you got all the shoes, all the hoodies.

965
00:46:53,160 --> 00:46:54,719
Speaker 1: I love shoes in hoodies. Dudes, let's say that with

966
00:46:54,760 --> 00:47:09,200
Speaker 1: complete respect. Chris Lane Fix, we do want more Florida

967
00:47:09,239 --> 00:47:25,040
Speaker 1: Georgia line Sunday's busy. So even on the pop side,

968
00:47:25,600 --> 00:47:28,279
Speaker 1: as you have a Kylie Minogue song, Yeah, actually just

969
00:47:28,719 --> 00:47:31,400
Speaker 1: this isn't single, do you know. I don't know if

970
00:47:31,400 --> 00:47:36,400
Speaker 1: it's been a single yet. It's called Sincerely Yours from Kylie.

971
00:47:37,200 --> 00:47:41,720
Speaker 1: But you right to say Amy watch met Amy wrote

972
00:47:42,400 --> 00:47:47,480
Speaker 1: Thinking out Loud with Ed Amazing. UK writer writch Warren Chapel,

973
00:47:47,520 --> 00:47:50,400
Speaker 1: So for me and Amy, Kylie, Kylie king Tom for

974
00:47:50,520 --> 00:47:53,160
Speaker 1: two weeks, so you wrote with Kylie? Yeah, what's she like?

975
00:47:53,400 --> 00:47:56,440
Speaker 1: She's so sweet. Really, I had a crush on her

976
00:47:56,520 --> 00:48:01,319
Speaker 1: when I was Na Na Nonna on a huge crush

977
00:48:01,360 --> 00:48:03,879
Speaker 1: on there to play that song go man, she's still yeah,

978
00:48:03,880 --> 00:48:06,759
Speaker 1: I never I never met her. Personality is exactly what

979
00:48:06,800 --> 00:48:08,920
Speaker 1: you would want to be, super personable, just like you

980
00:48:08,960 --> 00:48:12,120
Speaker 1: would think super sweet, pleasant tradish. Yes, that's what I'm

981
00:48:12,160 --> 00:48:17,640
Speaker 1: looking for. Pleasant and British man who you go into

982
00:48:17,640 --> 00:48:19,239
Speaker 1: a room and you're riding. Who have you been in

983
00:48:19,280 --> 00:48:20,600
Speaker 1: a room with? Where you go, Oh, this is a

984
00:48:20,600 --> 00:48:25,640
Speaker 1: little bit intimidating because they're to you they're really cool. Well,

985
00:48:25,719 --> 00:48:27,759
Speaker 1: I mean a lot of people early on, you know,

986
00:48:27,880 --> 00:48:32,160
Speaker 1: guys like Ashley and and Rhett and Shane, um, Josh

987
00:48:32,160 --> 00:48:33,640
Speaker 1: has more. A lot of them kind of took chances

988
00:48:33,680 --> 00:48:36,239
Speaker 1: and wrote with me back before I had a lot

989
00:48:36,280 --> 00:48:38,759
Speaker 1: going on, um, and I was fans of what they

990
00:48:38,760 --> 00:48:41,120
Speaker 1: were doing. But then the other thing that gets really

991
00:48:41,160 --> 00:48:43,759
Speaker 1: weird is sometimes you get to be and I'm sure

992
00:48:44,040 --> 00:48:45,359
Speaker 1: you as well, you get to be in the room

993
00:48:45,400 --> 00:48:48,560
Speaker 1: with some of your like childhood heroes, you know, um,

994
00:48:48,600 --> 00:48:53,120
Speaker 1: so Steven Tyler's and and even like Kevin Griffin, who's

995
00:48:53,120 --> 00:48:57,759
Speaker 1: in town. Let me tell you, I do this show

996
00:48:58,080 --> 00:49:01,640
Speaker 1: called The Million Dollars show, and we started there because

997
00:49:01,760 --> 00:49:03,240
Speaker 1: at the time it was gonna be the one million

998
00:49:03,320 --> 00:49:05,960
Speaker 1: dollar the Raging Idiots had made for charity. It's ended

999
00:49:06,040 --> 00:49:08,160
Speaker 1: up being two million dollars at first show, but we

1000
00:49:08,200 --> 00:49:09,640
Speaker 1: had tried to plan it out right. But so we

1001
00:49:09,680 --> 00:49:11,319
Speaker 1: have this million dollar show every year at the Rhyman

1002
00:49:12,000 --> 00:49:13,640
Speaker 1: and it sells out and we don't say who all

1003
00:49:13,640 --> 00:49:15,520
Speaker 1: the artists are they going to play? So but I

1004
00:49:15,520 --> 00:49:17,960
Speaker 1: get to pick really whoever I want because this community

1005
00:49:18,000 --> 00:49:20,279
Speaker 1: is so giving. If they're in town, no one says no.

1006
00:49:20,640 --> 00:49:22,600
Speaker 1: They all show up and play a few songs for everybody,

1007
00:49:22,600 --> 00:49:26,759
Speaker 1: from Stapleton to Garth Dirks. And so I was like, man,

1008
00:49:26,880 --> 00:49:28,600
Speaker 1: I'm a nerd out. This gives me a reason to

1009
00:49:28,640 --> 00:49:31,319
Speaker 1: call Kevin Griffin better than Ezra and say, hey man,

1010
00:49:31,719 --> 00:49:35,160
Speaker 1: we're gonna come play for charity. And he did and

1011
00:49:35,239 --> 00:49:38,800
Speaker 1: we played when we did good, but I got on

1012
00:49:38,840 --> 00:49:41,640
Speaker 1: guitar and played with him and we traded lines and good.

1013
00:49:42,040 --> 00:49:44,279
Speaker 1: It was the coolest thing to me of the whole night.

1014
00:49:44,600 --> 00:49:46,040
Speaker 1: There were two in the two moments that when we

1015
00:49:46,080 --> 00:49:49,680
Speaker 1: played good and Darius and I doing hold my hand

1016
00:49:49,840 --> 00:49:52,400
Speaker 1: because I was such a huge hoodie fan, and Darius

1017
00:49:52,480 --> 00:49:53,719
Speaker 1: let me sink part of hold my hand with him,

1018
00:49:54,120 --> 00:49:55,759
Speaker 1: So it was the same way that same era. It's

1019
00:49:55,760 --> 00:49:58,600
Speaker 1: like and Darius as chill as they come to it

1020
00:49:58,719 --> 00:50:02,080
Speaker 1: is weird, you know. I remember trying to come up

1021
00:50:02,080 --> 00:50:03,920
Speaker 1: with the guitar part of Good or you know when

1022
00:50:03,920 --> 00:50:06,080
Speaker 1: you're in your childhood bands, so those kind of moments

1023
00:50:06,080 --> 00:50:09,440
Speaker 1: are crazy or you know modern heroes. Like it was

1024
00:50:09,480 --> 00:50:11,439
Speaker 1: just Mother's Day, you know how you go through your phone,

1025
00:50:11,480 --> 00:50:13,560
Speaker 1: You're trying to find that Instagram post for your all

1026
00:50:13,560 --> 00:50:16,000
Speaker 1: your mother in laws and your mom's or whatever, and

1027
00:50:16,040 --> 00:50:19,080
Speaker 1: I stumbled on this picture of me and Thomas and

1028
00:50:19,120 --> 00:50:23,719
Speaker 1: Ashley with VICI. It was like last January, right, So

1029
00:50:23,760 --> 00:50:25,920
Speaker 1: that was the weird moment. But that that day I

1030
00:50:26,040 --> 00:50:28,680
Speaker 1: was coming from them world. My wife and I have

1031
00:50:28,719 --> 00:50:31,160
Speaker 1: gone festivals and all kinds of stuff, So that was

1032
00:50:31,200 --> 00:50:34,080
Speaker 1: a cool moment. You know, just even modern day heroes.

1033
00:50:34,680 --> 00:50:37,239
Speaker 1: But it is strange in this world, like you know,

1034
00:50:37,280 --> 00:50:40,480
Speaker 1: we're around artists all the time, but the celebrities that

1035
00:50:40,560 --> 00:50:42,680
Speaker 1: kind of like shake you up are sometimes the ones

1036
00:50:42,719 --> 00:50:45,200
Speaker 1: that people are like, really, that's the one that got you?

1037
00:50:45,600 --> 00:50:48,600
Speaker 1: Yeah for me, Like some people are like better than Ezra.

1038
00:50:48,800 --> 00:50:50,360
Speaker 1: I'm twenty six, I don't know who that is? Like

1039
00:50:50,400 --> 00:50:53,000
Speaker 1: man that they were. They were one of my favorites.

1040
00:50:53,040 --> 00:50:58,080
Speaker 1: I'm thirty six. So that era of pop coming out

1041
00:50:58,120 --> 00:51:00,400
Speaker 1: of alternative in the poppy side of it, you know,

1042
00:51:01,000 --> 00:51:03,719
Speaker 1: that was pretty important in my high school. The E

1043
00:51:03,840 --> 00:51:08,080
Speaker 1: d M thing, which you know, you have a vast

1044
00:51:08,200 --> 00:51:11,680
Speaker 1: medium background. I don't understand E d M come from Arkansas.

1045
00:51:11,800 --> 00:51:14,480
Speaker 1: D ms like soccer to me. I know, it's awesome.

1046
00:51:14,600 --> 00:51:17,400
Speaker 1: I don't get it. You have it in Arkansas. Well,

1047
00:51:17,440 --> 00:51:20,799
Speaker 1: it's weird thing. Our genre and country is starting to

1048
00:51:20,920 --> 00:51:24,600
Speaker 1: have little sub genres, and d M is a lot

1049
00:51:24,719 --> 00:51:27,520
Speaker 1: like that. I mean, you've got all kinds of different aspects.

1050
00:51:27,560 --> 00:51:30,640
Speaker 1: You guys like like Kigo, who would be called tropical

1051
00:51:30,680 --> 00:51:32,200
Speaker 1: house and it's a little bit more that's a kind

1052
00:51:32,200 --> 00:51:35,600
Speaker 1: of medium tropical house. And then you've got guys like Z,

1053
00:51:36,120 --> 00:51:39,919
Speaker 1: who is sort of like, you know, future based influenced

1054
00:51:40,000 --> 00:51:42,600
Speaker 1: or you know, all kinds of weird subt What sub

1055
00:51:42,680 --> 00:51:44,719
Speaker 1: genre would Z be in your mind if you had

1056
00:51:44,760 --> 00:51:48,680
Speaker 1: to assign one to them? Um probably came from this

1057
00:51:48,800 --> 00:51:51,800
Speaker 1: like genre called complex trow, which was like the really

1058
00:51:51,800 --> 00:51:55,040
Speaker 1: complex music or songs like Stay or Middle would be

1059
00:51:55,080 --> 00:51:57,600
Speaker 1: sort of like future base or future pop. So that

1060
00:51:57,960 --> 00:52:01,400
Speaker 1: so what's the dance music. Dance music is basically like

1061
00:52:01,440 --> 00:52:05,680
Speaker 1: saying country music. Okay, analogy. So you've got inside country

1062
00:52:05,760 --> 00:52:08,399
Speaker 1: music right now? Is I love it? Because every any

1063
00:52:08,520 --> 00:52:11,839
Speaker 1: day I could write, you know, maybe this is gonna

1064
00:52:11,840 --> 00:52:14,520
Speaker 1: be a pitch to if Midland wrote, you know, cut

1065
00:52:14,560 --> 00:52:16,520
Speaker 1: outside songs, this is gonna go to Midland. Or then

1066
00:52:16,520 --> 00:52:20,400
Speaker 1: it's Kenny Chesney. And then we've got so you've got Mayorn,

1067
00:52:20,520 --> 00:52:25,120
Speaker 1: Kasey Musgraves and Chris who maybe are the same kind

1068
00:52:25,160 --> 00:52:26,840
Speaker 1: of the The only country hours that are going to

1069
00:52:26,920 --> 00:52:30,920
Speaker 1: play Bonary of Coachella could maybe be Chris Marin Casey.

1070
00:52:31,120 --> 00:52:35,720
Speaker 1: You've got the Sam Hunts and the Thomas rhettz Um,

1071
00:52:35,760 --> 00:52:40,800
Speaker 1: you've got the Luke Holmes and maybe um Luke Bryant's

1072
00:52:40,880 --> 00:52:43,480
Speaker 1: and and Cam Brown like all these little kind of

1073
00:52:43,520 --> 00:52:48,399
Speaker 1: corners inside this umbrella of country music. I wish our

1074
00:52:48,440 --> 00:52:51,160
Speaker 1: genre was called Americana. I know there is Americana genre,

1075
00:52:51,280 --> 00:52:53,640
Speaker 1: but to me, the common thread of country music is

1076
00:52:53,640 --> 00:52:57,239
Speaker 1: Americana subject matter. I think Americana is country is old

1077
00:52:57,280 --> 00:52:59,799
Speaker 1: school country music. Yes, I've often said that to people

1078
00:52:59,800 --> 00:53:02,680
Speaker 1: will what country music is not the same. I think

1079
00:53:02,680 --> 00:53:05,520
Speaker 1: that Americana is what people are searching for when they

1080
00:53:05,560 --> 00:53:08,960
Speaker 1: go country. This is a country anymore? Amiss my old

1081
00:53:08,960 --> 00:53:12,440
Speaker 1: country cool it still exists. It's called Americana. It's awesome, absolutely,

1082
00:53:12,520 --> 00:53:15,080
Speaker 1: Jason Nizbel's crushing it. And start there's so many artists

1083
00:53:15,200 --> 00:53:16,719
Speaker 1: that I read on seven Country Music. I thought I

1084
00:53:16,719 --> 00:53:19,080
Speaker 1: get to know Abouch of the American acts because he's like,

1085
00:53:19,080 --> 00:53:21,520
Speaker 1: why aren't this country? It doesn't matter what you call it. Well,

1086
00:53:21,560 --> 00:53:23,799
Speaker 1: here's the other thing that drives me crazy, because we

1087
00:53:23,880 --> 00:53:26,480
Speaker 1: hear this a lot, you know, and I love all

1088
00:53:26,520 --> 00:53:30,279
Speaker 1: aspects of our genre, you know, And unfortunately I've had

1089
00:53:30,680 --> 00:53:33,239
Speaker 1: the ability or or the privilege of work with a

1090
00:53:33,280 --> 00:53:36,759
Speaker 1: lot of different corners of this country music family. But

1091
00:53:37,520 --> 00:53:39,759
Speaker 1: you know, when you go back to think about the seventies,

1092
00:53:40,560 --> 00:53:43,800
Speaker 1: the Eagles were probably more country than some country yartists

1093
00:53:43,800 --> 00:53:45,759
Speaker 1: at the time. You know, Glenn Campbell was doing some

1094
00:53:45,800 --> 00:53:50,399
Speaker 1: pretty slick sounding pop songs, you know. So I think

1095
00:53:50,440 --> 00:53:53,680
Speaker 1: that sometimes people you hear the same thing. Radio is

1096
00:53:53,680 --> 00:53:55,200
Speaker 1: not our music sounds give as it used to be,

1097
00:53:55,360 --> 00:53:58,799
Speaker 1: or you know, countries not country anymore. There's plenty of

1098
00:53:59,680 --> 00:54:02,520
Speaker 1: true sational country music on country radio right now, and

1099
00:54:02,560 --> 00:54:05,440
Speaker 1: there's you know, all kinds of really cool stuff happening.

1100
00:54:05,480 --> 00:54:07,239
Speaker 1: You just kind of have to listen and be a

1101
00:54:07,239 --> 00:54:09,759
Speaker 1: little bit open minded. I feel like if people ever

1102
00:54:09,840 --> 00:54:13,800
Speaker 1: stop saying that something sucks, that that's the death of

1103
00:54:13,880 --> 00:54:18,040
Speaker 1: that's something, because that's not moving forward. Just in my

1104
00:54:18,120 --> 00:54:21,200
Speaker 1: experience and talking with artists and producers, and I used

1105
00:54:21,239 --> 00:54:24,520
Speaker 1: the Garth reference a lot in this subject because that's

1106
00:54:24,520 --> 00:54:27,080
Speaker 1: the one everyone will resonate to. Garth Brooks. Garth Brooks,

1107
00:54:27,200 --> 00:54:28,759
Speaker 1: and I've sat with Garth and he says, man, when

1108
00:54:28,760 --> 00:54:31,160
Speaker 1: I came to down I wasn't country to anyone. And

1109
00:54:31,239 --> 00:54:34,280
Speaker 1: to think that Garth Brooks was told you're not country,

1110
00:54:34,320 --> 00:54:37,959
Speaker 1: because he's the standard. Now it's okay, let's hear because

1111
00:54:37,960 --> 00:54:42,959
Speaker 1: we go nineties countries country. Anyone that's from forty eight

1112
00:54:43,080 --> 00:54:46,640
Speaker 1: to thirty one kind of goes, this is what country

1113
00:54:46,640 --> 00:54:49,920
Speaker 1: is young young when we were kids and so because

1114
00:54:49,960 --> 00:54:52,279
Speaker 1: born so the nineties countries a big deal for me,

1115
00:54:53,000 --> 00:54:55,160
Speaker 1: and so Guarths like, I was a country and people

1116
00:54:55,160 --> 00:54:57,200
Speaker 1: hate it and they said you're not country. So okay,

1117
00:54:57,239 --> 00:55:00,880
Speaker 1: that's that's happened. Every generation was something, you know, from

1118
00:55:00,960 --> 00:55:04,120
Speaker 1: the guards to the even before I got like urban

1119
00:55:04,120 --> 00:55:06,759
Speaker 1: cowboy stuff. But the Arabic cowboy that cross over the

1120
00:55:06,800 --> 00:55:10,759
Speaker 1: pop and so if there's ever a format that goes, oh,

1121
00:55:10,760 --> 00:55:12,640
Speaker 1: we're just we're oh, it's still good, that means a

1122
00:55:12,640 --> 00:55:14,920
Speaker 1: hasn't moved, right, and that's the depth of it. It's

1123
00:55:15,000 --> 00:55:17,839
Speaker 1: kind of like indie rock, right like if if if

1124
00:55:17,880 --> 00:55:21,480
Speaker 1: something gets too commercial, there's a fan base that's off

1125
00:55:21,520 --> 00:55:24,120
Speaker 1: of it. And I think every genre has kind of

1126
00:55:24,160 --> 00:55:26,160
Speaker 1: got that. I mean, you know, urban music has got

1127
00:55:26,160 --> 00:55:30,640
Speaker 1: the same thing, where there's certain rappers that are not

1128
00:55:30,680 --> 00:55:33,600
Speaker 1: really respected by the hip hop community because it's like

1129
00:55:33,640 --> 00:55:39,200
Speaker 1: to commercial to everybody hates hate on logic or or

1130
00:55:39,560 --> 00:55:44,600
Speaker 1: macamore or what. I love logic. There's a documentary called uh,

1131
00:55:44,800 --> 00:55:47,919
Speaker 1: It's a documentary series called Rapture on Netflix, and he's

1132
00:55:48,000 --> 00:55:51,319
Speaker 1: I think he's the first segment. But he's a hustler. Man.

1133
00:55:51,480 --> 00:55:55,680
Speaker 1: I appreciate anyone that grinds hard. I love commercial music,

1134
00:55:55,800 --> 00:55:57,960
Speaker 1: so I'm kind of the guy that, you know, I

1135
00:55:58,000 --> 00:56:01,200
Speaker 1: can appreciate left us enter things like a Frank Ocean

1136
00:56:01,320 --> 00:56:04,360
Speaker 1: or whatever. But I like hooks in any format. I

1137
00:56:04,360 --> 00:56:07,160
Speaker 1: don't care if it's dance music, hip hop. That's why

1138
00:56:07,160 --> 00:56:10,120
Speaker 1: I loved nineties hip hop so much, because it was

1139
00:56:10,120 --> 00:56:13,839
Speaker 1: so hook based. And song based. So to me, I

1140
00:56:13,880 --> 00:56:17,560
Speaker 1: think anything that is commercial mind hiden, I gravitate towards

1141
00:56:17,880 --> 00:56:20,160
Speaker 1: I really don't. I'm not really a hater of anything

1142
00:56:20,160 --> 00:56:22,600
Speaker 1: that's commercial because that's what I love. That's what I loved, right.

1143
00:56:23,000 --> 00:56:25,120
Speaker 1: But if I'm in the car listening, I want to

1144
00:56:25,160 --> 00:56:28,120
Speaker 1: listen to the hooky song on that indie pop record

1145
00:56:28,320 --> 00:56:32,440
Speaker 1: that's probably the single. But you represent the people. And

1146
00:56:32,480 --> 00:56:37,240
Speaker 1: it's hard to be an artist and a person because

1147
00:56:37,320 --> 00:56:38,960
Speaker 1: when you're creating art, you start to get in the

1148
00:56:38,960 --> 00:56:42,000
Speaker 1: head of the artist and and it's a It's something

1149
00:56:42,040 --> 00:56:43,520
Speaker 1: I have trouble doing too. I say, I walk the

1150
00:56:43,560 --> 00:56:48,480
Speaker 1: fine line. Sometimes I'm way too consumer and sometimes I'm

1151
00:56:48,600 --> 00:56:51,520
Speaker 1: way too in the weeds with the music and I

1152
00:56:51,560 --> 00:56:55,200
Speaker 1: but I just try to find that that balance. Well,

1153
00:56:55,400 --> 00:56:58,520
Speaker 1: that's funny when we did the I heeart thing, you

1154
00:56:58,520 --> 00:57:00,440
Speaker 1: you know too in an interview. This is probably a

1155
00:57:00,480 --> 00:57:03,799
Speaker 1: little bit more inside than if we were. But it's

1156
00:57:03,800 --> 00:57:08,440
Speaker 1: interesting how you even kind of can steer those conversations

1157
00:57:08,480 --> 00:57:10,880
Speaker 1: to make sure that you you kind of know what

1158
00:57:10,920 --> 00:57:13,200
Speaker 1: the fans want to hear, You know your you know

1159
00:57:13,280 --> 00:57:17,240
Speaker 1: what your audience is curious about anyway, right, So, and

1160
00:57:17,280 --> 00:57:22,200
Speaker 1: it's interesting that I noticed in that setting, you catch

1161
00:57:22,240 --> 00:57:24,280
Speaker 1: yourself rambling on things and you're like, wow, this is

1162
00:57:24,320 --> 00:57:26,320
Speaker 1: really what they want to hear about this album, you know,

1163
00:57:26,480 --> 00:57:30,360
Speaker 1: especially on different platforms. Actually that was you know, probably

1164
00:57:30,400 --> 00:57:34,280
Speaker 1: three million people listening at that moment to a radio station,

1165
00:57:34,320 --> 00:57:37,440
Speaker 1: which is very mass appeal right where this they're tuning

1166
00:57:37,480 --> 00:57:40,040
Speaker 1: in because they want to know Level three, Right, that's

1167
00:57:40,120 --> 00:57:42,400
Speaker 1: level one, they were big. Level two is cool, listen

1168
00:57:42,400 --> 00:57:43,560
Speaker 1: to the tracts, but they want to know why the

1169
00:57:43,600 --> 00:57:45,840
Speaker 1: tracts are made and who's making them and writing them.

1170
00:57:45,880 --> 00:57:48,040
Speaker 1: So yeah, I mean I think that's you know, you

1171
00:57:48,120 --> 00:57:50,760
Speaker 1: have your insane here. I think my only talent one

1172
00:57:50,880 --> 00:57:54,440
Speaker 1: is just working hard. Like that's yeah, I mean that's

1173
00:57:54,480 --> 00:57:57,840
Speaker 1: what that's my skill is just working hard. But to

1174
00:57:58,120 --> 00:58:02,240
Speaker 1: just I think I represent the people. And that's why

1175
00:58:02,240 --> 00:58:04,080
Speaker 1: I try to stay on the consumer parts so much

1176
00:58:04,400 --> 00:58:07,520
Speaker 1: because if I'm ever too cool, I've lost everything. Sure

1177
00:58:07,600 --> 00:58:10,680
Speaker 1: nobody cares. Like you can be one of the industry

1178
00:58:11,120 --> 00:58:13,200
Speaker 1: or you can be one of the people, right, And

1179
00:58:13,200 --> 00:58:15,600
Speaker 1: I just try to be seventy of the people because

1180
00:58:15,600 --> 00:58:17,959
Speaker 1: I'm too close to it to be all the time.

1181
00:58:18,440 --> 00:58:21,040
Speaker 1: But I just try to hit that see seventy PC

1182
00:58:21,120 --> 00:58:23,160
Speaker 1: and I'm still one of the people, absolutely while still

1183
00:58:23,160 --> 00:58:25,000
Speaker 1: having a studio in your house and an awesome songwriters

1184
00:58:25,080 --> 00:58:27,840
Speaker 1: producers come over and talk about that. But it's a

1185
00:58:27,840 --> 00:58:31,960
Speaker 1: hard actually makes you even more valuable as a friend

1186
00:58:31,960 --> 00:58:34,400
Speaker 1: to an artist too because of that that bridge, Like

1187
00:58:34,440 --> 00:58:36,520
Speaker 1: you said, that's the reason why someone like Thomas wants

1188
00:58:36,520 --> 00:58:38,560
Speaker 1: to go. What do you think about this? Because you are,

1189
00:58:39,200 --> 00:58:41,360
Speaker 1: like you said, of the people I don't even like

1190
00:58:42,080 --> 00:58:45,160
Speaker 1: and Thomas try. It's different because we have a friendship.

1191
00:58:45,600 --> 00:58:48,040
Speaker 1: That's a bit, you know, it's it's a little age

1192
00:58:48,080 --> 00:58:50,840
Speaker 1: to it at this point, but yeah, I don't even

1193
00:58:50,840 --> 00:58:52,240
Speaker 1: I don't listen to I can't listen to new music

1194
00:58:52,320 --> 00:58:55,000
Speaker 1: unless it comes out, I won't listen to it. Artists

1195
00:58:55,040 --> 00:58:57,160
Speaker 1: will come and they'll tape an interview. That's gotta be

1196
00:58:57,200 --> 00:59:02,280
Speaker 1: hard to like. I've had this conversation with um me

1197
00:59:02,360 --> 00:59:05,439
Speaker 1: and uh dam will go to to coffee with different people,

1198
00:59:05,480 --> 00:59:08,160
Speaker 1: but I've sat down with like label heads and been like,

1199
00:59:08,160 --> 00:59:10,920
Speaker 1: it's different than publishing and publishing. We signed songwriters that

1200
00:59:11,280 --> 00:59:13,360
Speaker 1: we're gonna work with and we kind of relate to.

1201
00:59:13,440 --> 00:59:15,960
Speaker 1: They may be different than we are, but I think

1202
00:59:15,960 --> 00:59:18,120
Speaker 1: it'd be hard sometimes to be ahead of a label

1203
00:59:18,160 --> 00:59:21,360
Speaker 1: and sign something that you don't necessarily understand. But you

1204
00:59:21,400 --> 00:59:23,720
Speaker 1: see people at the show, and it's got to be

1205
00:59:23,760 --> 00:59:25,920
Speaker 1: hard for you to like not have a bias. I

1206
00:59:25,960 --> 00:59:28,280
Speaker 1: would think, well, I don't think there's ever not a bias.

1207
00:59:28,720 --> 00:59:32,040
Speaker 1: I just weren't. We as humans aren't built for non bias.

1208
00:59:33,040 --> 00:59:35,640
Speaker 1: It's knowing your bias that's been my strength. Like I

1209
00:59:35,760 --> 00:59:39,200
Speaker 1: know artists that personally I just don't like. If I

1210
00:59:39,280 --> 00:59:43,280
Speaker 1: love their music, so I have to go like I

1211
00:59:43,320 --> 00:59:46,000
Speaker 1: wouldn't care Fela Ditch, but man, they put out some

1212
00:59:46,040 --> 00:59:48,520
Speaker 1: great music. But I know my bias before I hear it,

1213
00:59:48,560 --> 00:59:50,280
Speaker 1: and I go, I don't think they're a good person,

1214
00:59:50,320 --> 00:59:53,000
Speaker 1: but I know that going before I pit play, I

1215
00:59:53,040 --> 00:59:54,600
Speaker 1: know I already don't like them, so let me try

1216
00:59:54,600 --> 00:59:56,480
Speaker 1: to remove that as much possible. Or it's the other way.

1217
00:59:56,960 --> 00:59:59,080
Speaker 1: I have friends that I love and they have they'll

1218
00:59:59,120 --> 01:00:02,800
Speaker 1: put it turn out and I'll go, all right, I

1219
01:00:02,880 --> 01:00:05,240
Speaker 1: love them like I'm my favorite people, So I gotta

1220
01:00:05,280 --> 01:00:08,200
Speaker 1: eliminate that. But I think we as humans we have

1221
01:00:08,360 --> 01:00:12,680
Speaker 1: this this natural bias towards anything and everything, even bias

1222
01:00:12,720 --> 01:00:15,440
Speaker 1: of things we don't know. We have biased towards. But

1223
01:00:15,680 --> 01:00:17,400
Speaker 1: for me, it's like waking up a three o'clock in

1224
01:00:17,480 --> 01:00:20,680
Speaker 1: the morning. It makes me better to have a rule

1225
01:00:20,720 --> 01:00:22,720
Speaker 1: set that I wake up at three. There's no option

1226
01:00:22,800 --> 01:00:26,560
Speaker 1: to hit any sort of you know, snooze, the same

1227
01:00:26,600 --> 01:00:29,160
Speaker 1: thing to listen to the songs. I just don't. If

1228
01:00:29,160 --> 01:00:32,520
Speaker 1: you say I'm not doing it, then no one expects

1229
01:00:32,520 --> 01:00:34,880
Speaker 1: you to do it anymore. Artists will come in and

1230
01:00:34,920 --> 01:00:37,520
Speaker 1: they'll go, hey, we're gonna take three days early for

1231
01:00:37,520 --> 01:00:40,960
Speaker 1: album premiere because we're not gonna be a town And

1232
01:00:41,000 --> 01:00:42,920
Speaker 1: I go, cool, just so you know, I haven't heard

1233
01:00:42,920 --> 01:00:45,040
Speaker 1: a thing unless you put it out as a single.

1234
01:00:45,240 --> 01:00:47,120
Speaker 1: So it does put me in those situations sometimes where

1235
01:00:47,120 --> 01:00:49,320
Speaker 1: I don't know, but I'm just up front about it. Sure,

1236
01:00:49,480 --> 01:00:51,520
Speaker 1: and at this point I think people accept it. They

1237
01:00:51,520 --> 01:00:52,920
Speaker 1: did it for a long time. I thought it was

1238
01:00:52,960 --> 01:00:54,880
Speaker 1: a huge douche. They were like, hey, man, listen to

1239
01:00:54,880 --> 01:00:57,800
Speaker 1: freaking music. I was like, well, you don't understand. I

1240
01:00:57,800 --> 01:00:59,360
Speaker 1: don't want to be able to talk about like my people.

1241
01:00:59,560 --> 01:01:02,480
Speaker 1: Sure hear it, Yes, a new discovery. Yeah, And sometimes

1242
01:01:02,560 --> 01:01:04,880
Speaker 1: like tomorrow you got Sam Hunk coming out right, Yes,

1243
01:01:04,920 --> 01:01:07,520
Speaker 1: And I haven't heard a song. I've heard the hook

1244
01:01:07,840 --> 01:01:09,400
Speaker 1: that they sent and that I played on the show.

1245
01:01:09,440 --> 01:01:12,520
Speaker 1: That it was like other than that, I haven't heard

1246
01:01:12,520 --> 01:01:14,000
Speaker 1: the song, and they said, do you want to hear it? No,

1247
01:01:14,920 --> 01:01:16,640
Speaker 1: I want to hear it. Five am. I'll play it

1248
01:01:16,640 --> 01:01:18,439
Speaker 1: for the first time. But it will come out at midnight. Okay,

1249
01:01:18,480 --> 01:01:21,280
Speaker 1: I won't be awake, but it will be available at midnight,

1250
01:01:21,520 --> 01:01:24,040
Speaker 1: and I'll listen to it on the way. But someone

1251
01:01:24,080 --> 01:01:25,880
Speaker 1: will put out a record like the must Casey Muscraft

1252
01:01:25,880 --> 01:01:28,320
Speaker 1: the album that's my favorite record this year. That in

1253
01:01:28,360 --> 01:01:30,880
Speaker 1: the Lanco album with the brothers Osborne Records. We did

1254
01:01:31,120 --> 01:01:34,640
Speaker 1: um she did an album listening party at the planetarium.

1255
01:01:34,720 --> 01:01:36,720
Speaker 1: Do you hear about this? I did? I heard about it.

1256
01:01:36,800 --> 01:01:39,080
Speaker 1: I think Marion and Lucy Silva's were there, so that's

1257
01:01:39,080 --> 01:01:40,880
Speaker 1: how I heard about it. We wrote a song on there,

1258
01:01:41,480 --> 01:01:43,800
Speaker 1: a song called wonder Woman. Me and Hillary and Amy

1259
01:01:43,840 --> 01:01:48,600
Speaker 1: watching and and it was amazing, like just the it's

1260
01:01:48,640 --> 01:01:50,840
Speaker 1: so Casey too. We're all sitting in the planetarium and

1261
01:01:50,840 --> 01:01:53,440
Speaker 1: they had visuals for every single song and just lean

1262
01:01:53,520 --> 01:01:55,560
Speaker 1: back and watch. It was pretty cool. But that's an

1263
01:01:55,600 --> 01:01:58,760
Speaker 1: amazing record. The record comes out and I wanted to

1264
01:01:58,760 --> 01:02:00,200
Speaker 1: hear the whole thing to talk about it, but only

1265
01:02:00,200 --> 01:02:01,960
Speaker 1: had time to hear like four songs before I went

1266
01:02:02,000 --> 01:02:04,360
Speaker 1: on the air. So I think that's what happens to

1267
01:02:04,400 --> 01:02:06,200
Speaker 1: normal people. Sure, they wake up they want to hear

1268
01:02:06,240 --> 01:02:07,400
Speaker 1: a whole record, but they have time to listen a

1269
01:02:07,440 --> 01:02:10,400
Speaker 1: whole record before they go to work or that day

1270
01:02:10,560 --> 01:02:13,240
Speaker 1: or that week, taking your four songs. So I just

1271
01:02:13,280 --> 01:02:15,000
Speaker 1: try to be a yeah, that's my point. I tried

1272
01:02:15,040 --> 01:02:17,200
Speaker 1: to be that's pretty strong. It's such a oh, I

1273
01:02:17,240 --> 01:02:20,640
Speaker 1: love the record. You got a favorite. It's the first song.

1274
01:02:20,760 --> 01:02:23,000
Speaker 1: And it feels silly to say, but there's something about

1275
01:02:23,000 --> 01:02:25,520
Speaker 1: that song that or high Horse or something. But I

1276
01:02:25,520 --> 01:02:28,800
Speaker 1: actually high Horse on the air. That's amazing. But people go, oh,

1277
01:02:28,880 --> 01:02:33,240
Speaker 1: high Horses, you know a seventies bgs. It's not anymore

1278
01:02:33,320 --> 01:02:36,160
Speaker 1: non country than anything else that's getting played. Man, whatever

1279
01:02:36,240 --> 01:02:39,320
Speaker 1: non country means. It's even it sounds like a country

1280
01:02:39,320 --> 01:02:43,320
Speaker 1: song with you know, it's some seventies yeah whatever, what

1281
01:02:43,320 --> 01:02:45,960
Speaker 1: whats that? Acondemy called dance music a little bit, but

1282
01:02:46,120 --> 01:02:49,640
Speaker 1: it was a little disco in It's great. It is

1283
01:02:49,640 --> 01:02:52,560
Speaker 1: bs influence. She It's funny because that was one of

1284
01:02:52,560 --> 01:02:54,840
Speaker 1: the influences. I think for making that record that that

1285
01:02:54,840 --> 01:02:56,560
Speaker 1: should be the song that because you have to go

1286
01:02:56,600 --> 01:02:59,680
Speaker 1: to different places with different songs, and we're in the

1287
01:02:59,760 --> 01:03:02,920
Speaker 1: next five years they're all going to be split off

1288
01:03:02,960 --> 01:03:07,960
Speaker 1: into their own major awesome sections. Meaning right now songwriters

1289
01:03:07,960 --> 01:03:10,480
Speaker 1: are mostly getting paid from radio. There's gonna be a

1290
01:03:10,520 --> 01:03:14,800
Speaker 1: point where the streaming lifts because it has to, and

1291
01:03:15,000 --> 01:03:19,680
Speaker 1: maybe radio falls a bit, and even podcast. It's such

1292
01:03:19,720 --> 01:03:22,360
Speaker 1: the wild West in music right now. It's not that

1293
01:03:22,480 --> 01:03:27,160
Speaker 1: laws aren't being adhered to, they just haven't been created

1294
01:03:27,240 --> 01:03:29,880
Speaker 1: yet because it's also new. And even the one that

1295
01:03:30,000 --> 01:03:32,600
Speaker 1: just is, I think it's in the house right now,

1296
01:03:32,640 --> 01:03:35,040
Speaker 1: it's about to pass. The problem with some of the

1297
01:03:35,120 --> 01:03:37,040
Speaker 1: laws that are coming out is that are so far

1298
01:03:37,080 --> 01:03:39,800
Speaker 1: behind that even when we do have a nice nature

1299
01:03:39,840 --> 01:03:42,320
Speaker 1: of a law though it's true, it's true, and there's

1300
01:03:42,320 --> 01:03:43,800
Speaker 1: so many things. Let me look at the country as

1301
01:03:43,800 --> 01:03:46,360
Speaker 1: a whole. We're going through all these kinds of craziness.

1302
01:03:46,400 --> 01:03:49,200
Speaker 1: So for us to expect the legislation in the music

1303
01:03:49,240 --> 01:03:53,080
Speaker 1: industry to be up to par, it's a little crazy.

1304
01:03:53,200 --> 01:03:55,080
Speaker 1: You ask my favorite track on the Muscrab's album, I

1305
01:03:55,160 --> 01:03:57,480
Speaker 1: love it so much. I didn't take one song off

1306
01:03:57,520 --> 01:03:59,440
Speaker 1: of my list. And most times I get a record,

1307
01:03:59,680 --> 01:04:02,600
Speaker 1: even records I really like, I go, there's one or

1308
01:04:02,600 --> 01:04:05,959
Speaker 1: two songs i'll wipe away. I didn't unwipe one song.

1309
01:04:06,520 --> 01:04:09,720
Speaker 1: My favorite song is probably because I'm I'm a sucker

1310
01:04:09,800 --> 01:04:13,280
Speaker 1: for a sappy love song or a sad song. I think,

1311
01:04:13,920 --> 01:04:17,400
Speaker 1: Oh what a world. Yeah that's and then there was you.

1312
01:04:17,680 --> 01:04:20,920
Speaker 1: I'll come on. They have a vocoder in there. I mean,

1313
01:04:20,920 --> 01:04:24,480
Speaker 1: the whole album is very seventies influenced. Daniel Tashan and

1314
01:04:24,520 --> 01:04:26,960
Speaker 1: Ian Fitzchick did the production on it. They did it

1315
01:04:26,960 --> 01:04:31,240
Speaker 1: at um R Crow's at the Barn and Barn like

1316
01:04:31,320 --> 01:04:33,000
Speaker 1: I know, like I hang out with you. I've just

1317
01:04:33,000 --> 01:04:36,320
Speaker 1: heard so many people talk about but yeah, and I

1318
01:04:36,360 --> 01:04:38,400
Speaker 1: think I read Kasi talking about she had spent a

1319
01:04:38,440 --> 01:04:41,120
Speaker 1: lot of time over there. Pretty cool album this is. Yeah,

1320
01:04:41,200 --> 01:04:43,160
Speaker 1: it's such a good record. Are you Are you gonna

1321
01:04:43,160 --> 01:04:44,200
Speaker 1: put out a record? You can try to do an

1322
01:04:44,240 --> 01:04:48,240
Speaker 1: artist thing? No, man, we looked at it at times.

1323
01:04:48,280 --> 01:04:50,320
Speaker 1: You do the feature things or like do you know

1324
01:04:50,400 --> 01:04:53,280
Speaker 1: me me Ashley. I've even talked about just doing something

1325
01:04:53,320 --> 01:04:56,280
Speaker 1: like that. But I'll do I may do some more.

1326
01:04:56,440 --> 01:04:58,320
Speaker 1: We sometimes I'll go out in DJ. The life changes

1327
01:04:58,440 --> 01:05:01,280
Speaker 1: when he does the home team runs where it's he's

1328
01:05:01,320 --> 01:05:04,320
Speaker 1: the headliner. So I might do some of that. Stuff,

1329
01:05:04,360 --> 01:05:08,440
Speaker 1: But I really don't have any like aspirations to do

1330
01:05:08,480 --> 01:05:12,440
Speaker 1: anything like that. Was it what's your instrument? Um? I

1331
01:05:12,520 --> 01:05:14,560
Speaker 1: play a little bit of piano. I played a little

1332
01:05:14,560 --> 01:05:19,080
Speaker 1: bit of guitar. Um. I kind of came up. You

1333
01:05:19,120 --> 01:05:23,280
Speaker 1: know what we call programming, so making tracks? Um? So

1334
01:05:23,320 --> 01:05:25,480
Speaker 1: sometimes I think the computers an instrument. Yeah, I'm not

1335
01:05:25,520 --> 01:05:27,760
Speaker 1: a guy that hates on the computer either. The computers

1336
01:05:27,800 --> 01:05:30,680
Speaker 1: have always been an instrument in different ways. When we

1337
01:05:30,680 --> 01:05:35,600
Speaker 1: first started this track producers writer producers has been going

1338
01:05:35,600 --> 01:05:38,400
Speaker 1: on in music for decades and decades, but when it

1339
01:05:38,400 --> 01:05:41,560
Speaker 1: first started happening in Nashville, people kind of didn't understand

1340
01:05:41,600 --> 01:05:44,320
Speaker 1: it because we would basically would write a song and

1341
01:05:44,360 --> 01:05:46,600
Speaker 1: then we would go to a studio and do a

1342
01:05:46,640 --> 01:05:50,360
Speaker 1: demo recording, a demonstration recording, and we would hire players

1343
01:05:50,400 --> 01:05:52,800
Speaker 1: and play it, and then we would take that demo

1344
01:05:53,200 --> 01:05:56,400
Speaker 1: and play it for artists or record labels. Well, what

1345
01:05:56,480 --> 01:05:59,920
Speaker 1: a writer producer would do like today, for instance, I'll

1346
01:06:00,000 --> 01:06:02,800
Speaker 1: either have tracks already made that if I played them

1347
01:06:02,800 --> 01:06:04,880
Speaker 1: for you guys or the audience that just sounds like

1348
01:06:05,720 --> 01:06:10,040
Speaker 1: instrumental karaoke tracks. And so if we go out with Thomas,

1349
01:06:10,120 --> 01:06:14,240
Speaker 1: I'll have ten to twenty tracks stockpiled anything from this

1350
01:06:14,280 --> 01:06:17,160
Speaker 1: one sounds like you know, old R and B. This

1351
01:06:17,200 --> 01:06:21,160
Speaker 1: one sounds like you know, post Malone country or whatever

1352
01:06:21,200 --> 01:06:24,280
Speaker 1: it is, and all these different influences and play him

1353
01:06:24,360 --> 01:06:26,800
Speaker 1: for them. And sometimes we'll go from scratch sounds like

1354
01:06:26,840 --> 01:06:30,200
Speaker 1: Marry Me or Unforgettable. We built from scratch. But as

1355
01:06:30,240 --> 01:06:32,600
Speaker 1: we're sort of writing, we're sort of building up the

1356
01:06:32,680 --> 01:06:35,880
Speaker 1: music around it as well. So my main instrument is

1357
01:06:35,880 --> 01:06:38,520
Speaker 1: sort of all of them. In a way. I'm a

1358
01:06:38,640 --> 01:06:41,840
Speaker 1: terrible musician, but I just was able to kind of

1359
01:06:41,960 --> 01:06:46,600
Speaker 1: understand manipulating the sounds and the computers, and I love

1360
01:06:46,840 --> 01:06:49,480
Speaker 1: all kinds of genres, so kind of getting from all

1361
01:06:49,480 --> 01:06:53,120
Speaker 1: those little pieces and you know, pick up an organ here,

1362
01:06:53,240 --> 01:06:56,200
Speaker 1: piano here, make this sound like brass horns or whatever

1363
01:06:56,240 --> 01:06:58,800
Speaker 1: it is. It's funny you say that you're a terrible musician,

1364
01:06:59,480 --> 01:07:01,360
Speaker 1: much like I feel like I'm terrible on the radio,

1365
01:07:01,400 --> 01:07:05,720
Speaker 1: like I really do. I'm not good at talking. So

1366
01:07:05,760 --> 01:07:09,040
Speaker 1: but I think having a weakness at a lot of

1367
01:07:09,040 --> 01:07:11,240
Speaker 1: things makes you super strong another area, because you have

1368
01:07:11,320 --> 01:07:13,880
Speaker 1: to learn to compensate or you just die. Like you

1369
01:07:13,880 --> 01:07:17,480
Speaker 1: wouldn't be to this level if you didn't find a

1370
01:07:17,480 --> 01:07:20,840
Speaker 1: way to compensate for what you're calling weakness. I've done

1371
01:07:20,840 --> 01:07:22,800
Speaker 1: that in a radio. It's not because of my voice,

1372
01:07:22,880 --> 01:07:26,680
Speaker 1: not because I'm super funny, but I think the weaknesses

1373
01:07:26,840 --> 01:07:30,440
Speaker 1: create this place. Well, I must survive and then thrive,

1374
01:07:31,200 --> 01:07:33,640
Speaker 1: and that's what you've done, and being able to suck

1375
01:07:33,640 --> 01:07:35,280
Speaker 1: at all the other things you've been able to do

1376
01:07:35,360 --> 01:07:40,040
Speaker 1: it in a different way. I feel like I don't

1377
01:07:40,080 --> 01:07:44,600
Speaker 1: have the you know, Hillary Lindsay, prolific, you know brain. Um,

1378
01:07:44,640 --> 01:07:47,280
Speaker 1: I'm very involved lyrically writing in the room, so I'm

1379
01:07:47,320 --> 01:07:49,680
Speaker 1: not just music. I've spin the chair around. We're top

1380
01:07:49,760 --> 01:07:52,000
Speaker 1: lining all the time, or top lining being Melie and

1381
01:07:52,120 --> 01:07:56,680
Speaker 1: lyrics as well. But I do feel like I am

1382
01:07:56,720 --> 01:07:59,080
Speaker 1: a hard worker. I'm a hustler and I love the

1383
01:07:59,160 --> 01:08:02,720
Speaker 1: kind of the aim of it to the business of music.

1384
01:08:02,840 --> 01:08:05,320
Speaker 1: So a lot of times, once we're done writing a song,

1385
01:08:05,520 --> 01:08:07,600
Speaker 1: that's just the first part of it. I mean, you

1386
01:08:07,600 --> 01:08:10,160
Speaker 1: know what goes into picking a single, I means, and

1387
01:08:10,200 --> 01:08:12,120
Speaker 1: what goes into it is I have no idea. And

1388
01:08:12,160 --> 01:08:14,760
Speaker 1: as soon as you people start to go here's the thing, Jesse,

1389
01:08:15,000 --> 01:08:17,320
Speaker 1: people will go, oh, I can tell you what song

1390
01:08:17,360 --> 01:08:18,920
Speaker 1: is gonna be a hit. And as someone who has

1391
01:08:18,960 --> 01:08:22,240
Speaker 1: broken many songs and many I have no idea, and

1392
01:08:22,280 --> 01:08:24,040
Speaker 1: I think that's what makes me the smartest man. I'm

1393
01:08:24,080 --> 01:08:27,320
Speaker 1: like Socrates music. You know what Socrates new, it's martcause

1394
01:08:27,320 --> 01:08:29,439
Speaker 1: he didn't know, and he knew he didn't know. I

1395
01:08:29,520 --> 01:08:32,679
Speaker 1: don't know crap. I just hear something to go oh,

1396
01:08:32,800 --> 01:08:35,240
Speaker 1: and I'll see some of these radio pds, I go oh,

1397
01:08:35,280 --> 01:08:38,439
Speaker 1: I can tell a hit? No, what was shut up? No?

1398
01:08:38,640 --> 01:08:40,479
Speaker 1: I don't think. I don't think the artists can tell.

1399
01:08:40,840 --> 01:08:44,120
Speaker 1: I think they're like I said, the writers, how the

1400
01:08:44,160 --> 01:08:46,240
Speaker 1: song go? Today? Wife will say, well, I don't know.

1401
01:08:46,520 --> 01:08:48,040
Speaker 1: I'll have to listen to it tomorrow. Like you're too

1402
01:08:48,080 --> 01:08:50,040
Speaker 1: close to it in the room. We did something that

1403
01:08:50,120 --> 01:08:53,680
Speaker 1: we liked today, you feel like it's catchy, but it's

1404
01:08:53,720 --> 01:08:56,280
Speaker 1: a hit. None of us know. I just mean that

1405
01:08:56,360 --> 01:08:59,080
Speaker 1: I do love the game, all those little things we

1406
01:08:59,160 --> 01:09:01,760
Speaker 1: talked about, the charts, the business of it. I'm a

1407
01:09:01,800 --> 01:09:06,800
Speaker 1: business minded person as well, so I love helping other

1408
01:09:06,880 --> 01:09:10,840
Speaker 1: writers form brands and pitching their music and anything that

1409
01:09:10,920 --> 01:09:13,040
Speaker 1: kind of gets me away from just the creative brain.

1410
01:09:13,160 --> 01:09:16,559
Speaker 1: Sometimes it's nice, but I do that like that grind

1411
01:09:16,640 --> 01:09:20,439
Speaker 1: is It helps us absolutely, It makes us again. It

1412
01:09:20,520 --> 01:09:23,479
Speaker 1: makes us smarter at everything else because why you're hustling.

1413
01:09:23,520 --> 01:09:25,400
Speaker 1: We have to really we have to understand. Okay, well

1414
01:09:25,439 --> 01:09:29,240
Speaker 1: I only have so much energy. Where do I put what? Absolutely,

1415
01:09:29,800 --> 01:09:32,000
Speaker 1: so you've got to be in bed by eight thirty tonight.

1416
01:09:32,439 --> 01:09:37,040
Speaker 1: I'm gonna make sure there. I just finished my first

1417
01:09:37,080 --> 01:09:39,680
Speaker 1: full job of eight hours by eleven o'clock. You know what,

1418
01:09:39,760 --> 01:09:41,840
Speaker 1: Most people have been up a couple of hours. But yeah,

1419
01:09:41,840 --> 01:09:43,760
Speaker 1: I'm a big fan of you man, especially talking with

1420
01:09:43,800 --> 01:09:45,479
Speaker 1: you more. I haven't really enjoyed this. Well, we'll have

1421
01:09:45,520 --> 01:09:47,400
Speaker 1: to get out sneakers for certain. The size of you,

1422
01:09:47,439 --> 01:09:50,880
Speaker 1: by the way, unless you asked me publicly, and I'm

1423
01:09:50,880 --> 01:09:54,519
Speaker 1: a nineteen right, yeah, you know what I'm saying. Can

1424
01:09:54,560 --> 01:09:57,840
Speaker 1: you imagine if you saw Shaquille O'Neill next to you peeing,

1425
01:09:57,840 --> 01:10:01,040
Speaker 1: and usually because i'm five six on a with you

1426
01:10:01,080 --> 01:10:03,720
Speaker 1: know a little bit of a heel, it's okay. So

1427
01:10:03,760 --> 01:10:06,080
Speaker 1: if you saw Chaquilla peeing at a yurnal would you

1428
01:10:06,120 --> 01:10:09,519
Speaker 1: look and see how big? Just talking, because I've always

1429
01:10:09,520 --> 01:10:11,439
Speaker 1: said I would, I'm absolutely curious. I would like to

1430
01:10:11,439 --> 01:10:13,120
Speaker 1: see how big skill and the winer is. He's seven

1431
01:10:13,120 --> 01:10:16,599
Speaker 1: foot four. That makes just going from would you look

1432
01:10:16,680 --> 01:10:18,600
Speaker 1: or not I'd be scared cheers, I mean, would be

1433
01:10:18,640 --> 01:10:21,280
Speaker 1: empowering giant, like not even want to see it, though

1434
01:10:21,280 --> 01:10:23,880
Speaker 1: It'd be worth it to me even if he catches

1435
01:10:23,920 --> 01:10:25,760
Speaker 1: me and get a couple of shots there. I would

1436
01:10:25,760 --> 01:10:27,680
Speaker 1: like to look down to see his oener because how

1437
01:10:27,680 --> 01:10:32,040
Speaker 1: big is the seven said? Okay, even that even that way,

1438
01:10:32,200 --> 01:10:34,519
Speaker 1: Yeah for sure. Did you watch wrestling? How Mike is

1439
01:10:34,560 --> 01:10:38,360
Speaker 1: just it's like fat chick? Oh yeah, in fact you were.

1440
01:10:38,560 --> 01:10:41,840
Speaker 1: I went to this thing that had canceled Cruis the Travel.

1441
01:10:41,880 --> 01:10:45,280
Speaker 1: I think that was awesome what mcfolo was talking and

1442
01:10:45,320 --> 01:10:47,960
Speaker 1: given it and I was gonna go. Ben Vaughan had

1443
01:10:47,960 --> 01:10:52,599
Speaker 1: invited me. And it's all about the Helen, was it? Helen?

1444
01:10:52,600 --> 01:10:58,320
Speaker 1: The cage Helen? The whole thing is about this one

1445
01:10:58,360 --> 01:11:01,120
Speaker 1: event and how it changed his life. And so it

1446
01:11:01,160 --> 01:11:04,120
Speaker 1: was really interesting. Actually I'm super jail. I really wanted

1447
01:11:04,120 --> 01:11:06,000
Speaker 1: to go. It was another one coming up, the Honky

1448
01:11:06,000 --> 01:11:07,639
Speaker 1: Tonk Man. I think he's doing the Honky Tonk Man's

1449
01:11:07,640 --> 01:11:10,360
Speaker 1: coming to town, Luken, do you even know Honky tong

1450
01:11:10,400 --> 01:11:13,960
Speaker 1: Man is? So he'd looked like Elvis and he danced

1451
01:11:14,000 --> 01:11:16,320
Speaker 1: with a guitar and he was the name the Howckey

1452
01:11:16,320 --> 01:11:18,200
Speaker 1: talk and he bust the guitar over them. And it

1453
01:11:18,280 --> 01:11:20,639
Speaker 1: was not a real guitar, but he bust the guitar

1454
01:11:20,680 --> 01:11:22,400
Speaker 1: over them. Yeah, I'm a wrestling nerve. Have you seen

1455
01:11:22,439 --> 01:11:27,320
Speaker 1: the Andre Oh, it's awesome, It's I felt sad. It's

1456
01:11:27,320 --> 01:11:31,000
Speaker 1: pretty tragic. Actually, I felt sad because there's a difference

1457
01:11:31,000 --> 01:11:33,120
Speaker 1: in the Andre the Giant documentary and the Rick Flair one.

1458
01:11:33,120 --> 01:11:36,840
Speaker 1: Have you seen? You feel sad for it? But here's

1459
01:11:36,880 --> 01:11:38,880
Speaker 1: the difference of the two without running it for you,

1460
01:11:39,000 --> 01:11:40,879
Speaker 1: is that Rick Flair did a lot of that to himself.

1461
01:11:41,360 --> 01:11:44,519
Speaker 1: He put himself in a situation that he wasn't able

1462
01:11:44,560 --> 01:11:46,960
Speaker 1: to create relationships and bonds, and it's very It is sad.

1463
01:11:47,479 --> 01:11:49,840
Speaker 1: Andre the John was born that way like he was

1464
01:11:49,880 --> 01:11:52,880
Speaker 1: when he kept growing and the next thing you know,

1465
01:11:52,920 --> 01:11:56,280
Speaker 1: he you know, seven foot tall, his body's going faster

1466
01:11:56,320 --> 01:11:59,600
Speaker 1: than he can keep up with what they're there. You know,

1467
01:11:59,600 --> 01:12:03,040
Speaker 1: he's based your cartoon character. Yeah, they're shipping him around

1468
01:12:03,280 --> 01:12:07,400
Speaker 1: circus actor and he can't use urnal in the airplanes.

1469
01:12:07,439 --> 01:12:09,679
Speaker 1: They have to build a curtain around him. How crazy

1470
01:12:09,760 --> 01:12:11,599
Speaker 1: is that? So some of those kind of moments are

1471
01:12:11,680 --> 01:12:14,800
Speaker 1: it's just pretty heartbreaking, But that was pretty well done.

1472
01:12:15,120 --> 01:12:17,680
Speaker 1: Do you million dollar man him, Yeah, I think his

1473
01:12:17,720 --> 01:12:20,880
Speaker 1: son wrestles now could be I think so. Well, listen,

1474
01:12:20,880 --> 01:12:23,559
Speaker 1: I would go for two hours. I really appreciate. I'm

1475
01:12:23,640 --> 01:12:26,720
Speaker 1: fan and thanks for putting songwriters and do at this man.

1476
01:12:26,760 --> 01:12:29,120
Speaker 1: I've enjoyed this one. Okay, So anything you'd like to

1477
01:12:29,120 --> 01:12:33,439
Speaker 1: tell people to consume right now? Uh? Well, life changes

1478
01:12:33,520 --> 01:12:41,360
Speaker 1: is out? Um what else we have? Lady Annabelle? Heartbreaks out? Um?

1479
01:12:41,600 --> 01:12:44,640
Speaker 1: You that record? I just wrote that heartbreak? You're at

1480
01:12:44,720 --> 01:12:48,559
Speaker 1: a single? Yeah? Uh did you write that one? Nicole Galleon,

1481
01:12:49,120 --> 01:12:53,240
Speaker 1: We're actually down in Florida with Lady all of us

1482
01:12:53,280 --> 01:12:59,120
Speaker 1: wrote that. Well, everyone stream by tell your friends thanks

1483
01:12:59,120 --> 01:13:02,519
Speaker 1: for listening to all styles of country music, country music

1484
01:13:02,560 --> 01:13:05,800
Speaker 1: and it's all country music, it's all subgenres. Well, it's

1485
01:13:05,800 --> 01:13:07,640
Speaker 1: been great, Thank you very much. Seeing my friend right.

1486
01:13:07,960 --> 01:13:08,320
Speaker 1: Thanks Mike