1 00:00:01,040 --> 00:00:02,720 Speaker 1: All right, this is a a very special episode for us, 2 00:00:02,720 --> 00:00:06,960 Speaker 1: episode one hundred. I always said from the infancy stages 3 00:00:07,000 --> 00:00:09,119 Speaker 1: of this podcast, and once we hit one hundred, we 4 00:00:09,160 --> 00:00:12,520 Speaker 1: are officially a real podcast. So after this episode concludes 5 00:00:12,520 --> 00:00:15,400 Speaker 1: with Christian Bush, we will be a real podcast. And 6 00:00:15,480 --> 00:00:17,799 Speaker 1: I thank you all for listening to this thing and 7 00:00:17,840 --> 00:00:21,759 Speaker 1: making it big and relatively speaking big and might deep. 8 00:00:22,800 --> 00:00:26,759 Speaker 1: Good job. My friend been been at it since the beginning. 9 00:00:27,920 --> 00:00:30,720 Speaker 1: I bought all the equipment, didn't tell the company what 10 00:00:30,760 --> 00:00:34,120 Speaker 1: we're doing it. Mike set it up, been in two 11 00:00:34,120 --> 00:00:37,040 Speaker 1: houses and here we are episode one. How didn't get 12 00:00:37,080 --> 00:00:44,080 Speaker 1: your hands up? We're about to start with a Christian 13 00:00:44,080 --> 00:00:46,520 Speaker 1: in a second. But I just want to say thank 14 00:00:46,560 --> 00:00:48,199 Speaker 1: you so much for listening. We're trying to get on 15 00:00:48,240 --> 00:00:52,000 Speaker 1: songwriters and producers and artists and have our long conversations 16 00:00:52,000 --> 00:00:53,639 Speaker 1: just can't hear anywhere else. I think we've been able 17 00:00:53,680 --> 00:00:55,880 Speaker 1: to do that. And check out just scroll through and 18 00:00:55,960 --> 00:01:00,120 Speaker 1: check out Mary Moore's, Chris Stapleton and Ross Comperiman and 19 00:01:00,160 --> 00:01:04,480 Speaker 1: Shane McNally. There are so many there, just stories up stories. 20 00:01:04,959 --> 00:01:08,319 Speaker 1: We've tried to bring that to you. Even John Oates 21 00:01:08,480 --> 00:01:11,319 Speaker 1: from Hall of Notes. You know, we've had a John Mayer, 22 00:01:11,600 --> 00:01:12,959 Speaker 1: a lot, a lot of ones that aren't in the 23 00:01:13,000 --> 00:01:15,360 Speaker 1: format too. So I want to say that on the 24 00:01:15,440 --> 00:01:17,680 Speaker 1: Nashville Podcast Network and here we are, Episode one hundred, 25 00:01:17,680 --> 00:01:19,679 Speaker 1: we also have a network of shows. I like to 26 00:01:19,720 --> 00:01:22,840 Speaker 1: encourage you to check out Good Company with Jake Owen. 27 00:01:23,520 --> 00:01:25,319 Speaker 1: I like to encourage you to check out Geeking Out 28 00:01:25,319 --> 00:01:28,280 Speaker 1: with Christian Bush, which is not even about music really, 29 00:01:28,319 --> 00:01:31,840 Speaker 1: it's just about people geeking out over things. Whiskey ref 30 00:01:31,920 --> 00:01:33,880 Speaker 1: Raff with the guest from Whiskey Riff to a show 31 00:01:33,920 --> 00:01:37,520 Speaker 1: from Chicago about country music has the fans perspective. So 32 00:01:37,640 --> 00:01:39,360 Speaker 1: thank you for letting us do that special music for 33 00:01:39,400 --> 00:01:41,680 Speaker 1: episode one hundred. Although I might keep this and I'll 34 00:01:41,720 --> 00:01:43,160 Speaker 1: like to you like I kind of fee all and 35 00:01:43,200 --> 00:01:46,120 Speaker 1: I love that get your hands up. Here we are 36 00:01:46,280 --> 00:01:51,240 Speaker 1: Episode one hundred. Here we are, Episode one hundred. I 37 00:01:52,080 --> 00:01:58,040 Speaker 1: didn't know would be so much funding. Episode one hundred. 38 00:01:58,160 --> 00:02:00,960 Speaker 1: All right, I'm gonna in this down. We're gonna start 39 00:02:00,960 --> 00:02:04,000 Speaker 1: with Christian Bush. But appreciate everybody for listening. And Mike, 40 00:02:04,080 --> 00:02:07,640 Speaker 1: let's keep this music, okay, because I feel like eating 41 00:02:09,800 --> 00:02:15,239 Speaker 1: something human. It feels like a zombie movie. Alright, Christian Bush, 42 00:02:15,280 --> 00:02:19,280 Speaker 1: Episode hundre. Here we go. I welcome to the biggest 43 00:02:19,280 --> 00:02:22,680 Speaker 1: episode in the history of our podcast. For two reasons, yeah, 44 00:02:22,720 --> 00:02:27,359 Speaker 1: for two reasons. One, it's our one episode. Yes, oh 45 00:02:27,400 --> 00:02:31,960 Speaker 1: my god. We were going to do some sort of 46 00:02:32,000 --> 00:02:35,000 Speaker 1: special for one hundred. This is honest, God truth, and 47 00:02:35,480 --> 00:02:38,040 Speaker 1: I said, well, Christian is going to come up in 48 00:02:38,080 --> 00:02:41,040 Speaker 1: the next few weeks. So we saved episode one hundred 49 00:02:41,040 --> 00:02:44,160 Speaker 1: because I wanted it to be you, and that's why. 50 00:02:44,280 --> 00:02:47,120 Speaker 1: So it's all. And I've always said a car or something, 51 00:02:48,360 --> 00:02:54,360 Speaker 1: no does everybody in the room is a thing. Not 52 00:02:54,520 --> 00:02:56,760 Speaker 1: so much. But you can have my hat. I guess 53 00:02:57,360 --> 00:03:01,079 Speaker 1: we can trade hats. So it's are I've always said 54 00:03:01,080 --> 00:03:04,200 Speaker 1: to myself, you're not a legitimate podcast that has proven 55 00:03:04,400 --> 00:03:05,919 Speaker 1: that you will stay the test of time until you 56 00:03:06,000 --> 00:03:09,280 Speaker 1: hit one hundred episodes can be, but you needed a 57 00:03:09,360 --> 00:03:11,360 Speaker 1: hundred so people trust that you were going to be there. 58 00:03:11,720 --> 00:03:14,280 Speaker 1: And so we have over a hundred hours of content 59 00:03:14,440 --> 00:03:17,959 Speaker 1: of artists, producers, songwriters, and this is our one hundred. 60 00:03:18,040 --> 00:03:21,120 Speaker 1: So we're officially today. We're really yes, that's right, we 61 00:03:21,200 --> 00:03:26,240 Speaker 1: are a real podcast. Everyone yep, So that decide. I'm 62 00:03:26,320 --> 00:03:28,320 Speaker 1: very happy you're here. Mr Christian. Well, thank you for 63 00:03:28,320 --> 00:03:31,120 Speaker 1: having me, but so much to talk about, and I 64 00:03:31,160 --> 00:03:34,040 Speaker 1: feel like, why don't we start with today? Because Christian 65 00:03:34,040 --> 00:03:37,600 Speaker 1: has a new podcast that's up now and we'll get 66 00:03:37,640 --> 00:03:40,960 Speaker 1: to that, and we're gonna get to life. But why 67 00:03:40,960 --> 00:03:43,760 Speaker 1: don't we just start with today and let's talk about 68 00:03:43,760 --> 00:03:47,800 Speaker 1: sugar Land coming back. So I had mentioned to you 69 00:03:47,880 --> 00:03:49,720 Speaker 1: that it was difficult for me to interview you and 70 00:03:49,800 --> 00:03:52,360 Speaker 1: Jennifer because I just knew too much. I knew you 71 00:03:52,360 --> 00:03:55,080 Speaker 1: guys were coming back together before, and I'm a good 72 00:03:55,080 --> 00:03:58,000 Speaker 1: secret keeper. Yeah, but we'll back story that. Okay, I'll 73 00:03:58,000 --> 00:04:01,920 Speaker 1: back story for you. And this microphone the right one. O. UM, 74 00:04:02,040 --> 00:04:06,800 Speaker 1: I remember the moment where uh, my phone blew up 75 00:04:07,680 --> 00:04:13,240 Speaker 1: because um, people and that were listeners, and especially people 76 00:04:13,240 --> 00:04:15,080 Speaker 1: in the industry knew that you and I knew each 77 00:04:15,120 --> 00:04:17,880 Speaker 1: other because I you invited me to write on your 78 00:04:17,560 --> 00:04:21,680 Speaker 1: your first record, and you had said something on the 79 00:04:21,720 --> 00:04:23,680 Speaker 1: air about, you know what, why don't we bring sugar 80 00:04:23,760 --> 00:04:29,719 Speaker 1: Land back together together? And that was like a week 81 00:04:29,880 --> 00:04:34,160 Speaker 1: after I had gotten a phone call that said, hey, so, 82 00:04:34,440 --> 00:04:37,440 Speaker 1: if by chance, would this be something you'd be interested 83 00:04:37,440 --> 00:04:41,000 Speaker 1: in from Jennifer and and her people. And I was 84 00:04:41,080 --> 00:04:44,360 Speaker 1: like huh, and she said, look, do you can't tell 85 00:04:44,400 --> 00:04:48,000 Speaker 1: anybody that I've called you. And the first thing that 86 00:04:48,040 --> 00:04:51,080 Speaker 1: I thought to myself was, oh, my god, they think 87 00:04:51,080 --> 00:04:55,279 Speaker 1: I told Bobby, And well, that's what I was worried 88 00:04:55,720 --> 00:04:59,240 Speaker 1: because I have like five friends on Earth, and I 89 00:04:59,240 --> 00:05:01,839 Speaker 1: would consider you one of them. But I'm not sure 90 00:05:01,880 --> 00:05:04,640 Speaker 1: I would have disclosed that to you even if we 91 00:05:04,640 --> 00:05:09,560 Speaker 1: were friends. I did not, but I immediately thought that 92 00:05:09,600 --> 00:05:13,960 Speaker 1: I was. Oh. So I called my people and say, 93 00:05:14,000 --> 00:05:17,080 Speaker 1: can you call Bobby's people and tell him that he's 94 00:05:17,160 --> 00:05:22,479 Speaker 1: too close to the truth. He's flying deep throat, is 95 00:05:22,520 --> 00:05:26,280 Speaker 1: too close to Watergate. You know, I'm random. And because 96 00:05:26,320 --> 00:05:28,719 Speaker 1: I got a call that day from Tom, who we 97 00:05:28,760 --> 00:05:31,800 Speaker 1: both worked with, and Tom says, hey, can you come 98 00:05:31,839 --> 00:05:36,680 Speaker 1: to the office, I said, yeah, sure, I really get 99 00:05:37,200 --> 00:05:41,200 Speaker 1: called in. He just didn't want to tie text anything 100 00:05:41,360 --> 00:05:43,520 Speaker 1: or he goes, hey, I need to not talk about 101 00:05:43,520 --> 00:05:45,880 Speaker 1: sugar Land. So I think it's a great idea. What 102 00:05:45,920 --> 00:05:48,600 Speaker 1: if we got him back together for one show? Hey, 103 00:05:49,080 --> 00:05:51,279 Speaker 1: we need to not talk about sugar Land because they're 104 00:05:51,279 --> 00:05:54,080 Speaker 1: talking about sugar Land. And I was like, oh, I'm 105 00:05:54,080 --> 00:05:58,920 Speaker 1: out nothing. It was completely random and rare, and I 106 00:05:59,000 --> 00:06:02,000 Speaker 1: just felt my heart like they should be together again, 107 00:06:02,520 --> 00:06:05,039 Speaker 1: and I'm if for everybody listening that thinks maybe there 108 00:06:05,400 --> 00:06:08,400 Speaker 1: was nothing up. No, but I love your thank you. 109 00:06:09,200 --> 00:06:12,120 Speaker 1: Apparently it has the ability to will things into existence. 110 00:06:12,960 --> 00:06:14,640 Speaker 1: So I'd like you to say some other things on 111 00:06:14,680 --> 00:06:17,120 Speaker 1: the on the air, like you know, still the same 112 00:06:17,200 --> 00:06:21,000 Speaker 1: number one record. I feel still the same should be 113 00:06:21,000 --> 00:06:24,039 Speaker 1: a number one record. So I was trying to think 114 00:06:24,080 --> 00:06:27,760 Speaker 1: back because I don't know how we know, how we 115 00:06:27,880 --> 00:06:30,839 Speaker 1: actually met met? Okay, I do, I do? I do. 116 00:06:31,000 --> 00:06:35,719 Speaker 1: I loved Southern your record, That's what I want. What 117 00:06:35,760 --> 00:06:37,640 Speaker 1: I felt was because I didn't know you. I felt 118 00:06:37,640 --> 00:06:39,520 Speaker 1: like Trailer Hitch was one of those songs they screwed 119 00:06:39,600 --> 00:06:42,000 Speaker 1: up on Big Time because it was so good and 120 00:06:42,160 --> 00:06:45,440 Speaker 1: radio didn't give it the shot that it deserved. And 121 00:06:45,560 --> 00:06:49,720 Speaker 1: I remember just screaming about radio just I couldn't believe 122 00:06:50,080 --> 00:06:53,800 Speaker 1: that that was not a massive hit because it was 123 00:06:53,880 --> 00:06:59,000 Speaker 1: so good, and I was a little bit upset everybody, 124 00:06:59,200 --> 00:07:02,320 Speaker 1: and I said, hey, why aren't we helping this song? 125 00:07:02,400 --> 00:07:04,479 Speaker 1: It's so good. I didn't know you. We never met, 126 00:07:05,520 --> 00:07:08,000 Speaker 1: and that was the first time that someone said, hey, 127 00:07:08,000 --> 00:07:10,600 Speaker 1: you would you like to meet Christian And I was like, yeah, 128 00:07:11,800 --> 00:07:15,000 Speaker 1: sings and I didn't know came up came to the studio. 129 00:07:16,000 --> 00:07:17,600 Speaker 1: We talk, We talked a bit, but a lot of 130 00:07:17,640 --> 00:07:19,200 Speaker 1: people come to the studio. I talked a lot of people, 131 00:07:19,200 --> 00:07:21,640 Speaker 1: and I don't ever even do anything outside of my bubble, 132 00:07:22,560 --> 00:07:24,640 Speaker 1: and uh, I say, hey, we should get together, and 133 00:07:24,640 --> 00:07:26,320 Speaker 1: never do I follow that up because I never think 134 00:07:26,320 --> 00:07:28,120 Speaker 1: it's real. But for some reason I felt like you 135 00:07:28,160 --> 00:07:30,400 Speaker 1: were real, Like you like, hey, you want to just 136 00:07:30,520 --> 00:07:34,240 Speaker 1: come over, we'll do something. We'll right. And so you 137 00:07:34,280 --> 00:07:37,239 Speaker 1: were back in town because your permanent residences in Atlanta, 138 00:07:37,360 --> 00:07:40,320 Speaker 1: your main residence, and you're like, hey, I'm not gonna place, 139 00:07:40,360 --> 00:07:43,000 Speaker 1: come over. Well, I was writing a record and I 140 00:07:43,040 --> 00:07:46,239 Speaker 1: went over and we wrote every day is a good day. 141 00:07:46,360 --> 00:07:48,880 Speaker 1: Every day it is a good day, and that's how. 142 00:07:48,960 --> 00:07:50,200 Speaker 1: And I was like, I have to be friends with 143 00:07:50,200 --> 00:07:52,320 Speaker 1: that dude. He has three iPads going seven guitars to 144 00:07:52,480 --> 00:07:54,520 Speaker 1: mandolin's his whif he's playing with his feet on a 145 00:07:54,560 --> 00:07:56,480 Speaker 1: poco ball. It was the craziest thing I've ever seen. 146 00:07:57,000 --> 00:07:58,680 Speaker 1: He's crazy, like I have it in a different way. 147 00:07:59,080 --> 00:08:01,240 Speaker 1: And then I thought, yeah, we should be friend. And 148 00:08:01,280 --> 00:08:04,160 Speaker 1: then since then we've actually kept up a relationship. I mean, 149 00:08:04,240 --> 00:08:06,000 Speaker 1: I don't live here, so I can't. I don't have 150 00:08:06,040 --> 00:08:08,880 Speaker 1: a whole lot of, you know, time, but I also 151 00:08:08,880 --> 00:08:11,080 Speaker 1: I'm not here very often. I know you're not, but 152 00:08:11,160 --> 00:08:14,920 Speaker 1: I do appreciate it. You know. It's I've been doing 153 00:08:14,960 --> 00:08:16,640 Speaker 1: this for a very long time, and it's very rare 154 00:08:16,680 --> 00:08:18,920 Speaker 1: that you find like minded people within the same work 155 00:08:18,960 --> 00:08:22,840 Speaker 1: that you do or and like minded for me also 156 00:08:22,920 --> 00:08:27,920 Speaker 1: includes this um passion would drive of things that you 157 00:08:27,960 --> 00:08:30,120 Speaker 1: want to do. You know, It's like I wake up 158 00:08:30,120 --> 00:08:32,199 Speaker 1: in the morning and I feel like there's just not 159 00:08:32,320 --> 00:08:34,319 Speaker 1: enough time left to write all the songs I want 160 00:08:34,320 --> 00:08:36,280 Speaker 1: to write, or to do all the things I want 161 00:08:36,280 --> 00:08:39,040 Speaker 1: to do, and I kind of get that off of 162 00:08:39,080 --> 00:08:41,480 Speaker 1: you when I'm around you, Like I get that feeling 163 00:08:41,559 --> 00:08:43,000 Speaker 1: like and I may be wrong, I don't know if 164 00:08:43,000 --> 00:08:47,160 Speaker 1: I'm being presumptuous, but you got a lot you know 165 00:08:47,280 --> 00:08:51,080 Speaker 1: that you're that you're it feels like in my imagination 166 00:08:51,080 --> 00:08:53,240 Speaker 1: that you want to jump into Like if it was 167 00:08:53,240 --> 00:08:56,199 Speaker 1: a movie time, you'd be like, yeah, let's make a movie. Hey, 168 00:08:56,200 --> 00:08:57,880 Speaker 1: you want to go? You know, do we have enough 169 00:08:57,880 --> 00:09:00,679 Speaker 1: money with Let's let's buy a ticket on SpaceX, you know, 170 00:09:00,800 --> 00:09:03,760 Speaker 1: let's you know whatever it is. My therapist, you nail me, 171 00:09:03,760 --> 00:09:06,760 Speaker 1: and I kind of but I like that about and I, 172 00:09:07,200 --> 00:09:11,360 Speaker 1: you know, I'm super suspicious of human beings after doing 173 00:09:11,400 --> 00:09:14,280 Speaker 1: this long enough that not everyone's intentions are out in 174 00:09:14,320 --> 00:09:17,520 Speaker 1: front of them. They're always a little bit guarded, and 175 00:09:17,559 --> 00:09:19,800 Speaker 1: your intentions are always in front. So I appreciate that 176 00:09:19,840 --> 00:09:22,960 Speaker 1: about you. You know, it's funny too, as I was 177 00:09:23,000 --> 00:09:24,800 Speaker 1: mentioning to you before we started, can you turn the 178 00:09:24,840 --> 00:09:26,200 Speaker 1: air down a bit? It's a little hot near and 179 00:09:26,280 --> 00:09:27,960 Speaker 1: Mr Bush isn't a coat, and I want to make 180 00:09:27,960 --> 00:09:30,640 Speaker 1: sure I'm in my French provincial outfit. To me a 181 00:09:30,720 --> 00:09:33,880 Speaker 1: vest under a nice jacket. Well it's actually stitched into 182 00:09:33,920 --> 00:09:35,640 Speaker 1: the jail. What the jacket with the vest built in? 183 00:09:35,760 --> 00:09:39,240 Speaker 1: How about that? Very lazily French. And then there's a 184 00:09:39,240 --> 00:09:41,839 Speaker 1: little French up here. We French. What did you do 185 00:09:41,880 --> 00:09:44,640 Speaker 1: today to be so dressed? You know? And look I 186 00:09:44,760 --> 00:09:47,400 Speaker 1: I even put on my leopard glass, my kind of 187 00:09:47,480 --> 00:09:52,320 Speaker 1: leopard breathing glasses. Um. I was helping Tyler Farr pick 188 00:09:52,400 --> 00:09:55,040 Speaker 1: songs for his new record that I'm producing, and I 189 00:09:55,160 --> 00:09:58,560 Speaker 1: thought that, um, the way I would intimidate the song 190 00:09:58,640 --> 00:10:00,920 Speaker 1: pictures that I'm the the side of the table was 191 00:10:00,960 --> 00:10:05,559 Speaker 1: to bring my pencils and my pencil sharpener and dressed 192 00:10:05,559 --> 00:10:08,320 Speaker 1: this way today. This is the opposite of Tyler farr 193 00:10:09,080 --> 00:10:12,960 Speaker 1: And and and just quietly sharpened my pencils to a 194 00:10:13,040 --> 00:10:15,160 Speaker 1: fine point while I looked at their songs as they 195 00:10:15,160 --> 00:10:18,960 Speaker 1: pitched me crappy songs and then and then yeah, I 196 00:10:19,000 --> 00:10:22,120 Speaker 1: just needed I needed something today to intimidate, because I'm 197 00:10:22,160 --> 00:10:26,400 Speaker 1: the least intimidating person on earth in my imagination when 198 00:10:26,400 --> 00:10:28,240 Speaker 1: I woke up that this is this is what would help. 199 00:10:29,080 --> 00:10:31,640 Speaker 1: It's crazy and cool that you're working with Tyler, because 200 00:10:31,640 --> 00:10:34,800 Speaker 1: I like Tyler a lot. And I feel like because 201 00:10:35,080 --> 00:10:37,520 Speaker 1: now I kind of know you as a producer because 202 00:10:37,520 --> 00:10:41,760 Speaker 1: a Lindsay and you know, you did a wildly successful 203 00:10:41,800 --> 00:10:44,680 Speaker 1: album and it's not even started to be a successful 204 00:10:44,679 --> 00:10:48,240 Speaker 1: it's going to be. And you did it with at 205 00:10:48,240 --> 00:10:50,040 Speaker 1: a time with Lindsay when they did have a single out, 206 00:10:50,080 --> 00:10:51,920 Speaker 1: like they did an odd thing and said go make 207 00:10:51,920 --> 00:10:53,880 Speaker 1: a record, and you and Lindsay go make a record 208 00:10:53,920 --> 00:10:56,760 Speaker 1: and there was no single plan, there was nothing. Yeah, 209 00:10:56,880 --> 00:11:00,200 Speaker 1: you made a record with going into it with out 210 00:11:00,240 --> 00:11:03,360 Speaker 1: of sound a sign to you, right, And I think 211 00:11:03,360 --> 00:11:07,160 Speaker 1: that's maybe where I can help when it's an artist 212 00:11:07,280 --> 00:11:08,960 Speaker 1: and you did with her, and I was you know, 213 00:11:09,520 --> 00:11:11,640 Speaker 1: Lindy and I are still close, but we were really 214 00:11:11,679 --> 00:11:14,560 Speaker 1: closed in Apparently I was the very last to know. 215 00:11:15,520 --> 00:11:19,040 Speaker 1: Oh really as her producer, you know, and I live 216 00:11:19,080 --> 00:11:20,920 Speaker 1: here and you and I knew each other, but I 217 00:11:20,960 --> 00:11:23,880 Speaker 1: had no idea. And so I'm in there like helping 218 00:11:23,880 --> 00:11:26,200 Speaker 1: her pick songs and like, oh, I hear you're writing this. 219 00:11:26,280 --> 00:11:28,040 Speaker 1: I don't know, what do you think about this? You know? 220 00:11:28,280 --> 00:11:31,760 Speaker 1: And I just never brought up the question, like in 221 00:11:31,840 --> 00:11:35,880 Speaker 1: relationship songs that sounds like you're feeling good about a relationship. 222 00:11:36,200 --> 00:11:39,760 Speaker 1: I never asked what relationship. So finally she had to 223 00:11:39,800 --> 00:11:43,000 Speaker 1: actually stop me and go, hey, I just want you 224 00:11:43,040 --> 00:11:44,920 Speaker 1: to know. I know you don't listen to the radio 225 00:11:45,000 --> 00:11:47,360 Speaker 1: often and because in Atlanta we don't get your show. 226 00:11:48,160 --> 00:11:52,240 Speaker 1: Uh and um, She's like, I want you to know 227 00:11:52,280 --> 00:11:54,520 Speaker 1: that you know, Bobby and I are dating. I was like, 228 00:11:54,880 --> 00:11:58,400 Speaker 1: you're freaking kidding me for a while and she was 229 00:11:58,400 --> 00:12:01,560 Speaker 1: like no, really, I was like, well, thanks, I appreciate it. 230 00:12:01,640 --> 00:12:05,599 Speaker 1: So which songs am I ascribing to this? You like 231 00:12:05,720 --> 00:12:08,880 Speaker 1: to think of me in the head and you have 232 00:12:09,080 --> 00:12:11,400 Speaker 1: right now she has at the time of us recording, 233 00:12:11,400 --> 00:12:17,040 Speaker 1: this her highest song ever with Criminal. Yeah, it's a 234 00:12:17,440 --> 00:12:21,400 Speaker 1: twenty nine right now, her highest song ever. Yes, and 235 00:12:21,480 --> 00:12:23,480 Speaker 1: I remember hearing the work text and then after she 236 00:12:23,600 --> 00:12:25,120 Speaker 1: was done with you, I was like, oh yeah, Christians 237 00:12:25,160 --> 00:12:29,280 Speaker 1: adding a whole live bit. It's like, too brilliant. It's 238 00:12:29,320 --> 00:12:32,200 Speaker 1: really cool to see you in that element. I've been 239 00:12:32,240 --> 00:12:35,520 Speaker 1: able to see all the sides except the dad's side. 240 00:12:35,679 --> 00:12:37,400 Speaker 1: Have me as your kid, and then I'll have it all. 241 00:12:37,559 --> 00:12:39,600 Speaker 1: I'll know at all. Let me come living every one 242 00:12:39,600 --> 00:12:41,320 Speaker 1: of your kids and I get it. My kids are 243 00:12:41,320 --> 00:12:45,240 Speaker 1: pretty cool. Yeah, yeah, well that's okay. I got sidetracked 244 00:12:45,240 --> 00:12:47,800 Speaker 1: by far. You are doing Tyler's I'm doing Tyler's record 245 00:12:47,840 --> 00:12:50,720 Speaker 1: with him right now, and Matson and Budlines record. Pardon 246 00:12:50,920 --> 00:12:55,000 Speaker 1: Who's uh? Who's the duo? You did? Uh? Walker McGuire. 247 00:12:56,080 --> 00:12:58,160 Speaker 1: I didn't produce that, but I wrote their song that's 248 00:12:58,160 --> 00:13:00,400 Speaker 1: on the radio and an that's what it is called. Okay, 249 00:13:00,440 --> 00:13:01,839 Speaker 1: that's why you put it in the force. I was 250 00:13:02,080 --> 00:13:04,600 Speaker 1: in that little box. I was just it was I'm 251 00:13:04,640 --> 00:13:07,040 Speaker 1: having to pinch myself recently. You know, you you do 252 00:13:07,120 --> 00:13:09,959 Speaker 1: this work for so long and you have to get 253 00:13:10,000 --> 00:13:13,800 Speaker 1: no so often that there are times in which things 254 00:13:13,840 --> 00:13:16,640 Speaker 1: fall into place, much like you know you see actors 255 00:13:16,679 --> 00:13:19,920 Speaker 1: on movies, like suddenly they look like they're super hot 256 00:13:19,920 --> 00:13:22,240 Speaker 1: because they're in five movies at the same time. Well 257 00:13:22,240 --> 00:13:24,200 Speaker 1: that wasn't really the case. They made the movies at 258 00:13:24,200 --> 00:13:27,200 Speaker 1: different times, and the studios just accidentally released them all 259 00:13:27,240 --> 00:13:30,360 Speaker 1: at the same time. And suddenly, you know, Iron Man 260 00:13:30,600 --> 00:13:34,760 Speaker 1: is Robert Downe Jr. Has a comeback or something. Well, 261 00:13:34,760 --> 00:13:37,880 Speaker 1: you know what, you know, all this stuff happened, and 262 00:13:38,480 --> 00:13:40,880 Speaker 1: now it wasn't didn't happen on top of each other. 263 00:13:41,679 --> 00:13:45,200 Speaker 1: It just released on top of each other. And I 264 00:13:45,240 --> 00:13:49,199 Speaker 1: have a very difficult time taking the moment to stick 265 00:13:49,240 --> 00:13:52,400 Speaker 1: of candles into a cake and light them and then 266 00:13:52,400 --> 00:13:55,920 Speaker 1: blow them out and take a moment to acknowledge what's happening. 267 00:13:56,320 --> 00:13:58,600 Speaker 1: So I've been trying to do that this year a 268 00:13:58,600 --> 00:14:00,640 Speaker 1: little bit, and things have been all in on top 269 00:14:00,679 --> 00:14:02,720 Speaker 1: of each other. I mean, I'm just so proud of 270 00:14:03,320 --> 00:14:07,120 Speaker 1: the work that that Lindsey did and and and edited 271 00:14:07,200 --> 00:14:09,400 Speaker 1: with her. And then it's Walker McGuire single. I had 272 00:14:09,440 --> 00:14:11,480 Speaker 1: no idea. I mean, we wrote that in forty five 273 00:14:11,559 --> 00:14:16,360 Speaker 1: minutes at high noon on a Tuesday at a lake somewhere. 274 00:14:16,760 --> 00:14:19,760 Speaker 1: I didn't even know these guys, and I loved the song. 275 00:14:20,040 --> 00:14:21,920 Speaker 1: But then they decided to record it. And I'm not 276 00:14:21,960 --> 00:14:25,000 Speaker 1: sure I've had a song on the charts with someone else. 277 00:14:25,040 --> 00:14:29,480 Speaker 1: I didn't. I wasn't in the band at the same 278 00:14:29,480 --> 00:14:32,920 Speaker 1: time that surely, and now's we're back in the things 279 00:14:32,920 --> 00:14:34,560 Speaker 1: that all these songs are kind of hitting at the 280 00:14:34,600 --> 00:14:38,080 Speaker 1: same time. And I was giggling the other day because 281 00:14:38,120 --> 00:14:42,600 Speaker 1: someone said, Okay, so it's either you or you that's 282 00:14:42,640 --> 00:14:44,360 Speaker 1: going to be the most added this week. And I 283 00:14:44,360 --> 00:14:47,040 Speaker 1: was like, what do you mean? And I was like, 284 00:14:47,040 --> 00:14:50,200 Speaker 1: Oh my gosh, are you kidding me? So I've always 285 00:14:50,200 --> 00:14:52,840 Speaker 1: wondered about these guys who live here in town and 286 00:14:52,880 --> 00:14:54,880 Speaker 1: they have like nine number ones in a year or 287 00:14:54,960 --> 00:15:00,280 Speaker 1: something something astronomical. I'm like, how does that happen? Um? 288 00:15:00,280 --> 00:15:02,840 Speaker 1: Now I now at least know what kind of the 289 00:15:02,880 --> 00:15:05,120 Speaker 1: storm looks like. I don't know if it's the perfect storm. 290 00:15:05,480 --> 00:15:09,080 Speaker 1: I hope there are many perfect storms to come. Man. 291 00:15:09,800 --> 00:15:13,200 Speaker 1: I guess I missed the first round of sugar Land. 292 00:15:14,320 --> 00:15:16,440 Speaker 1: I didn't miss it as a fan because I went 293 00:15:16,480 --> 00:15:19,280 Speaker 1: to a Sugarland show even as a fan better, Yeah, 294 00:15:19,280 --> 00:15:21,240 Speaker 1: but I missed it in Laurel, Arkansas. I went and 295 00:15:21,240 --> 00:15:24,480 Speaker 1: watch Sugarland. I wouldn't watched you guys play with Kenny 296 00:15:24,640 --> 00:15:28,440 Speaker 1: So and that's where I saw all the excitement and 297 00:15:28,720 --> 00:15:32,240 Speaker 1: jumping around, and it's I mean, it's a lot, That's 298 00:15:32,240 --> 00:15:34,920 Speaker 1: what I remember, Yeah, very much, so, lots of bodies 299 00:15:34,920 --> 00:15:38,680 Speaker 1: moving around and so. But I was a sugar Land 300 00:15:38,760 --> 00:15:41,320 Speaker 1: fan more so than a Kenney fan, frankly at the time. 301 00:15:41,880 --> 00:15:44,960 Speaker 1: So I went to the show and before I moved 302 00:15:44,960 --> 00:15:49,400 Speaker 1: to Nashville. You guys weren't sugar Land, right, We never 303 00:15:49,480 --> 00:15:52,560 Speaker 1: crossed paths, right. So the first time we crossed paths 304 00:15:52,560 --> 00:15:54,840 Speaker 1: was you doing your solo record, which I think is 305 00:15:54,880 --> 00:15:56,800 Speaker 1: cool too because I liked you for you. So when 306 00:15:56,840 --> 00:16:00,880 Speaker 1: everybody gets out to say be my friend, just remember 307 00:16:01,000 --> 00:16:03,840 Speaker 1: I liked you for you, just like Blessing do the souls. 308 00:16:04,280 --> 00:16:08,240 Speaker 1: She likes me for me. You remember those guys? Did 309 00:16:08,240 --> 00:16:09,960 Speaker 1: you know those guys? I did not know them, but 310 00:16:10,000 --> 00:16:11,840 Speaker 1: I know this. Let me talk about this for a second. 311 00:16:11,960 --> 00:16:15,080 Speaker 1: So sleep number. Oh yes, So I did this podcast 312 00:16:15,080 --> 00:16:17,440 Speaker 1: in my bedrooms actually, which about the way we have 313 00:16:17,480 --> 00:16:19,480 Speaker 1: to like shut the door and Michael, people will come 314 00:16:19,560 --> 00:16:23,200 Speaker 1: up here because it's weird my bedroom doors open, but 315 00:16:23,240 --> 00:16:25,040 Speaker 1: I guess they do. See the old sleep number bed 316 00:16:25,080 --> 00:16:27,640 Speaker 1: in there. I have a sleep number because for me. 317 00:16:28,200 --> 00:16:30,720 Speaker 1: I do struggle with sleep. And the great thing about 318 00:16:30,760 --> 00:16:33,040 Speaker 1: sleep number is it's actually for me. It's the ideal 319 00:16:33,080 --> 00:16:35,400 Speaker 1: firmness for me. I went into a sleep number store 320 00:16:35,400 --> 00:16:37,360 Speaker 1: where you buy the bed and you can lay on 321 00:16:37,400 --> 00:16:38,960 Speaker 1: the bed there and there's a screen the one I 322 00:16:38,960 --> 00:16:40,600 Speaker 1: went to the screen above, and you look at it 323 00:16:40,920 --> 00:16:42,600 Speaker 1: and it shows you how you're laying and maybe why 324 00:16:42,640 --> 00:16:44,320 Speaker 1: you're not laying right or not getting the right amount 325 00:16:44,320 --> 00:16:46,040 Speaker 1: of sleep. And they give you a sleep number that's 326 00:16:46,080 --> 00:16:49,120 Speaker 1: just for you. And my sleep number setting was and 327 00:16:49,160 --> 00:16:51,960 Speaker 1: I've been back since. But it's a thirty. And if 328 00:16:52,000 --> 00:16:54,400 Speaker 1: your partner has a different one, you both can have 329 00:16:54,480 --> 00:16:56,800 Speaker 1: your own sleep number setting. The beds are so smart 330 00:16:56,800 --> 00:16:58,840 Speaker 1: they sent you every move that automatically adjust to you, 331 00:16:58,960 --> 00:17:01,960 Speaker 1: keeping you sleep comfortably to the night. There's even adjustment 332 00:17:02,000 --> 00:17:03,320 Speaker 1: for snow and lift up a little bit. I don't 333 00:17:03,320 --> 00:17:04,840 Speaker 1: know if your bed does that. And honor of fift 334 00:17:04,840 --> 00:17:07,520 Speaker 1: two weeks of an honor of fifty two years of football, 335 00:17:07,600 --> 00:17:10,440 Speaker 1: not weeks, but years of football. Take fifty dollars off 336 00:17:10,480 --> 00:17:13,440 Speaker 1: any item from over a hundred bucks from Sleep Number, which, 337 00:17:13,440 --> 00:17:15,679 Speaker 1: by the way, the pillars are awesome there too. Sleep 338 00:17:15,720 --> 00:17:18,399 Speaker 1: number dot com slash Big Game to because you're fifty 339 00:17:18,400 --> 00:17:21,720 Speaker 1: two dollar coupon now through February four again sleep number 340 00:17:21,760 --> 00:17:25,720 Speaker 1: dot com slash Big Game. So I don't really know 341 00:17:25,800 --> 00:17:29,880 Speaker 1: the origin of you you guys coming together. She really 342 00:17:29,960 --> 00:17:35,399 Speaker 1: was this interesting beginning, you know. Um yeah, if you 343 00:17:35,440 --> 00:17:39,639 Speaker 1: put it in time. Um. I was signed to a 344 00:17:39,640 --> 00:17:41,639 Speaker 1: record deal in Atlantic Records in New York as a 345 00:17:41,760 --> 00:17:45,119 Speaker 1: rock act, like a folk rock act called Billy Pilgrim, 346 00:17:45,160 --> 00:17:49,320 Speaker 1: and we were kind of a critics darling and for 347 00:17:49,440 --> 00:17:51,919 Speaker 1: us we were a huge success. But compared to our 348 00:17:52,000 --> 00:17:55,159 Speaker 1: label mates, which were like Matchbox twenty was signed the 349 00:17:55,200 --> 00:17:58,520 Speaker 1: same time we were, and Hootie and the Blowfish and 350 00:17:58,520 --> 00:18:04,600 Speaker 1: and I uh ed Roland and the Soul and those guys, 351 00:18:04,720 --> 00:18:06,040 Speaker 1: we were all at you know. It was all out 352 00:18:06,040 --> 00:18:11,160 Speaker 1: of the Southeast at the exact same time. And our band, um, 353 00:18:11,200 --> 00:18:13,919 Speaker 1: you know, Rolling Stone loved it. The review of our 354 00:18:13,920 --> 00:18:17,280 Speaker 1: first album was in the Kurt Coobing issue when he died. 355 00:18:18,359 --> 00:18:20,920 Speaker 1: So if you ever want to go read my first 356 00:18:20,960 --> 00:18:24,800 Speaker 1: band's first national review, it wasn't that issue. Yeah you 357 00:18:24,840 --> 00:18:34,159 Speaker 1: can find it. Oh yeah, there you go. My hair, 358 00:18:38,680 --> 00:18:46,879 Speaker 1: who's insomniac? G's what's the vocal situation here? That's me singing, 359 00:18:47,280 --> 00:18:51,800 Speaker 1: and my partner Andrew was also a singer, and that's 360 00:18:51,800 --> 00:18:53,800 Speaker 1: my friend Ellis Paul there in the background. I'm going, 361 00:18:55,000 --> 00:19:00,040 Speaker 1: but I'm the lead singer on this again. Down the 362 00:19:00,119 --> 00:19:09,480 Speaker 1: Black Hands, sad the textures? Do you sing? Do you sing? Different? 363 00:19:09,520 --> 00:19:11,359 Speaker 1: And a little bit. I mean I was twenty two, 364 00:19:12,480 --> 00:19:15,560 Speaker 1: you know, but I've always had a raspy quality of 365 00:19:15,560 --> 00:19:19,080 Speaker 1: my voice. But I was worried that country music wasn't 366 00:19:19,080 --> 00:19:22,920 Speaker 1: gonna take it. It wasn't gonna accept my raspy voice. 367 00:19:22,920 --> 00:19:25,320 Speaker 1: And at the time, Billy Pilgrim was kind of in 368 00:19:25,359 --> 00:19:28,639 Speaker 1: its waning years. We had had a really pretty good 369 00:19:28,720 --> 00:19:31,720 Speaker 1: run of it, you know, hundreds of thousands of records, 370 00:19:31,840 --> 00:19:34,760 Speaker 1: which for us was giant, And we've been on tour 371 00:19:34,800 --> 00:19:36,600 Speaker 1: around the world. Like I we opened from all of 372 00:19:36,640 --> 00:19:38,840 Speaker 1: Ethadge for a couple of years, and we had opened 373 00:19:38,840 --> 00:19:41,359 Speaker 1: for Bob Dylan and Beck and Tom Petty and all 374 00:19:41,400 --> 00:19:44,680 Speaker 1: these bands, right and learned how to travel the world 375 00:19:44,680 --> 00:19:51,280 Speaker 1: playing arenas. And I wasn't even twenty six yet, and 376 00:19:52,160 --> 00:19:55,720 Speaker 1: I had a terrible tragedy. My mom died. Um, then 377 00:19:55,760 --> 00:19:58,960 Speaker 1: they flew the planes into the buildings. Um. We I've 378 00:19:59,000 --> 00:20:01,639 Speaker 1: been working on other people career. We'd helped John John 379 00:20:01,720 --> 00:20:06,000 Speaker 1: get started in Seawan Mallins and he had moved to Atlanta. 380 00:20:06,160 --> 00:20:08,119 Speaker 1: He had moved to Atlanta at the time and was 381 00:20:08,160 --> 00:20:10,560 Speaker 1: he with Clay When I met him. He and Clay 382 00:20:10,600 --> 00:20:12,760 Speaker 1: were working and my brother Brandon worked on that first 383 00:20:12,800 --> 00:20:16,920 Speaker 1: record with them and then worked on John's first record UM. 384 00:20:16,960 --> 00:20:19,560 Speaker 1: And our bass player from Billy Pilgrim was Dave Jabrier. 385 00:20:20,560 --> 00:20:22,879 Speaker 1: So the first record do you mean like the EP inside, 386 00:20:22,880 --> 00:20:27,320 Speaker 1: Once Out or Over Squares which which UM the first 387 00:20:27,359 --> 00:20:32,600 Speaker 1: record on Aware, which was Room for Squares, and then 388 00:20:32,600 --> 00:20:34,720 Speaker 1: the one before that was kind of the one that 389 00:20:34,760 --> 00:20:39,879 Speaker 1: had like the sweatshirt song, and that's just Brandon working 390 00:20:39,920 --> 00:20:42,040 Speaker 1: on that. Your brother he worked on both those records, 391 00:20:42,760 --> 00:20:45,760 Speaker 1: and so that's that was the world I was in. 392 00:20:45,800 --> 00:20:48,160 Speaker 1: I was kind of trying to help new artists get 393 00:20:48,160 --> 00:20:52,439 Speaker 1: started UM on the Coat Tails or whatever. Billy Pilgrim 394 00:20:52,560 --> 00:20:54,520 Speaker 1: was able to go forward, and that's how I knew 395 00:20:54,600 --> 00:20:57,920 Speaker 1: Jennifer as she was an opening act for Billy Polgram 396 00:20:58,000 --> 00:21:00,840 Speaker 1: as Jennifer Nettles as Jennifer Nettles AM, and before that 397 00:21:00,920 --> 00:21:03,280 Speaker 1: it was a duo she was in and then they 398 00:21:03,320 --> 00:21:06,760 Speaker 1: broke up, and and then she went on by herself 399 00:21:06,880 --> 00:21:10,040 Speaker 1: to keep making money in the Atlanta scene, and I 400 00:21:10,119 --> 00:21:12,040 Speaker 1: had a major label record deal, so that was a 401 00:21:12,280 --> 00:21:14,720 Speaker 1: it was a big feather in the cap from down there. 402 00:21:14,800 --> 00:21:17,320 Speaker 1: You they didn't hand them out like candy like they 403 00:21:17,359 --> 00:21:19,760 Speaker 1: do here. It was one at a time. So we 404 00:21:19,760 --> 00:21:25,920 Speaker 1: were after the Black Crows and before Sean Mullins. Actually 405 00:21:26,080 --> 00:21:29,760 Speaker 1: we would have been right after the Black Crows and 406 00:21:29,800 --> 00:21:34,800 Speaker 1: then Collective Soul, then Billy Pilgrim, then Sean, then John 407 00:21:34,840 --> 00:21:41,040 Speaker 1: Mayor then back to sugar Land. Then this is all 408 00:21:41,080 --> 00:21:43,879 Speaker 1: out of the same four blocks. I mean, it's all 409 00:21:43,960 --> 00:21:45,639 Speaker 1: right there. It's all in one space. And if you 410 00:21:45,680 --> 00:21:48,280 Speaker 1: go backwards, it was the Indigo Girls, and then it 411 00:21:48,400 --> 00:21:52,920 Speaker 1: was Um Michelle Malone and Dragged the River, and then 412 00:21:52,960 --> 00:21:55,880 Speaker 1: you then you're kind of moving towards Athens like um 413 00:21:56,240 --> 00:21:59,200 Speaker 1: to be fifty two s R em Pylon and those 414 00:21:59,320 --> 00:22:02,600 Speaker 1: those bands Um and maybe after us there was hoped 415 00:22:02,640 --> 00:22:05,119 Speaker 1: for a Golden Summer, which was like a more Athens 416 00:22:05,200 --> 00:22:08,080 Speaker 1: Atlanta band and more alt. But did they start looking 417 00:22:08,119 --> 00:22:10,600 Speaker 1: for bands in that area since there was success because 418 00:22:10,640 --> 00:22:13,000 Speaker 1: a lot of times with the sound, well just use Seattle, 419 00:22:13,000 --> 00:22:14,480 Speaker 1: which is the one that choosed a lot when that 420 00:22:14,560 --> 00:22:19,720 Speaker 1: Seattle sound happens and Nirvana turns all the hair bands 421 00:22:19,760 --> 00:22:21,920 Speaker 1: into now It's grunge, and they go find Pearl Jam 422 00:22:21,920 --> 00:22:24,280 Speaker 1: and they go find out they find they start to 423 00:22:24,280 --> 00:22:26,000 Speaker 1: search the scene from where do they do that in 424 00:22:26,040 --> 00:22:28,000 Speaker 1: Atlanta to where they Okay, we have a few, so 425 00:22:28,040 --> 00:22:30,160 Speaker 1: let's go see what else is in this? Very much 426 00:22:30,280 --> 00:22:32,440 Speaker 1: And it would come through either a lawyer or two 427 00:22:32,680 --> 00:22:34,320 Speaker 1: that they were friends with, A and R people on 428 00:22:34,440 --> 00:22:36,879 Speaker 1: Sony or different places, and they would come and they 429 00:22:36,880 --> 00:22:39,960 Speaker 1: would you know this this little club and we played 430 00:22:39,960 --> 00:22:41,920 Speaker 1: it was called track Side Tavern. And then the guy 431 00:22:41,960 --> 00:22:44,280 Speaker 1: who was the bartender their name Eddio, and opened up 432 00:22:44,320 --> 00:22:46,520 Speaker 1: Eddie's at it, and so we all. I was the 433 00:22:46,520 --> 00:22:49,239 Speaker 1: first show at Eddie's really painted the walls the night 434 00:22:49,280 --> 00:22:52,520 Speaker 1: before and opened for Michelle Malone on the Wednesday. And 435 00:22:52,560 --> 00:22:57,320 Speaker 1: I graduated from college three days later and u and 436 00:22:57,359 --> 00:23:01,760 Speaker 1: got a record deal that summer on Atlantic Records. So 437 00:23:02,280 --> 00:23:04,199 Speaker 1: I have had a major label record deal since I 438 00:23:04,240 --> 00:23:09,280 Speaker 1: got out of college, which is really like, it's it's asinine, 439 00:23:10,000 --> 00:23:14,320 Speaker 1: it's a it shouldn't probably have happened. But did you 440 00:23:14,320 --> 00:23:17,359 Speaker 1: and Jennifer when you met was it? Hey, we're just 441 00:23:17,680 --> 00:23:20,760 Speaker 1: artists and we're our own respective artists, or was it hey, 442 00:23:20,840 --> 00:23:25,439 Speaker 1: we should maybe share ideas, or saying, how does that 443 00:23:25,640 --> 00:23:28,920 Speaker 1: happen because she's coming out of a duo, obviously that's successful. 444 00:23:30,119 --> 00:23:34,840 Speaker 1: Well she it wasn't. Actually it was an invitation. UM. 445 00:23:34,920 --> 00:23:37,680 Speaker 1: I didn't know her very well. So during Billy Pilgrim World, 446 00:23:37,680 --> 00:23:40,000 Speaker 1: she came in and she was recording with Corey I 447 00:23:40,000 --> 00:23:43,600 Speaker 1: think in the studio where I recorded all the time, 448 00:23:43,760 --> 00:23:45,800 Speaker 1: and I remember walking in on one of their sessions 449 00:23:45,800 --> 00:23:48,240 Speaker 1: and going, oh, that's kind of cool. But I didn't 450 00:23:48,240 --> 00:23:51,480 Speaker 1: really know her, and she opened for us, and I 451 00:23:51,640 --> 00:23:54,280 Speaker 1: unfortunately have to say at that time I didn't show 452 00:23:54,359 --> 00:23:57,320 Speaker 1: up early to hear the openers all the time. UM. 453 00:23:57,480 --> 00:24:01,840 Speaker 1: And I regret that I do it a lot more now. UM. 454 00:24:01,880 --> 00:24:04,360 Speaker 1: But we never became friends. And then I remember being 455 00:24:04,400 --> 00:24:06,240 Speaker 1: on a writer's night with her, which I think is 456 00:24:06,280 --> 00:24:08,880 Speaker 1: irony at some we're not irony, but I think it's fascinating. 457 00:24:09,560 --> 00:24:12,000 Speaker 1: After Billy Pilgrim was kind of slowing down, I had 458 00:24:12,080 --> 00:24:16,920 Speaker 1: started um writing songs with a local songwriter named Kristin Hall, 459 00:24:17,200 --> 00:24:20,080 Speaker 1: and she was the third person in Sutterland at the 460 00:24:20,160 --> 00:24:25,440 Speaker 1: very beginning. Kristen was the guitar tech for the Indigo girls. Yeah, 461 00:24:25,520 --> 00:24:27,920 Speaker 1: and they just knew that she was a great songwriter 462 00:24:28,320 --> 00:24:30,960 Speaker 1: and she had moved back to Atlanta from l A 463 00:24:31,320 --> 00:24:34,680 Speaker 1: and she wanted to write songs and she knew me, 464 00:24:34,960 --> 00:24:37,000 Speaker 1: and she called and said, you have any songs left over? 465 00:24:37,000 --> 00:24:39,720 Speaker 1: And I was like, yeah, I have a lot because 466 00:24:39,840 --> 00:24:41,720 Speaker 1: Andrew and I aren't working as much, but I still 467 00:24:41,800 --> 00:24:44,359 Speaker 1: have the same amount of songs. She's like, well, why 468 00:24:44,400 --> 00:24:45,840 Speaker 1: don't you come over and help me and let me 469 00:24:45,840 --> 00:24:49,160 Speaker 1: help you finish them. It's like okay, And within two 470 00:24:49,240 --> 00:24:50,919 Speaker 1: or three weeks she's like, let's start a band. I 471 00:24:50,920 --> 00:24:52,320 Speaker 1: was like, I need a band, like I need a 472 00:24:52,320 --> 00:24:56,560 Speaker 1: hole in the head. I already have a band and 473 00:24:56,600 --> 00:24:59,360 Speaker 1: I don't need another band, but I would. I'm enjoying 474 00:24:59,400 --> 00:25:01,800 Speaker 1: writing with you, and so we asked Dave Librier to 475 00:25:01,840 --> 00:25:04,119 Speaker 1: come over and I was like, you know, I like 476 00:25:04,240 --> 00:25:06,440 Speaker 1: being in a band with him. He and John were 477 00:25:06,480 --> 00:25:09,080 Speaker 1: working at the time, and we wrote a song called 478 00:25:09,119 --> 00:25:11,280 Speaker 1: Girl called Tennessee and it was on the first sugar 479 00:25:11,320 --> 00:25:15,520 Speaker 1: Land record and we just kept writing songs and pretty 480 00:25:15,560 --> 00:25:19,160 Speaker 1: soon Dave didn't show up anymore, but Kristen kept calling 481 00:25:19,160 --> 00:25:20,760 Speaker 1: and saying, look, I've got a band in the basement. 482 00:25:20,800 --> 00:25:25,840 Speaker 1: Where you come, right. I was like, really, okay, well 483 00:25:26,040 --> 00:25:28,280 Speaker 1: all right, and I would show up and we would 484 00:25:28,320 --> 00:25:31,679 Speaker 1: audition a singer because I was pretty convinced that my 485 00:25:31,800 --> 00:25:34,600 Speaker 1: voice was not going to make it against Billy Currington. Okay, 486 00:25:34,600 --> 00:25:36,800 Speaker 1: so you thought that, you thought I'm not going to 487 00:25:36,880 --> 00:25:38,800 Speaker 1: be the front voice. I don't. I didn't think I 488 00:25:38,800 --> 00:25:41,639 Speaker 1: could sell it because at the time two thousand and 489 00:25:41,680 --> 00:25:45,360 Speaker 1: two country music singers were all they were all smooth. 490 00:25:46,400 --> 00:25:50,399 Speaker 1: It was very interesting. And I kind of said, all right, well, 491 00:25:51,200 --> 00:25:53,120 Speaker 1: what do you suggest and she said, well, I suggest 492 00:25:53,160 --> 00:25:55,359 Speaker 1: we get a female singer because there's a big hole 493 00:25:55,440 --> 00:25:59,480 Speaker 1: in the world that's been left by the Dixie Chicks 494 00:26:00,080 --> 00:26:02,640 Speaker 1: them stopping working. I think it's some of the best 495 00:26:02,720 --> 00:26:05,680 Speaker 1: music I've heard. And I said, all right, I don't 496 00:26:05,680 --> 00:26:07,479 Speaker 1: know if I can get on board, but let me 497 00:26:07,520 --> 00:26:09,640 Speaker 1: work at this a little bit. And I went out 498 00:26:09,720 --> 00:26:12,680 Speaker 1: and I started. I bought UM an Emmy Lou Harris record, 499 00:26:14,080 --> 00:26:18,160 Speaker 1: uh that Daniel lamb Wide produced and it was called 500 00:26:18,160 --> 00:26:20,720 Speaker 1: Wrecking Ball. And the reason I bought it it's because 501 00:26:20,800 --> 00:26:24,440 Speaker 1: when my My the Billy Pilgrim record before that went, 502 00:26:24,520 --> 00:26:28,960 Speaker 1: the guitar player who was hired UM was producing Emmy 503 00:26:29,040 --> 00:26:31,159 Speaker 1: Lou Harris up until that moment, and he put one 504 00:26:31,200 --> 00:26:32,920 Speaker 1: of my songs on hold, and I had never had 505 00:26:32,920 --> 00:26:34,280 Speaker 1: a song on hold in my life. I didn't know 506 00:26:34,320 --> 00:26:36,800 Speaker 1: what that meant. And because I thought you had to 507 00:26:36,840 --> 00:26:38,800 Speaker 1: write the songs that you're sang, I didn't know there 508 00:26:38,800 --> 00:26:44,359 Speaker 1: were two different jobs. And I was fascinated because the 509 00:26:44,480 --> 00:26:47,800 Speaker 1: day after we finished that Billy Pilgrim record, or the 510 00:26:47,880 --> 00:26:50,040 Speaker 1: day we finished it, I walked out into the hallway 511 00:26:50,040 --> 00:26:52,080 Speaker 1: and left, and I met a guy named Steve Earle 512 00:26:52,160 --> 00:26:55,679 Speaker 1: that was in the waiting room, and and he had 513 00:26:55,720 --> 00:26:57,760 Speaker 1: just gotten out of jail, and he was he was 514 00:26:57,800 --> 00:27:00,359 Speaker 1: coming in to make as record with the same band, 515 00:27:01,160 --> 00:27:03,520 Speaker 1: with the same producer in the same building. And I 516 00:27:03,520 --> 00:27:07,160 Speaker 1: thought to myself, note to self, whenever this guy puts 517 00:27:07,160 --> 00:27:09,840 Speaker 1: out his record, go buy it, because it's gonna sound 518 00:27:09,880 --> 00:27:12,960 Speaker 1: exactly like your record. And wouldn't that be cool to 519 00:27:13,000 --> 00:27:15,280 Speaker 1: see what it sounds like when the same band plays 520 00:27:15,280 --> 00:27:19,600 Speaker 1: a different kind of songs? Right? Um? So I had 521 00:27:19,640 --> 00:27:23,080 Speaker 1: then bought also a Steve Earl record, very close to 522 00:27:23,160 --> 00:27:25,199 Speaker 1: the time I bought that Emmy Lou Harris record, and 523 00:27:25,600 --> 00:27:28,760 Speaker 1: between the two, um, I thought to myself, well, if 524 00:27:28,840 --> 00:27:31,480 Speaker 1: this is country music, I can do this because it 525 00:27:31,560 --> 00:27:37,080 Speaker 1: sounds like YouTube plus country music, right. Um. And what 526 00:27:37,200 --> 00:27:41,320 Speaker 1: I've quickly learned is that country music had nothing to 527 00:27:41,440 --> 00:27:47,800 Speaker 1: do with a fiddle, which actually was my first instrument. 528 00:27:47,920 --> 00:27:51,760 Speaker 1: Like it, It had more to do with the story 529 00:27:52,680 --> 00:27:56,000 Speaker 1: of this in the songwriting, and in the nineties, we 530 00:27:56,000 --> 00:28:00,760 Speaker 1: weren't telling stories. We were telling emotions, right we had. 531 00:28:00,960 --> 00:28:03,480 Speaker 1: We were just trying to make you feel what it 532 00:28:03,560 --> 00:28:07,600 Speaker 1: felt like it was in that lyric. And so as 533 00:28:07,600 --> 00:28:10,800 Speaker 1: soon as I knew this, I was like, oh, okay, 534 00:28:10,920 --> 00:28:12,520 Speaker 1: I think I can do that. I went over to 535 00:28:12,560 --> 00:28:14,480 Speaker 1: Christin's house and I started playing things, and we started 536 00:28:14,520 --> 00:28:17,200 Speaker 1: auditioning people, and there were five or six different people, 537 00:28:17,240 --> 00:28:19,919 Speaker 1: and we came up with rules where we had to 538 00:28:19,920 --> 00:28:22,040 Speaker 1: write a song or two with each audition to see 539 00:28:22,040 --> 00:28:24,720 Speaker 1: if we could write with them. And so if you 540 00:28:24,720 --> 00:28:26,520 Speaker 1: look at the first sugar Land record, five or six 541 00:28:26,600 --> 00:28:28,359 Speaker 1: of those songs have writers on it that none of 542 00:28:28,359 --> 00:28:32,000 Speaker 1: them are Jennifer because she wasn't even in the band yet, 543 00:28:33,040 --> 00:28:36,000 Speaker 1: Like we were just cycling through and the songs were 544 00:28:36,040 --> 00:28:39,160 Speaker 1: so good that we were getting and so when she 545 00:28:39,200 --> 00:28:42,719 Speaker 1: came into auditions, she sang the songs and uh, I 546 00:28:42,760 --> 00:28:45,080 Speaker 1: remember there was one song. It was a song that 547 00:28:45,200 --> 00:28:47,240 Speaker 1: was the namesake of the band. It's called sugar Land 548 00:28:47,280 --> 00:28:49,520 Speaker 1: and I kind of wrote it in my shower one 549 00:28:49,520 --> 00:28:51,880 Speaker 1: morning and came in and brought it to this group 550 00:28:51,920 --> 00:28:54,479 Speaker 1: of people in the basement of Christin's houses. Is it 551 00:28:54,520 --> 00:28:57,480 Speaker 1: wrong or a curse if I write a song with 552 00:28:58,440 --> 00:29:00,320 Speaker 1: called the name of the band that we heared out 553 00:29:00,400 --> 00:29:04,600 Speaker 1: last night? And she was like, I don't think so. 554 00:29:04,760 --> 00:29:07,160 Speaker 1: I think bad Company has done it or things like this. 555 00:29:07,240 --> 00:29:08,560 Speaker 1: And I was like, all right, well, if this is 556 00:29:08,600 --> 00:29:13,280 Speaker 1: a curse, it's my fault. And Jennifer auditioned on that 557 00:29:13,400 --> 00:29:15,320 Speaker 1: song and when she got to the bridge of that 558 00:29:15,360 --> 00:29:17,800 Speaker 1: song and was singing it, I just about lost my mind. 559 00:29:17,840 --> 00:29:21,440 Speaker 1: I was like, that that I can do. And so 560 00:29:21,520 --> 00:29:23,400 Speaker 1: we sat down and we wrote two songs and the 561 00:29:23,520 --> 00:29:27,200 Speaker 1: first song was it was a song called honky Ton 562 00:29:27,360 --> 00:29:30,800 Speaker 1: Kevin and I don't think that it exists anywhere. We 563 00:29:30,880 --> 00:29:32,680 Speaker 1: recorded it, but we didn't give it, we didn't show 564 00:29:32,680 --> 00:29:34,840 Speaker 1: it to the label. And the second song we wrote 565 00:29:34,960 --> 00:29:39,720 Speaker 1: was a baby girl. Wow? Is that right? Damn? My dad? 566 00:29:47,760 --> 00:29:54,160 Speaker 1: How about that that quick found it? Found it? Did 567 00:29:54,160 --> 00:29:56,480 Speaker 1: you know you found it? I knew the song was good, 568 00:29:58,160 --> 00:30:03,640 Speaker 1: and so it's hard to know. So we decided to 569 00:30:03,640 --> 00:30:06,320 Speaker 1: play a show, and we only had four songs or 570 00:30:06,320 --> 00:30:10,200 Speaker 1: five songs that we could play, um like four the 571 00:30:10,280 --> 00:30:12,920 Speaker 1: ones we had previously written, maybe six maybe. We played 572 00:30:12,920 --> 00:30:16,959 Speaker 1: hockeytoll Agavan that night and Baby Girl, and no one 573 00:30:17,040 --> 00:30:20,120 Speaker 1: knew who our band was because we hadn't played out. 574 00:30:20,880 --> 00:30:23,920 Speaker 1: But we each had individual crowds, like Jennifer had a 575 00:30:24,000 --> 00:30:25,880 Speaker 1: crowd that we had two or three other people that 576 00:30:25,920 --> 00:30:28,840 Speaker 1: come see her, and Billy Pilgrim, you know, we had 577 00:30:29,320 --> 00:30:32,120 Speaker 1: a couple or more people that would come to see us. 578 00:30:32,120 --> 00:30:34,640 Speaker 1: And Kristen had a following of people that would come 579 00:30:34,640 --> 00:30:36,000 Speaker 1: see her. And we thought, well, let's just play like 580 00:30:36,040 --> 00:30:38,680 Speaker 1: a Tuesday or something, bill it as sugar Land and 581 00:30:38,680 --> 00:30:40,720 Speaker 1: then put our individual names in there and see if 582 00:30:40,760 --> 00:30:44,680 Speaker 1: anybody shows up. And we got to Baby Girl and 583 00:30:44,720 --> 00:30:49,440 Speaker 1: we played it and people cheered after the lad when 584 00:30:49,480 --> 00:30:51,200 Speaker 1: it got to the last course, they just got on 585 00:30:51,200 --> 00:30:54,640 Speaker 1: their feet and started cheering. And I was like, holy crap, 586 00:30:55,680 --> 00:30:59,280 Speaker 1: this must be what it's like if you're Darius Rucker 587 00:30:59,320 --> 00:31:01,320 Speaker 1: and you finally sing hold my Hand for the first 588 00:31:01,360 --> 00:31:07,959 Speaker 1: time and everybody goes bonkers, you know, and um, so 589 00:31:08,080 --> 00:31:10,480 Speaker 1: I remember telling her. I was like look, I really 590 00:31:10,520 --> 00:31:12,880 Speaker 1: don't want to do this in a van. I want 591 00:31:12,920 --> 00:31:14,720 Speaker 1: if we're gonna do this, I've done this before, I 592 00:31:14,720 --> 00:31:15,920 Speaker 1: want to do it in a bus. And I want 593 00:31:15,960 --> 00:31:18,240 Speaker 1: to shoot for arenas or stadiums, like I want the 594 00:31:18,320 --> 00:31:22,120 Speaker 1: target to be so high that if we miss, it's 595 00:31:22,120 --> 00:31:27,960 Speaker 1: gonna be awesome. That costs money. We had no we 596 00:31:28,000 --> 00:31:30,720 Speaker 1: had nothing to even do it, so we we bankrolled 597 00:31:30,720 --> 00:31:34,320 Speaker 1: it all from our little place. Um. We got our 598 00:31:34,440 --> 00:31:38,520 Speaker 1: record deal because we we sold tickets on a gray 599 00:31:38,840 --> 00:31:42,440 Speaker 1: on a bus that we rented. I got a passenger bus. 600 00:31:42,960 --> 00:31:47,320 Speaker 1: We sold fifty dollar tickets to fifty fans, and we 601 00:31:47,400 --> 00:31:49,960 Speaker 1: bought a keg of beer and put it on the bus, 602 00:31:50,360 --> 00:31:52,760 Speaker 1: and we got a gig at the last place I 603 00:31:52,760 --> 00:31:55,200 Speaker 1: had gotten a record deal out of Nashville, which was 604 00:31:55,240 --> 00:31:57,520 Speaker 1: twelfth and Porter. I got my Billy Pogram record deal 605 00:31:57,520 --> 00:31:59,960 Speaker 1: out of that room. So I called the same piece. 606 00:32:01,480 --> 00:32:05,520 Speaker 1: Can we play and you know whatever your showcase time 607 00:32:05,640 --> 00:32:08,320 Speaker 1: is before you have to really open for business. And 608 00:32:08,360 --> 00:32:11,120 Speaker 1: they said sure, and they said you know you're you 609 00:32:11,160 --> 00:32:13,080 Speaker 1: can only have the tickets that you sell. And I 610 00:32:13,160 --> 00:32:15,000 Speaker 1: was like, that's cool, we don't need to sell any tickets. 611 00:32:15,000 --> 00:32:16,080 Speaker 1: And they were like what do you mean We're like, 612 00:32:16,120 --> 00:32:20,240 Speaker 1: we're we're bringing all of our people. They were like okay, 613 00:32:20,320 --> 00:32:23,520 Speaker 1: and they were kind of confused, and and we said 614 00:32:23,520 --> 00:32:25,600 Speaker 1: what we really need or the seats for the like 615 00:32:25,720 --> 00:32:27,920 Speaker 1: record people, because we couldn't get anyone to come to 616 00:32:27,960 --> 00:32:30,680 Speaker 1: Atlanta where we actually had two or three people that 617 00:32:30,760 --> 00:32:35,320 Speaker 1: show up, So we bust everybody in and walked in 618 00:32:35,480 --> 00:32:38,280 Speaker 1: and played our five or six seven songs and then 619 00:32:38,400 --> 00:32:41,520 Speaker 1: handed our copy of our homemade record out to the 620 00:32:41,520 --> 00:32:45,760 Speaker 1: record they won. Luke Lewis signed us that night. Did 621 00:32:45,760 --> 00:32:48,640 Speaker 1: you feel like this might be a little too fast? 622 00:32:48,960 --> 00:32:51,880 Speaker 1: Did you feel like we're ready? Oh, there's no such 623 00:32:51,880 --> 00:32:54,480 Speaker 1: thing as that. For me, I had already done it. It 624 00:32:54,400 --> 00:32:56,360 Speaker 1: It might have felt that way to other people, but 625 00:32:56,520 --> 00:32:58,880 Speaker 1: I've been on a major label for eight years before then. 626 00:32:58,960 --> 00:33:01,160 Speaker 1: But you had to be with that. And for me, 627 00:33:01,480 --> 00:33:04,560 Speaker 1: that's and what are I do? In all aspects of 628 00:33:04,560 --> 00:33:08,640 Speaker 1: my life? Chemistry is the most important thing because I 629 00:33:08,680 --> 00:33:11,520 Speaker 1: can't do anything with that great people around me. Even 630 00:33:11,560 --> 00:33:13,120 Speaker 1: when I do stand up, if I don't have the 631 00:33:13,160 --> 00:33:16,160 Speaker 1: right people running lights and sound, I have to surround 632 00:33:16,160 --> 00:33:17,880 Speaker 1: myself with better people than what I do because it 633 00:33:17,920 --> 00:33:20,280 Speaker 1: makes me better. So here you are, there are three 634 00:33:20,320 --> 00:33:22,920 Speaker 1: of you. You haven't spent a ton of time together, 635 00:33:23,840 --> 00:33:26,960 Speaker 1: and now you're embarking on this new life a little 636 00:33:27,040 --> 00:33:29,200 Speaker 1: was there any apprehension like, man, I don't even know 637 00:33:29,240 --> 00:33:32,200 Speaker 1: if I like these people. Well, I think there's this 638 00:33:32,280 --> 00:33:37,760 Speaker 1: kind of a joy and at least shared ambition. Um 639 00:33:37,840 --> 00:33:41,360 Speaker 1: I knew Kristen kind of. I didn't know enough that. 640 00:33:41,920 --> 00:33:43,800 Speaker 1: I mean maybe I did that she was going to 641 00:33:43,880 --> 00:33:47,880 Speaker 1: get anxious like that was not really a life she wanted. Um. 642 00:33:47,920 --> 00:33:52,000 Speaker 1: I didn't know Jennifer very well at all. But um, 643 00:33:52,560 --> 00:33:54,920 Speaker 1: we both seem to have the skill to be in 644 00:33:55,000 --> 00:33:59,840 Speaker 1: duo's you know. Um we knew how to, we knew 645 00:33:59,840 --> 00:34:03,320 Speaker 1: how make music. It wasn't our first time. This is 646 00:34:03,320 --> 00:34:06,080 Speaker 1: where we gotta pay the bills real quick. I'd hand 647 00:34:06,080 --> 00:34:08,680 Speaker 1: it to you, like I love Christian grabbing for the spot. 648 00:34:09,360 --> 00:34:11,160 Speaker 1: I get so into the stories to forget to do well. 649 00:34:11,840 --> 00:34:13,880 Speaker 1: We get to keep the lights on here. 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Life flock detects 666 00:34:57,840 --> 00:35:00,360 Speaker 1: a wide range identity of threats. If they detect your 667 00:35:00,400 --> 00:35:02,320 Speaker 1: information is being used to get alerts on your phone 668 00:35:02,400 --> 00:35:05,239 Speaker 1: and your email. They smoke signal all kinds of things. 669 00:35:05,440 --> 00:35:08,279 Speaker 1: If there's a problem, a US based restoration specialists work 670 00:35:08,320 --> 00:35:10,680 Speaker 1: to fix it. No one can prevent all identities, have 671 00:35:10,719 --> 00:35:13,640 Speaker 1: to monitor all transactions at all businesses. But LifeLock can 672 00:35:13,719 --> 00:35:15,680 Speaker 1: uncover the threats that you missed ten percent off if 673 00:35:15,680 --> 00:35:19,960 Speaker 1: you used the promo code boneslock use bones or LifeLock 674 00:35:20,040 --> 00:35:22,520 Speaker 1: dot com. Use the promo code bones and save ten 675 00:35:22,560 --> 00:35:25,560 Speaker 1: percent now and there you go. They see that's how 676 00:35:25,560 --> 00:35:28,759 Speaker 1: we do it. You are really good at this job. 677 00:35:28,960 --> 00:35:31,440 Speaker 1: That's all I know how to do. You have to 678 00:35:31,440 --> 00:35:33,840 Speaker 1: find what you know how to do in really target, 679 00:35:34,040 --> 00:35:38,320 Speaker 1: just go right into it. So what was the first 680 00:35:38,360 --> 00:35:41,160 Speaker 1: single for sugar Land? Wasn't baby Girl? It was the 681 00:35:41,200 --> 00:35:47,120 Speaker 1: first song, and um, yeah, it took forever. It was 682 00:35:47,200 --> 00:35:51,040 Speaker 1: fifty two four weeks, the whole year, and uh it 683 00:35:51,600 --> 00:35:54,319 Speaker 1: died a couple of times revisionist history. This is just 684 00:35:54,360 --> 00:35:56,440 Speaker 1: a huge song that made you guys instantly famous. It 685 00:35:56,520 --> 00:36:00,759 Speaker 1: was never it was never number one? Why it's so 686 00:36:00,800 --> 00:36:02,880 Speaker 1: funny because I want to like about Sundays kept it 687 00:36:02,880 --> 00:36:06,600 Speaker 1: out of number one? What I about? Yeah, Craig Morgan. 688 00:36:07,200 --> 00:36:09,040 Speaker 1: So I was talking to Keith. He but it's funny 689 00:36:09,080 --> 00:36:10,719 Speaker 1: you say this, and Keith and I were talking about 690 00:36:10,800 --> 00:36:12,759 Speaker 1: number one. I think I was talking about whatever I 691 00:36:12,800 --> 00:36:15,640 Speaker 1: have this convert I'm so fascinated with number ones for 692 00:36:15,680 --> 00:36:18,880 Speaker 1: the sake of it, and how this format throws them 693 00:36:18,880 --> 00:36:21,959 Speaker 1: away so much that the number ones, it's a nice 694 00:36:22,040 --> 00:36:24,560 Speaker 1: little you get a trophy. But those aren't the songs 695 00:36:24,560 --> 00:36:27,520 Speaker 1: that last They were not. I mean it wasn't always 696 00:36:27,560 --> 00:36:30,880 Speaker 1: this It wasn't always this way. Okay, so I know 697 00:36:30,960 --> 00:36:33,200 Speaker 1: the way now and I completely grab I got about 698 00:36:33,200 --> 00:36:36,279 Speaker 1: the system so much and nausea people it's and we're 699 00:36:36,320 --> 00:36:38,799 Speaker 1: also not able to live with music because we're just 700 00:36:38,840 --> 00:36:41,920 Speaker 1: cycling through so much quick now. But the fact that 701 00:36:41,920 --> 00:36:45,080 Speaker 1: that wasn't a number one song and could quite possibly 702 00:36:45,120 --> 00:36:47,880 Speaker 1: be one of the three biggest songs that people associate 703 00:36:47,880 --> 00:36:50,960 Speaker 1: with sugar Land ever, and you guys are grant you 704 00:36:51,040 --> 00:36:53,759 Speaker 1: guys have done at all, and that wasn't a number one. 705 00:36:54,680 --> 00:36:57,120 Speaker 1: That just shows you that a song doesn't have to 706 00:36:57,120 --> 00:37:00,680 Speaker 1: be given a ranking to last to test the time, right, well, 707 00:37:00,719 --> 00:37:03,880 Speaker 1: I mean whether what I learned very quickly is that 708 00:37:04,800 --> 00:37:07,800 Speaker 1: the check that you get is the exact same for 709 00:37:07,880 --> 00:37:12,080 Speaker 1: number two as you get for number one, basically basically 710 00:37:12,120 --> 00:37:14,400 Speaker 1: the same. And and I didn't know that it was 711 00:37:14,440 --> 00:37:18,000 Speaker 1: such a science or a chess game to move up 712 00:37:18,040 --> 00:37:22,080 Speaker 1: a chart. And it was a real humbling for me because, um, 713 00:37:22,120 --> 00:37:25,160 Speaker 1: in Billy Pilgrim, we had we had four number ones 714 00:37:25,800 --> 00:37:29,279 Speaker 1: in triple A, you know, and we we thought that 715 00:37:29,360 --> 00:37:32,680 Speaker 1: was fantastic, but we didn't really know what that meant 716 00:37:33,040 --> 00:37:35,080 Speaker 1: because at the time, you couldn't really tell what was 717 00:37:35,120 --> 00:37:38,879 Speaker 1: the real chart or wasn't. And we remember stepping off 718 00:37:38,880 --> 00:37:41,400 Speaker 1: an elevator at the A c M S and the 719 00:37:42,239 --> 00:37:44,640 Speaker 1: maybe David Mobralely or maybe it was John Anger, one 720 00:37:44,640 --> 00:37:46,320 Speaker 1: of the radio guys came to me and shook my 721 00:37:46,360 --> 00:37:49,200 Speaker 1: hand and said congratulations and said congratulations for what And 722 00:37:49,200 --> 00:37:53,320 Speaker 1: they're like, you have the longest charting single and recorded 723 00:37:53,320 --> 00:37:56,839 Speaker 1: country music history. And I was like, what does that mean? 724 00:37:58,520 --> 00:38:01,920 Speaker 1: And they were, well, it stayed on the chart the longest, 725 00:38:01,960 --> 00:38:05,680 Speaker 1: it went up, the slowest it it. It had the 726 00:38:05,800 --> 00:38:10,520 Speaker 1: longest arc, and I've never forgotten that moment. I'm sure 727 00:38:10,560 --> 00:38:13,600 Speaker 1: it's been surpassed because I think I think Lee Brice 728 00:38:13,680 --> 00:38:17,200 Speaker 1: ended up beating it with like fifty seven weeks. But 729 00:38:17,280 --> 00:38:20,480 Speaker 1: I would say that I love the idea that even 730 00:38:20,520 --> 00:38:23,440 Speaker 1: if it goes slow, as long as it goes, what 731 00:38:23,520 --> 00:38:27,080 Speaker 1: you're doing is just reaching more people. I'm really agnostic 732 00:38:27,160 --> 00:38:32,279 Speaker 1: about the award. I don't really care, but my my 733 00:38:32,320 --> 00:38:34,840 Speaker 1: ambition has always been reached the most amount of people 734 00:38:34,880 --> 00:38:37,359 Speaker 1: that you can reach. What doesn't matter what it is. 735 00:38:37,640 --> 00:38:40,879 Speaker 1: Put it in a commercial, give the song away, put 736 00:38:40,880 --> 00:38:43,399 Speaker 1: it on the radio, put it on television. I don't care. 737 00:38:43,920 --> 00:38:46,680 Speaker 1: Just I want to reach the most amount of people. 738 00:38:48,760 --> 00:38:51,759 Speaker 1: So the song takes fifty let's just say fifty two weeks, 739 00:38:51,800 --> 00:38:54,440 Speaker 1: let's sake of the story. That also to credit your 740 00:38:54,520 --> 00:38:58,760 Speaker 1: label because I wasn't involved. That costs money to continue 741 00:38:58,760 --> 00:39:01,640 Speaker 1: pushing a song, and not only that, it takes their 742 00:39:01,680 --> 00:39:04,439 Speaker 1: heart being in it to go. We know that this 743 00:39:04,480 --> 00:39:07,120 Speaker 1: song is moving slow, but we have faith and not 744 00:39:07,200 --> 00:39:10,600 Speaker 1: only the song but the band. And there's something to 745 00:39:10,640 --> 00:39:14,239 Speaker 1: be said about commitment these days in the creative industry, 746 00:39:14,920 --> 00:39:16,759 Speaker 1: and even these last fifty years, there's something to be 747 00:39:16,760 --> 00:39:20,040 Speaker 1: said about that. So did you feel like, okay, they 748 00:39:20,080 --> 00:39:22,880 Speaker 1: have our back a bit, like they sat and pushed 749 00:39:23,000 --> 00:39:27,640 Speaker 1: us for fifty weeks to record to radio stations. Yeah, 750 00:39:27,760 --> 00:39:31,240 Speaker 1: well I was. I was impressed. I had I've really 751 00:39:31,280 --> 00:39:34,680 Speaker 1: had quite a run with record label presidents. I was 752 00:39:34,760 --> 00:39:37,560 Speaker 1: signed by it they turnover. Yeah, well I was signed 753 00:39:37,560 --> 00:39:40,480 Speaker 1: by Ahmed Ard again to Atlantic Records with his very 754 00:39:40,520 --> 00:39:43,840 Speaker 1: first female and our person. It was Jennifer Stark and 755 00:39:43,920 --> 00:39:47,200 Speaker 1: she she she's the one who signed Billy Pilgrim and 756 00:39:47,360 --> 00:39:50,640 Speaker 1: he was in lieu of Uncle Tupelo. I guess they 757 00:39:50,640 --> 00:39:58,080 Speaker 1: didn't accept the deal and they and all that stuff 758 00:39:58,120 --> 00:40:00,960 Speaker 1: and and uh, we you know, we were the second choice. 759 00:40:01,360 --> 00:40:03,840 Speaker 1: But I have to say that the commitment that I 760 00:40:04,000 --> 00:40:07,760 Speaker 1: learned from those employees and and the habits I learned, 761 00:40:08,680 --> 00:40:12,480 Speaker 1: you know, um translated. So when I got to Mercury 762 00:40:12,520 --> 00:40:15,320 Speaker 1: and it was Luke Lewis and and and all of 763 00:40:15,360 --> 00:40:18,040 Speaker 1: the people that worked there at the time, they were 764 00:40:18,080 --> 00:40:23,280 Speaker 1: into making artists. They were not into making singles. And 765 00:40:23,640 --> 00:40:27,640 Speaker 1: I understood that and it made sense. You know, um 766 00:40:27,840 --> 00:40:31,040 Speaker 1: Shania Twain was the big winner on that label when 767 00:40:31,040 --> 00:40:35,920 Speaker 1: we signed, and uh, George Strait was pulling in a 768 00:40:35,960 --> 00:40:40,800 Speaker 1: lot of money, and Billy Currington was the new signing, 769 00:40:40,960 --> 00:40:45,280 Speaker 1: and you know, like it was very interesting at the time. 770 00:40:45,400 --> 00:40:48,880 Speaker 1: And I knew how to stay off their radar to 771 00:40:49,040 --> 00:40:51,960 Speaker 1: keep from draining their coffers because I had learned it 772 00:40:52,000 --> 00:40:54,560 Speaker 1: ten years earlier. Probably had to do it just for 773 00:40:54,600 --> 00:40:59,040 Speaker 1: your own sake. Yeah, And we didn't. We didn't take 774 00:40:59,040 --> 00:41:03,000 Speaker 1: an advance really, you know, we didn't take to our support. 775 00:41:03,719 --> 00:41:05,680 Speaker 1: We we never took anything from the label. I want 776 00:41:05,680 --> 00:41:08,040 Speaker 1: one of the few bands that I think at that label, 777 00:41:08,760 --> 00:41:12,560 Speaker 1: UM got checks, which makes it easier to spend money 778 00:41:12,560 --> 00:41:15,000 Speaker 1: on you if you're not taking money already. Yeah, I 779 00:41:15,040 --> 00:41:17,080 Speaker 1: wanted that was my idea. That's what I had learned 780 00:41:17,160 --> 00:41:22,279 Speaker 1: in the nineties was all my education, which I you know, 781 00:41:22,320 --> 00:41:24,760 Speaker 1: I absorbed everything about how to be in the record 782 00:41:24,760 --> 00:41:28,640 Speaker 1: business as as early as I could, and got out 783 00:41:28,640 --> 00:41:32,440 Speaker 1: of college and applied that knowledge as fast as I could. 784 00:41:32,680 --> 00:41:36,000 Speaker 1: And by the time we got here, um, they were 785 00:41:36,000 --> 00:41:38,120 Speaker 1: still in the business of spending money, but they just 786 00:41:38,160 --> 00:41:42,120 Speaker 1: didn't have to spend it on us. So after that 787 00:41:42,160 --> 00:41:45,640 Speaker 1: song runs its course and puts you guys on the map, 788 00:41:46,560 --> 00:41:49,960 Speaker 1: what did it? What did it? Peak? Number two it 789 00:41:50,120 --> 00:41:52,319 Speaker 1: was there's a moment. You can do this. You can 790 00:41:52,400 --> 00:41:54,799 Speaker 1: have this moment if you want it. Get online, go 791 00:41:54,880 --> 00:41:57,719 Speaker 1: to the YouTube and type in Sherland playing Baby Girl 792 00:41:57,800 --> 00:42:01,960 Speaker 1: the a c NS and you will see people who 793 00:42:01,960 --> 00:42:07,920 Speaker 1: are broke closing the show. We were broke. I was 794 00:42:07,960 --> 00:42:12,239 Speaker 1: forty in debt. Was that when Jenny had our shoes off? 795 00:42:14,880 --> 00:42:18,680 Speaker 1: So that show we were supposed to sing thirty seconds 796 00:42:18,680 --> 00:42:22,440 Speaker 1: of Baby Girl into the presenter microphone early in the show. 797 00:42:23,160 --> 00:42:26,040 Speaker 1: Did something happened with a closing guy? Something happened. So 798 00:42:26,120 --> 00:42:28,600 Speaker 1: if you go back and figure it all out, there 799 00:42:28,680 --> 00:42:31,440 Speaker 1: was there were two or three things that went down, 800 00:42:31,520 --> 00:42:34,600 Speaker 1: and suddenly they asked us, Hey, can you sing a 801 00:42:34,640 --> 00:42:36,920 Speaker 1: minute instead of thirty seconds and do you have your instruments? 802 00:42:36,960 --> 00:42:40,200 Speaker 1: And you're like sure, and they said, okay, I know 803 00:42:40,280 --> 00:42:41,879 Speaker 1: this is short notice, but can you get a band 804 00:42:41,920 --> 00:42:44,839 Speaker 1: here in two days? We're like why. They're like, well, 805 00:42:44,840 --> 00:42:46,920 Speaker 1: can you do an abbreviated version of your song like 806 00:42:46,960 --> 00:42:49,360 Speaker 1: a a real performance? Can you get a drummer? Do 807 00:42:49,360 --> 00:42:51,040 Speaker 1: you have a track? What can you sing to it? 808 00:42:51,520 --> 00:42:55,200 Speaker 1: We're like yeah, we're on the phone calling me. And 809 00:42:55,239 --> 00:42:58,280 Speaker 1: then there they got up to the rehearsal day before 810 00:42:58,280 --> 00:43:00,920 Speaker 1: the show and they said, so, George Straits, that's what 811 00:43:01,040 --> 00:43:04,160 Speaker 1: it was. I remember that sick and we were wondering 812 00:43:04,160 --> 00:43:07,440 Speaker 1: if you would close the show, and so we closed 813 00:43:07,440 --> 00:43:12,160 Speaker 1: the show. We were people that nobody knew, and Jennifer 814 00:43:12,200 --> 00:43:16,200 Speaker 1: had on the same shoes as like Sarah Evans or something, 815 00:43:16,239 --> 00:43:18,120 Speaker 1: and she's like, oh, forget it and just threw them 816 00:43:18,120 --> 00:43:22,160 Speaker 1: off and ran out there. And then the curtain goes 817 00:43:22,280 --> 00:43:27,319 Speaker 1: up and we start singing baby Girl right and I'll 818 00:43:27,360 --> 00:43:32,480 Speaker 1: never forget and I will forever be grateful. There was this, 819 00:43:32,880 --> 00:43:37,840 Speaker 1: to me, incredible pause between us finishing the last note 820 00:43:38,200 --> 00:43:41,880 Speaker 1: and people clapping. It was just nothing. It was like dead. 821 00:43:43,160 --> 00:43:46,000 Speaker 1: And I watched Tim mcgrawl and Faith Hill stand up 822 00:43:46,040 --> 00:43:49,080 Speaker 1: and they were dead sinner in that room, and they 823 00:43:49,120 --> 00:43:51,759 Speaker 1: stood up and started clapping, and then every in my 824 00:43:51,800 --> 00:43:57,040 Speaker 1: mind they guilted everyone looking back. When do you as 825 00:43:57,120 --> 00:44:00,680 Speaker 1: signed that silence to that break? What do you assign 826 00:44:00,680 --> 00:44:05,280 Speaker 1: it to? Huge amounts of adrenaline and shame and worry? 827 00:44:06,200 --> 00:44:09,480 Speaker 1: Like you know, adrenaline slows down your perception. So I 828 00:44:09,480 --> 00:44:12,000 Speaker 1: think we hit the last note. And I didn't know 829 00:44:12,040 --> 00:44:14,839 Speaker 1: if we had sucked or if we hadn't, or if 830 00:44:14,840 --> 00:44:16,799 Speaker 1: we sounded good or if we didn't. I didn't know 831 00:44:16,880 --> 00:44:21,719 Speaker 1: anything about performing on television like that, and sure enough, 832 00:44:22,680 --> 00:44:26,600 Speaker 1: you know, people talk about that day as, oh, that's 833 00:44:26,600 --> 00:44:28,400 Speaker 1: when we found out who you were. That's when I 834 00:44:28,719 --> 00:44:32,360 Speaker 1: remember the shooting, when you started. That's something. I remember 835 00:44:32,440 --> 00:44:35,520 Speaker 1: seeing her on with no shoes, and I was like, 836 00:44:35,840 --> 00:44:39,480 Speaker 1: that's really cool. They seem like normal folks were just 837 00:44:39,600 --> 00:44:43,120 Speaker 1: that alone. That's small and it wasn't a contrived thing. 838 00:44:43,239 --> 00:44:44,720 Speaker 1: I guess she was just one of the same shoes 839 00:44:44,719 --> 00:44:47,359 Speaker 1: as someone else. Yet still didn't Oh yeah, I wasn't 840 00:44:47,360 --> 00:44:49,879 Speaker 1: on purpose. But I mean, if you put in your head, 841 00:44:49,960 --> 00:44:52,279 Speaker 1: I mean I try to remind new artists of this 842 00:44:52,320 --> 00:44:55,239 Speaker 1: all the time. That you can close the A C M. S. 843 00:44:55,360 --> 00:44:58,839 Speaker 1: And seven hours earlier you were in your hotel room 844 00:44:58,920 --> 00:45:01,600 Speaker 1: trying to do computer programming in order to pay your bills. 845 00:45:01,600 --> 00:45:05,719 Speaker 1: Because you in the hole like that's real, that's going 846 00:45:05,760 --> 00:45:09,440 Speaker 1: to happen, and you're gonna have to make those choices. 847 00:45:09,480 --> 00:45:12,360 Speaker 1: Early on, we didn't take publishing deals, we didn't take anything, 848 00:45:13,239 --> 00:45:18,279 Speaker 1: you know, we just went the long way. And sometimes 849 00:45:18,320 --> 00:45:20,319 Speaker 1: that's the right choice. It's not always the right choice 850 00:45:20,320 --> 00:45:24,360 Speaker 1: for everyone, especially not today, but um, at the time, 851 00:45:24,440 --> 00:45:27,840 Speaker 1: that's what it is. So there's this kind of authenticity 852 00:45:27,960 --> 00:45:39,880 Speaker 1: to the song being performed by people who actually done right. Um. 853 00:45:40,040 --> 00:45:43,120 Speaker 1: But in retrospect, you know, I we didn't have a 854 00:45:43,200 --> 00:45:47,719 Speaker 1: number one song until our second albums. That yeah, on 855 00:45:47,760 --> 00:45:49,960 Speaker 1: the first On the first record you had what talking 856 00:45:50,120 --> 00:45:52,440 Speaker 1: what were the hits? Um, we had a baby girl, 857 00:45:52,920 --> 00:45:55,680 Speaker 1: and then we had something more. Now I know all 858 00:45:55,719 --> 00:45:59,920 Speaker 1: the answers to this as you're talking through that, I'm 859 00:46:00,000 --> 00:46:01,719 Speaker 1: not letting you tell I know all the answer. I 860 00:46:01,719 --> 00:46:04,040 Speaker 1: don't like to know all the answer we had. We 861 00:46:04,040 --> 00:46:06,520 Speaker 1: had a song called just Might Make Me Believe, which 862 00:46:06,719 --> 00:46:08,480 Speaker 1: was Kristen's song. It was the only song that she 863 00:46:08,520 --> 00:46:12,400 Speaker 1: wrote myrself and then we had um uh down in 864 00:46:12,440 --> 00:46:15,920 Speaker 1: Mississippi and up to No Good, which was on that record, 865 00:46:16,440 --> 00:46:20,000 Speaker 1: and then they then Kristen quit right at the end 866 00:46:20,000 --> 00:46:22,200 Speaker 1: of that and we had to go in and make 867 00:46:22,239 --> 00:46:25,719 Speaker 1: a second record in two weeks. So really she and I, 868 00:46:25,880 --> 00:46:28,000 Speaker 1: Jennifer and I wrote that whole second record in two 869 00:46:28,000 --> 00:46:30,799 Speaker 1: weeks in jan January? Did you not have to write 870 00:46:30,800 --> 00:46:32,799 Speaker 1: the record? Had to shoot all the photos and the 871 00:46:32,840 --> 00:46:35,120 Speaker 1: whole image had to be kind of altered, right because 872 00:46:35,120 --> 00:46:37,120 Speaker 1: everything you had all this. Yeah, we we started over, 873 00:46:37,920 --> 00:46:39,520 Speaker 1: but it was kind of cool and we knew how 874 00:46:39,520 --> 00:46:41,560 Speaker 1: to start over because we had just done it, I 875 00:46:41,560 --> 00:46:44,279 Speaker 1: guess a couple of times, you know. So it was 876 00:46:44,320 --> 00:46:46,480 Speaker 1: just I had to keep reminding us that you just 877 00:46:46,520 --> 00:46:49,080 Speaker 1: start over. And for Terryll and then to want to 878 00:46:49,320 --> 00:46:53,759 Speaker 1: was on that change and a minute just kids could 879 00:46:53,760 --> 00:47:00,480 Speaker 1: stop it span and we could thank it three, you know, 880 00:47:03,840 --> 00:47:07,480 Speaker 1: and then um my version of the Who which was 881 00:47:07,760 --> 00:47:14,799 Speaker 1: settling that. And if you listen to that song and 882 00:47:14,800 --> 00:47:17,279 Speaker 1: you listened to Sweet Louisiana Sound, you'll hear a lot 883 00:47:17,280 --> 00:47:20,280 Speaker 1: of the same stuff from Billy Posum. Maybe I won't, 884 00:47:20,280 --> 00:47:30,600 Speaker 1: but you would, because this is a jam. Yeah up straight, 885 00:47:34,880 --> 00:47:39,879 Speaker 1: it's that to me. I hear the nineties ish third 886 00:47:39,880 --> 00:47:44,680 Speaker 1: Eye Blind on that Yeah, same thing. Yeah, because that's 887 00:47:44,719 --> 00:47:49,960 Speaker 1: where I'm from. Um, and then uh, what Everyday America 888 00:47:50,920 --> 00:47:53,719 Speaker 1: was the next single, and then we were pulling from 889 00:47:53,760 --> 00:47:56,440 Speaker 1: my bag of old billy pogram tricks during that because 890 00:47:56,440 --> 00:47:58,319 Speaker 1: we just needed songs. I was like, pull out of 891 00:47:58,320 --> 00:48:01,279 Speaker 1: this basket. We'll write whatever the lyric is. And I 892 00:48:01,320 --> 00:48:03,960 Speaker 1: had had that song for a lady named Beth Wood 893 00:48:04,040 --> 00:48:07,839 Speaker 1: in the early nineties, and I just redid it and 894 00:48:07,880 --> 00:48:09,880 Speaker 1: we got to rewrite it with Lisa Carver and Jennifer 895 00:48:09,920 --> 00:48:12,000 Speaker 1: loved it, and so we rewrote that whole song and 896 00:48:12,000 --> 00:48:18,279 Speaker 1: then uh, then stay, you should know we don't have 897 00:48:18,440 --> 00:48:27,279 Speaker 1: to live this way, don't. We recorded this three or 898 00:48:27,280 --> 00:48:29,759 Speaker 1: four times, and this is me and my brother and 899 00:48:29,880 --> 00:48:35,319 Speaker 1: Jennifer playing at once. So that's Brandon playing Hammon and 900 00:48:35,360 --> 00:48:36,759 Speaker 1: he and I are looking at each other and doing 901 00:48:36,760 --> 00:48:40,960 Speaker 1: the little brother speak because there's no tempo and I'm 902 00:48:40,960 --> 00:48:44,839 Speaker 1: watching her singing and we're doing it live. So that's 903 00:48:45,360 --> 00:48:49,400 Speaker 1: one performance. This track is one performance, no click track, 904 00:48:49,680 --> 00:48:53,799 Speaker 1: just visual cues. Yeah, that's it. And I it was 905 00:48:53,840 --> 00:48:57,080 Speaker 1: a song that she had written by herself years before, 906 00:48:57,719 --> 00:49:00,480 Speaker 1: and the Kristen who was in the band didn't really 907 00:49:00,480 --> 00:49:03,560 Speaker 1: like the song and I kind of did, and so 908 00:49:03,600 --> 00:49:05,640 Speaker 1: when it came up on the second record, it was 909 00:49:05,920 --> 00:49:07,680 Speaker 1: I was like, hey, what do you think about that? 910 00:49:07,760 --> 00:49:09,480 Speaker 1: And she was like, oh, I love that song. But 911 00:49:09,600 --> 00:49:11,640 Speaker 1: we tried it with a band. We tried it sound 912 00:49:11,640 --> 00:49:14,200 Speaker 1: like the Black Crows. We tried all these different different 913 00:49:14,800 --> 00:49:17,239 Speaker 1: and it didn't work, and Uh, we were kind of 914 00:49:17,239 --> 00:49:18,560 Speaker 1: at the end of our rope. I was like, can 915 00:49:18,560 --> 00:49:20,719 Speaker 1: I just call my brother? Can we just do that? 916 00:49:21,320 --> 00:49:25,359 Speaker 1: It seems like sure? And it was magic? Was that 917 00:49:25,400 --> 00:49:32,560 Speaker 1: the song that stadiumed it for? You guys? Well, I 918 00:49:32,560 --> 00:49:39,239 Speaker 1: think that Kenny stadium Us is what happened, and we 919 00:49:39,239 --> 00:49:42,279 Speaker 1: were a very good compliment to his show. I went 920 00:49:42,360 --> 00:49:45,160 Speaker 1: to that show. We were like, he taught us a 921 00:49:45,280 --> 00:49:47,560 Speaker 1: lot about how to take your music and do that. 922 00:49:47,880 --> 00:49:52,360 Speaker 1: But I think, um, I think settling probably turned us 923 00:49:52,360 --> 00:49:59,640 Speaker 1: into a stadium act and stay Uh showed people that 924 00:50:01,160 --> 00:50:08,000 Speaker 1: her voice and her ability to emote was so highly developed. 925 00:50:09,040 --> 00:50:12,359 Speaker 1: The video moved people to when you think of over 926 00:50:12,400 --> 00:50:16,600 Speaker 1: the last ten years, the videos that really stick with you, 927 00:50:17,560 --> 00:50:20,360 Speaker 1: I remember that video. So they we ran out of 928 00:50:20,360 --> 00:50:22,319 Speaker 1: money at the label. They didn't want to put out 929 00:50:22,320 --> 00:50:25,719 Speaker 1: any more songs, and we said, but we want to 930 00:50:25,760 --> 00:50:27,040 Speaker 1: why don't we try this? When they were like, you 931 00:50:27,040 --> 00:50:29,239 Speaker 1: want to put out an almost five minute acoustic song 932 00:50:29,360 --> 00:50:32,000 Speaker 1: for the radio, and they're like, well, I mean all 933 00:50:32,000 --> 00:50:36,239 Speaker 1: you have to say is no. And we said, can 934 00:50:36,280 --> 00:50:38,719 Speaker 1: we have a video budget? They're like, no, you're out 935 00:50:38,719 --> 00:50:42,640 Speaker 1: of money. You have like fifteen or thirty thousand dollar 936 00:50:42,760 --> 00:50:45,080 Speaker 1: or something to do this, which bought us half a day. 937 00:50:46,840 --> 00:50:49,560 Speaker 1: So that video is the way that it is because 938 00:50:49,640 --> 00:50:53,040 Speaker 1: we didn't have anything. We we had just played the 939 00:50:53,040 --> 00:50:56,799 Speaker 1: stadium in Philadelphia the night before we shot that, and 940 00:50:56,840 --> 00:50:59,000 Speaker 1: we were doing it in New York in a sound 941 00:50:59,080 --> 00:51:02,200 Speaker 1: stage that we could have word with somebody who would 942 00:51:02,239 --> 00:51:06,160 Speaker 1: only work until two or three o'clock. And I didn't 943 00:51:06,200 --> 00:51:07,960 Speaker 1: even have a good like my guitar. Tech forgot to 944 00:51:07,960 --> 00:51:09,640 Speaker 1: put a guitar in the back and I had to 945 00:51:09,680 --> 00:51:12,360 Speaker 1: borrow a guitar. I ended up buying the guitar a 946 00:51:12,400 --> 00:51:16,880 Speaker 1: borrow and I loved it so much, but um we 947 00:51:16,880 --> 00:51:20,400 Speaker 1: we We went in and filmed two passes or three passes, 948 00:51:20,440 --> 00:51:23,520 Speaker 1: and Jennifer was on the edge in her personal life 949 00:51:23,520 --> 00:51:28,120 Speaker 1: at the time, and she just started weeping absolutely real, 950 00:51:28,640 --> 00:51:32,480 Speaker 1: and I got an upset the director. I was like, hey, 951 00:51:32,640 --> 00:51:35,279 Speaker 1: I was like a gorilla. It's like, why are you 952 00:51:35,320 --> 00:51:40,120 Speaker 1: imagine making her do this everybody else? And she's like 953 00:51:40,160 --> 00:51:42,239 Speaker 1: I'm okay, I'm okay, I'm okay, I'm okay. And then 954 00:51:43,920 --> 00:51:45,840 Speaker 1: there's a second pass of the video and then she 955 00:51:45,920 --> 00:51:48,120 Speaker 1: just kind of loses it to stop singing at some point, 956 00:51:48,920 --> 00:51:51,879 Speaker 1: and we didn't have a chance to do anything other 957 00:51:51,920 --> 00:51:56,759 Speaker 1: than what you just saw. And the people at the 958 00:51:56,840 --> 00:51:59,359 Speaker 1: label loved it because it was so real, and then 959 00:51:59,640 --> 00:52:01,920 Speaker 1: they said it they sent it to the record company 960 00:52:02,239 --> 00:52:04,680 Speaker 1: or the radio stations, and I think the video is 961 00:52:04,719 --> 00:52:09,520 Speaker 1: what really helped the programmers get on board. Um, and 962 00:52:09,600 --> 00:52:12,040 Speaker 1: I'm forever grateful. I mean, geez, that's from one of 963 00:52:12,160 --> 00:52:19,319 Speaker 1: a Grammy, you know, like, that's unreal. The video, it 964 00:52:19,440 --> 00:52:23,719 Speaker 1: just sits with me. That's cool. And now that I 965 00:52:23,760 --> 00:52:28,319 Speaker 1: know the story, the video is so awesome. Guys, you're yeah, yeah, Well, 966 00:52:28,440 --> 00:52:31,600 Speaker 1: I mean it was the end of what was going 967 00:52:31,640 --> 00:52:33,120 Speaker 1: to happen, and then we were supposed to just go 968 00:52:33,160 --> 00:52:36,680 Speaker 1: make another record. And I'm so happy that that song 969 00:52:36,760 --> 00:52:39,200 Speaker 1: had what it had because it it creates this thing 970 00:52:39,239 --> 00:52:41,680 Speaker 1: that I see a lot now, which is you get 971 00:52:41,719 --> 00:52:45,120 Speaker 1: momentum on something like um like girl Crush or something 972 00:52:45,200 --> 00:52:46,920 Speaker 1: like I was. I was telling those guys. I was like, 973 00:52:47,120 --> 00:52:50,600 Speaker 1: you guys got one. You got one of those, because 974 00:52:50,640 --> 00:52:53,399 Speaker 1: your next one is going to be all of the 975 00:52:53,440 --> 00:52:56,319 Speaker 1: fuel that that one generates you will burn on your 976 00:52:56,360 --> 00:53:02,840 Speaker 1: next rocket stage. And it's incalculable and you can't you 977 00:53:02,880 --> 00:53:05,319 Speaker 1: can't predict it. But if you keep your head down 978 00:53:05,360 --> 00:53:08,440 Speaker 1: and you keep working, you'll come across it. So that 979 00:53:08,560 --> 00:53:12,480 Speaker 1: song does what it does. There's an immense pressure to 980 00:53:12,520 --> 00:53:16,520 Speaker 1: follow up a monster with another monster, right, so what 981 00:53:16,600 --> 00:53:19,520 Speaker 1: do you do? We went to Atlanta and we told 982 00:53:19,520 --> 00:53:21,520 Speaker 1: everyone that we were no longer making records in Nashville 983 00:53:23,080 --> 00:53:24,879 Speaker 1: and you will have to come to us. And how 984 00:53:24,880 --> 00:53:29,000 Speaker 1: did that go over? Like a lead bricks? But you know, 985 00:53:29,120 --> 00:53:31,480 Speaker 1: you gotta remember, like we rolled into the studio where 986 00:53:32,719 --> 00:53:36,880 Speaker 1: Springsteen had been making The Rising, where Stone Temple pilots 987 00:53:36,920 --> 00:53:38,760 Speaker 1: and made all their records, or Pearl Jam made their records. 988 00:53:38,800 --> 00:53:42,520 Speaker 1: We rolled into the exact same place, right, and we 989 00:53:42,600 --> 00:53:45,800 Speaker 1: brought our producer down in our our Nashville kind of players, 990 00:53:46,640 --> 00:53:50,840 Speaker 1: and we wrote that record while we were on the road. 991 00:53:51,800 --> 00:53:54,279 Speaker 1: But it took a while, and we were obsessed with 992 00:53:54,440 --> 00:53:58,560 Speaker 1: using the acoustic nous and the authenticity of the music 993 00:53:58,640 --> 00:54:01,000 Speaker 1: we grew up with in atlat which was like Aaria 994 00:54:01,040 --> 00:54:04,000 Speaker 1: I'm and the Indigo Girls and and Black Crows and 995 00:54:04,040 --> 00:54:11,040 Speaker 1: all these kind of Atlanta southern but pop but rock. 996 00:54:11,320 --> 00:54:16,520 Speaker 1: But we're based primarily on country music. You know, um, 997 00:54:16,560 --> 00:54:19,439 Speaker 1: Georgia satellites and all this stuff, and can we make 998 00:54:19,480 --> 00:54:22,080 Speaker 1: that kind of album? And I think everyone was expecting 999 00:54:22,160 --> 00:54:25,240 Speaker 1: us to go, at least in the in the record label. 1000 00:54:25,280 --> 00:54:30,720 Speaker 1: They were hoping that we would go super anthemic, gigantic, whatever, 1001 00:54:30,800 --> 00:54:35,319 Speaker 1: and then we made this essentially acoustic rock record. Um 1002 00:54:35,719 --> 00:54:37,799 Speaker 1: love on the inside. I had all I want to 1003 00:54:37,840 --> 00:54:53,120 Speaker 1: do totally love that. Had U shi it happens? Had happened? 1004 00:54:56,280 --> 00:54:59,640 Speaker 1: Did you try to go and write that on the CD? 1005 00:54:59,800 --> 00:55:01,880 Speaker 1: And they said make it happens. But we did that 1006 00:55:01,920 --> 00:55:03,680 Speaker 1: when we were writing it. We wrote that with Bobby Pinson. 1007 00:55:04,320 --> 00:55:08,799 Speaker 1: He kind of had the groove to it, and we're 1008 00:55:08,840 --> 00:55:11,879 Speaker 1: really fast writers together, and Bobby did a great job 1009 00:55:11,880 --> 00:55:15,640 Speaker 1: on that song. I was trying to get it in 1010 00:55:15,680 --> 00:55:17,480 Speaker 1: there because I thought it would be funny, and then 1011 00:55:17,600 --> 00:55:25,640 Speaker 1: already Gone was on that record. Many songs were going 1012 00:55:25,680 --> 00:55:27,720 Speaker 1: to the top of the chart in even ten weeks 1013 00:55:27,719 --> 00:55:31,399 Speaker 1: at a time, So where we had been fifty four 1014 00:55:31,440 --> 00:55:33,520 Speaker 1: weeks on our first song, we're now eight or nine 1015 00:55:33,560 --> 00:55:37,400 Speaker 1: weeks on a song, going from when it hits the 1016 00:55:37,480 --> 00:55:39,240 Speaker 1: chart to the top of the charts. We were burning 1017 00:55:39,239 --> 00:55:44,360 Speaker 1: through songs um and this tour ended up being on television, 1018 00:55:45,160 --> 00:55:48,520 Speaker 1: so we had a summer special. I was obsessed with 1019 00:55:49,440 --> 00:55:52,279 Speaker 1: remembering seeing concerts on television. I remember seeing the Karth 1020 00:55:52,320 --> 00:55:55,560 Speaker 1: Park's concert and York New York one, and I was like, 1021 00:55:55,600 --> 00:55:58,480 Speaker 1: how do we do that? And this record, Jennifer and 1022 00:55:58,560 --> 00:56:03,000 Speaker 1: I were completely aware that the distance between what was 1023 00:56:03,040 --> 00:56:06,960 Speaker 1: happening in culture and what was happening on television was closing. 1024 00:56:08,480 --> 00:56:11,279 Speaker 1: The gap was closing, and we vowed to each other 1025 00:56:11,280 --> 00:56:13,600 Speaker 1: that every song on this record would be on television 1026 00:56:14,760 --> 00:56:17,600 Speaker 1: some way, somehow. We would make it so that every 1027 00:56:17,640 --> 00:56:19,799 Speaker 1: single song we would either perform or there'd be a 1028 00:56:19,880 --> 00:56:23,040 Speaker 1: video or something. And we did it. We pulled it off, 1029 00:56:24,360 --> 00:56:26,239 Speaker 1: and I don't know how we did it, but I mean, 1030 00:56:26,280 --> 00:56:29,080 Speaker 1: we're four performances later on the A c M. S 1031 00:56:29,080 --> 00:56:31,759 Speaker 1: playing what I'd Give or something. We're like in deep 1032 00:56:31,840 --> 00:56:35,400 Speaker 1: deep tracks. But we had a summer special in ABC. 1033 00:56:35,600 --> 00:56:38,719 Speaker 1: They allowed us to do this. Now they didn't. They 1034 00:56:38,760 --> 00:56:42,439 Speaker 1: we had to pay for it ourselves, which the entire 1035 00:56:42,480 --> 00:56:44,960 Speaker 1: filming and the recording and everything. So we took the 1036 00:56:45,040 --> 00:56:47,879 Speaker 1: money from our shows and we had a twenty two 1037 00:56:47,920 --> 00:56:53,120 Speaker 1: camera shoot in Lexington, Virginia. One time. We had one 1038 00:56:53,120 --> 00:56:57,759 Speaker 1: shot and then we took all the footage back and 1039 00:56:57,760 --> 00:57:01,759 Speaker 1: they edited it together and they made a an hour 1040 00:57:01,800 --> 00:57:06,239 Speaker 1: and a half concert video and then they edited it 1041 00:57:06,280 --> 00:57:08,040 Speaker 1: down to forty five minutes and put it as a 1042 00:57:08,080 --> 00:57:10,239 Speaker 1: primetime special in the summer. Did they buy that back 1043 00:57:10,239 --> 00:57:16,520 Speaker 1: from you? No, So you take your money and create it, 1044 00:57:16,600 --> 00:57:19,880 Speaker 1: they air it, but they don't buy it back from you. Um, 1045 00:57:20,080 --> 00:57:26,640 Speaker 1: we got the label paid us for our investment, but 1046 00:57:26,720 --> 00:57:31,320 Speaker 1: we didn't get any money after that. And UM, what 1047 00:57:31,360 --> 00:57:34,680 Speaker 1: we decided was they were going to put it out 1048 00:57:34,960 --> 00:57:38,880 Speaker 1: as a They were afraid people are gonna buy DVDs anymore, 1049 00:57:40,040 --> 00:57:42,840 Speaker 1: and uh so we put out a cover record to 1050 00:57:42,880 --> 00:57:44,960 Speaker 1: go with it, and they sold it. They were doing 1051 00:57:45,000 --> 00:57:47,520 Speaker 1: exclusives with different box stores and this one was with 1052 00:57:47,520 --> 00:57:51,560 Speaker 1: Walmart and so they bought three copies and then never 1053 00:57:51,760 --> 00:57:53,080 Speaker 1: came out again. I don't think you can get it 1054 00:57:53,120 --> 00:57:56,600 Speaker 1: anywhere right now. But that was the kind of trajectory. 1055 00:57:56,680 --> 00:57:58,920 Speaker 1: Is that we had to keep investing in ourselves and 1056 00:57:59,840 --> 00:58:02,680 Speaker 1: um using our money because the labels were going broke. 1057 00:58:02,680 --> 00:58:06,120 Speaker 1: Then remember less than less money was coming in and 1058 00:58:06,360 --> 00:58:11,480 Speaker 1: by love on the inside, we were making more sales 1059 00:58:11,560 --> 00:58:13,800 Speaker 1: for the label than anyone else on the label. So 1060 00:58:14,040 --> 00:58:16,280 Speaker 1: suddenly we're carrying the We're in the front of the 1061 00:58:16,360 --> 00:58:20,840 Speaker 1: cart where Shanaya used to be and it was weird. 1062 00:58:22,000 --> 00:58:25,280 Speaker 1: And then we went and essentially made a rock record 1063 00:58:26,280 --> 00:58:29,840 Speaker 1: that everyone thought we were crazy for and now it's 1064 00:58:29,880 --> 00:58:32,720 Speaker 1: probably one of my favorite records we ever made. Was 1065 00:58:32,920 --> 00:58:37,760 Speaker 1: the incredible machine, you know, and it had it had 1066 00:58:37,800 --> 00:58:46,880 Speaker 1: stuck like clue on it again, did you write this one? Yeah? 1067 00:58:47,120 --> 00:58:49,760 Speaker 1: Did you write this with Kevin? It did? Actually Kevin 1068 00:58:49,800 --> 00:58:53,520 Speaker 1: pitched me the chorus to this song. So Kevin, by 1069 00:58:53,560 --> 00:58:56,680 Speaker 1: the way, Kevin Griffin from Better than I probably the 1070 00:58:56,680 --> 00:58:59,640 Speaker 1: twenty better than I was such a diehard better than 1071 00:58:59,680 --> 00:59:01,480 Speaker 1: as in. And so last night we played a show 1072 00:59:01,480 --> 00:59:03,840 Speaker 1: at the Rheman and I had Kevin came out and 1073 00:59:03,880 --> 00:59:05,880 Speaker 1: we did good and desperately wanting it was a great 1074 00:59:06,600 --> 00:59:07,920 Speaker 1: Christian I've got to play and do a lot of 1075 00:59:07,920 --> 00:59:09,800 Speaker 1: cool things in my life. Did that freak you out? 1076 00:59:10,480 --> 00:59:13,040 Speaker 1: It might have been my favorite musical moment that I've 1077 00:59:13,040 --> 00:59:16,080 Speaker 1: ever been a part of. And Kevin so nice and kind, 1078 00:59:16,120 --> 00:59:19,640 Speaker 1: and he says, whatever, whatever you want to do, we'll 1079 00:59:19,680 --> 00:59:22,760 Speaker 1: do it. And I said, well, I would play deeper 1080 00:59:22,800 --> 00:59:25,000 Speaker 1: tracks like this time of year, or I said, but 1081 00:59:25,080 --> 00:59:29,240 Speaker 1: the the fans won't want to hear good obviously, And 1082 00:59:29,280 --> 00:59:31,920 Speaker 1: so we played good and desperately wanting and I was 1083 00:59:31,960 --> 00:59:34,360 Speaker 1: just doing b g VS and was playing guitar and 1084 00:59:34,400 --> 00:59:36,400 Speaker 1: I knew this song when I was a kid, right, 1085 00:59:37,240 --> 00:59:38,840 Speaker 1: But and then he threw to me and let me. 1086 00:59:39,400 --> 00:59:41,880 Speaker 1: It really was full circle. There were two things that 1087 00:59:41,880 --> 00:59:45,360 Speaker 1: happened last night. And we had actually invited you guys 1088 00:59:45,440 --> 00:59:48,160 Speaker 1: to come play, and then you were hosting a different award. 1089 00:59:48,200 --> 00:59:52,440 Speaker 1: Then you got the flu and they do. But but 1090 00:59:52,960 --> 00:59:56,200 Speaker 1: um so Darius came out and Darius my first ever 1091 00:59:56,280 --> 00:59:58,800 Speaker 1: radio interview at seventeen years old, first person that ever interview, 1092 00:59:58,880 --> 01:00:01,360 Speaker 1: my gosh. And so Darius and I have paralleled with 1093 01:00:01,400 --> 01:00:05,600 Speaker 1: each other for a long time and yeah, and so 1094 01:00:06,160 --> 01:00:08,840 Speaker 1: he's been my guy, like in different formats. And so 1095 01:00:08,920 --> 01:00:10,920 Speaker 1: Darius comes out and he jumps on stage and the 1096 01:00:10,960 --> 01:00:13,320 Speaker 1: metal we're close enough where Darius just walks out the 1097 01:00:13,360 --> 01:00:15,760 Speaker 1: end of our set. He doesn't care. He just walks out. 1098 01:00:15,760 --> 01:00:17,840 Speaker 1: We're doing Purple Rain. Darius walks out and starts singing 1099 01:00:17,840 --> 01:00:20,040 Speaker 1: Propple Rain with this and he's like, I sing the 1100 01:00:20,040 --> 01:00:21,240 Speaker 1: song with my I said, I'm gonna sing it. So 1101 01:00:21,320 --> 01:00:23,360 Speaker 1: him and Natalie Soball are going back and forth and 1102 01:00:23,400 --> 01:00:25,720 Speaker 1: it's amazing. Than he does his new single that his 1103 01:00:25,760 --> 01:00:27,400 Speaker 1: waggon well, and I said, hey, you can't interrupt our 1104 01:00:27,440 --> 01:00:30,720 Speaker 1: set without me making you do something extra. So I 1105 01:00:30,800 --> 01:00:34,840 Speaker 1: played Cracked Review five million times on tape and then 1106 01:00:34,880 --> 01:00:37,880 Speaker 1: DVD A on CD, and I said, I would like 1107 01:00:37,920 --> 01:00:39,040 Speaker 1: for you to do hold in my Hand and I'd 1108 01:00:39,080 --> 01:00:41,560 Speaker 1: like to sing it with you. And he goes, okay 1109 01:00:41,760 --> 01:00:43,920 Speaker 1: with a little love and he passed it over and 1110 01:00:43,960 --> 01:00:45,760 Speaker 1: I'm like, this Heaven I did better than ever and 1111 01:00:45,800 --> 01:00:50,480 Speaker 1: Hootie the same night, This is awesome. So that was 1112 01:00:50,520 --> 01:00:52,960 Speaker 1: pretty exciting. But Kevin Griffin wrote that song with you, 1113 01:00:53,720 --> 01:00:56,960 Speaker 1: and I have to say that I attribute our drummer 1114 01:00:57,320 --> 01:01:01,160 Speaker 1: Travis McNabb, who i've referenced a toimes our conversation. But 1115 01:01:01,480 --> 01:01:06,120 Speaker 1: Travis was originally who helped me and Billy Pilgrim get 1116 01:01:06,120 --> 01:01:08,640 Speaker 1: our record deal, and then he went on to play 1117 01:01:08,680 --> 01:01:11,280 Speaker 1: in a band called the Beggars where maybe he was 1118 01:01:11,320 --> 01:01:13,960 Speaker 1: in Seven Simons. Then he worked with me and all 1119 01:01:13,960 --> 01:01:15,360 Speaker 1: my recordings, and then he went on to be in 1120 01:01:15,400 --> 01:01:16,800 Speaker 1: the Beggars, and then he went and joined Better Than 1121 01:01:16,840 --> 01:01:21,160 Speaker 1: Ezra for fifteen years. And I called him at some 1122 01:01:21,240 --> 01:01:24,680 Speaker 1: point when sugar Land had kind of graduated into Kenny 1123 01:01:24,760 --> 01:01:29,320 Speaker 1: Chesney stadium shows and said, hey, man, you're not gonna 1124 01:01:29,360 --> 01:01:31,720 Speaker 1: believe what I'm doing now, but I have a country 1125 01:01:31,760 --> 01:01:35,600 Speaker 1: band and I could really use your drumming awesomeness. I 1126 01:01:35,640 --> 01:01:38,040 Speaker 1: see that Better Than Ezra is not on the charts anymore. 1127 01:01:38,160 --> 01:01:42,120 Speaker 1: What are you doing? And he was like, oh, well, 1128 01:01:42,160 --> 01:01:45,760 Speaker 1: I'll come audition, and so he came an audition and 1129 01:01:45,800 --> 01:01:49,160 Speaker 1: eventually got the job right. And so I've always felt 1130 01:01:49,200 --> 01:01:56,200 Speaker 1: a little terrible that I had taken right. And uh So, 1131 01:01:56,600 --> 01:02:01,200 Speaker 1: at some point Kevin uh try Us started representing, Hey, look, 1132 01:02:01,240 --> 01:02:02,920 Speaker 1: let me let Kevin pitch you a song. I said, well, 1133 01:02:03,000 --> 01:02:05,480 Speaker 1: Jennifer and I are writing incredible machine all by ourselves. 1134 01:02:05,480 --> 01:02:08,280 Speaker 1: We're not going to take outside songs. And if I 1135 01:02:08,280 --> 01:02:09,640 Speaker 1: if I open it up to that, I gotta call 1136 01:02:09,680 --> 01:02:12,120 Speaker 1: Bobby Penson. I gotta call all these people you know 1137 01:02:12,880 --> 01:02:15,840 Speaker 1: that had been on our records that a very small 1138 01:02:15,880 --> 01:02:18,440 Speaker 1: amount of writers that we had written with, because I'm 1139 01:02:18,440 --> 01:02:21,080 Speaker 1: taking money off their table. If I don't allow them in, 1140 01:02:21,360 --> 01:02:23,600 Speaker 1: and if I get one guy in and it happens 1141 01:02:23,640 --> 01:02:27,360 Speaker 1: to be the all rock guy, they're gonna kill me. 1142 01:02:27,920 --> 01:02:31,480 Speaker 1: I'm just starting to make friends, you know. He said, well, 1143 01:02:31,520 --> 01:02:34,480 Speaker 1: just let me pitch. Having pitched one thing, I said, 1144 01:02:34,480 --> 01:02:36,880 Speaker 1: we'll make sure it's not a full song and make 1145 01:02:36,920 --> 01:02:40,400 Speaker 1: sure that um if we if we don't like it, 1146 01:02:40,480 --> 01:02:42,400 Speaker 1: we don't have to take it. And if we do 1147 01:02:42,480 --> 01:02:45,000 Speaker 1: like it, then we can write it to make it 1148 01:02:45,040 --> 01:02:47,480 Speaker 1: fit as sugar Land because we're the only people who 1149 01:02:47,520 --> 01:02:49,720 Speaker 1: know how to make a Sugarland song. No, we've never 1150 01:02:49,960 --> 01:02:54,000 Speaker 1: cut an outside song. And uh, he pitched us that 1151 01:02:54,080 --> 01:02:56,280 Speaker 1: chorus and it freaked me out. I loved it so much. 1152 01:02:56,400 --> 01:03:01,320 Speaker 1: How does the chorus it? Uh? It was the go 1153 01:03:02,520 --> 01:03:04,720 Speaker 1: Beat again, hawk Beat Again. And he had a co 1154 01:03:04,800 --> 01:03:08,640 Speaker 1: writer named Shy Carter who was new in town. He 1155 01:03:08,720 --> 01:03:10,920 Speaker 1: was like a Nellie writer or had written in the 1156 01:03:11,000 --> 01:03:16,200 Speaker 1: Nellie's camp. And I was half being kind to Travis 1157 01:03:16,240 --> 01:03:19,160 Speaker 1: to just because he asked me, and I felt guilt. 1158 01:03:19,840 --> 01:03:22,160 Speaker 1: And then the other half is the song was so 1159 01:03:22,240 --> 01:03:24,280 Speaker 1: catchy and it was at the very end of our 1160 01:03:24,720 --> 01:03:28,200 Speaker 1: recording sessions, and I was like, geez, Jennifer, I kind 1161 01:03:28,200 --> 01:03:30,479 Speaker 1: of like this. It scares me and I like things 1162 01:03:30,480 --> 01:03:33,000 Speaker 1: that scare me a little. And she listened to it 1163 01:03:33,040 --> 01:03:36,800 Speaker 1: and she's like, okay, I'm game. So we wrote the 1164 01:03:36,800 --> 01:03:38,640 Speaker 1: rest of it and sent it back to them and 1165 01:03:38,680 --> 01:03:40,720 Speaker 1: said do you hate this? And they're like no, no, no. 1166 01:03:40,760 --> 01:03:44,400 Speaker 1: I got right ahead and we recorded it that day 1167 01:03:45,680 --> 01:03:50,720 Speaker 1: and Kevin, you know, I had to keep calling him 1168 01:03:50,760 --> 01:03:52,640 Speaker 1: because I said, you know, this is gonna be a single. 1169 01:03:53,200 --> 01:03:56,360 Speaker 1: The label likes it the most, and it's got to 1170 01:03:56,440 --> 01:03:58,240 Speaker 1: like a rap part in the back of it. I 1171 01:03:58,280 --> 01:04:00,320 Speaker 1: hope you don't hate it. But we were gonna we 1172 01:04:00,320 --> 01:04:03,200 Speaker 1: were going to get a guy from Atlanta to rap 1173 01:04:03,840 --> 01:04:08,200 Speaker 1: and he wanted like hard cold cash. We thought, well, 1174 01:04:08,360 --> 01:04:10,400 Speaker 1: with save the money and Jennifer, why don't you just 1175 01:04:10,440 --> 01:04:11,960 Speaker 1: do it? So I went upstairs and we wrote the 1176 01:04:12,000 --> 01:04:15,000 Speaker 1: rap in the back of it, and then people started 1177 01:04:16,120 --> 01:04:21,080 Speaker 1: on radio cutting the rap out and like radio programmers 1178 01:04:21,080 --> 01:04:24,400 Speaker 1: were shortening the song on their own, and it caused 1179 01:04:24,400 --> 01:04:26,440 Speaker 1: a bit of a stir, and so I had to 1180 01:04:26,480 --> 01:04:28,960 Speaker 1: call Kevin and say, Kevin, I don't know your co writer, 1181 01:04:29,680 --> 01:04:31,720 Speaker 1: but can you get him to keep signing off on 1182 01:04:31,760 --> 01:04:35,160 Speaker 1: these promos because the writers all have to agree to things. 1183 01:04:35,280 --> 01:04:39,120 Speaker 1: And I didn't know the guy, and he was causing trouble. 1184 01:04:39,160 --> 01:04:41,160 Speaker 1: He was like, no, I'm not gonna sign that, and 1185 01:04:41,200 --> 01:04:43,240 Speaker 1: I'm not gonna do this. And I was like, look, Kevin, 1186 01:04:43,280 --> 01:04:46,200 Speaker 1: you need to get your buddy in the because I've 1187 01:04:46,240 --> 01:04:48,800 Speaker 1: been over backwards to make this work and I love it, 1188 01:04:48,880 --> 01:04:53,760 Speaker 1: and I think it's actually polarizing enough that people are 1189 01:04:53,800 --> 01:04:57,440 Speaker 1: listening to it and it sounds enough like Shirley and 1190 01:04:57,520 --> 01:05:01,000 Speaker 1: but also it was weird. You know, it's challenging people 1191 01:05:01,040 --> 01:05:03,800 Speaker 1: because no one had ever had a rap or anything all. 1192 01:05:03,840 --> 01:05:11,160 Speaker 1: Dean didn't exist with his collaborations yet and so we 1193 01:05:11,160 --> 01:05:15,640 Speaker 1: were kind of getting carved out of Oh. I think 1194 01:05:16,560 --> 01:05:19,040 Speaker 1: Jennifer and Christian went off the reservation. I think we're 1195 01:05:19,080 --> 01:05:21,120 Speaker 1: now done with the big string of hits with sugar 1196 01:05:21,200 --> 01:05:24,160 Speaker 1: Land and the record. They will kind of stayed on it, 1197 01:05:24,360 --> 01:05:28,880 Speaker 1: and Shy came around and started to understand that he 1198 01:05:28,960 --> 01:05:33,000 Speaker 1: could get more business if we did this, and uh, 1199 01:05:33,160 --> 01:05:35,160 Speaker 1: and then things started to smooth out and that that 1200 01:05:35,400 --> 01:05:38,040 Speaker 1: song went really well and the album sold really well, 1201 01:05:38,080 --> 01:05:41,040 Speaker 1: and we then we launched probably the most ambitious tour 1202 01:05:41,200 --> 01:05:43,760 Speaker 1: we've never done. Was that tour. If you saw a 1203 01:05:43,800 --> 01:05:47,640 Speaker 1: sugar Land tour that you will never forget, it will 1204 01:05:47,680 --> 01:05:50,880 Speaker 1: be that. I remember we were playing and you've been 1205 01:05:50,960 --> 01:05:54,160 Speaker 1: nice enough to play with my goofy band, the Raging Idiots, 1206 01:05:54,160 --> 01:05:57,920 Speaker 1: And I was like, Christian, I felt. I was like, 1207 01:05:57,960 --> 01:05:59,640 Speaker 1: we played, You're like, no problem, I'll play. Get talking 1208 01:05:59,680 --> 01:06:02,640 Speaker 1: about with sing songs? And I ask and you said, hey, 1209 01:06:02,640 --> 01:06:05,040 Speaker 1: when you're playing stadiums, like, is it just amazing? You know? 1210 01:06:05,080 --> 01:06:07,560 Speaker 1: You know what? Sometimes sound done work in stadiums. Either 1211 01:06:07,640 --> 01:06:09,640 Speaker 1: it's like you're playing at a bar, like you get it, 1212 01:06:09,720 --> 01:06:14,480 Speaker 1: you get one year that where it's just bigger. I 1213 01:06:14,480 --> 01:06:17,800 Speaker 1: still remember that conversation. You're like, you think it's everything's perfect, 1214 01:06:17,880 --> 01:06:21,000 Speaker 1: but sometimes it's worse because there's just so many more 1215 01:06:21,080 --> 01:06:24,520 Speaker 1: things to happen. Yeah, like that you're messing with in 1216 01:06:24,560 --> 01:06:26,920 Speaker 1: your head that nobody even knows. Yeah, there's a whole 1217 01:06:26,960 --> 01:06:31,080 Speaker 1: psychology to performance that on those large scales. That's that's 1218 01:06:31,120 --> 01:06:35,000 Speaker 1: super interesting, and it's there's no one to ask because 1219 01:06:35,120 --> 01:06:38,440 Speaker 1: not a lot of people, you know. I remember asking Kenny, 1220 01:06:38,480 --> 01:06:39,800 Speaker 1: how do you start your show in the back of 1221 01:06:39,800 --> 01:06:43,880 Speaker 1: the stadium and he said, oh, because you can't once 1222 01:06:43,920 --> 01:06:46,400 Speaker 1: you walk out in front of those stadium speakers. The 1223 01:06:46,520 --> 01:06:49,880 Speaker 1: delay is so great that in your microphone you're hearing 1224 01:06:49,920 --> 01:06:56,960 Speaker 1: yourself two or three seconds after you're singing right. And 1225 01:06:57,080 --> 01:06:58,520 Speaker 1: I said, how do you do it on the other 1226 01:06:58,600 --> 01:07:00,600 Speaker 1: end of the stadium when you're like come up out 1227 01:07:00,600 --> 01:07:03,840 Speaker 1: of the ground magically? He said, Oh, I learned this 1228 01:07:03,920 --> 01:07:08,280 Speaker 1: from the rolling stones, the flicker light. There's a strobe 1229 01:07:08,320 --> 01:07:10,440 Speaker 1: that keeps you on time. Just sing to the to 1230 01:07:10,520 --> 01:07:14,440 Speaker 1: the light. So how do you learn that unless somebody 1231 01:07:14,640 --> 01:07:16,760 Speaker 1: You're in a stadium of practice? Right? What is that? 1232 01:07:16,760 --> 01:07:18,200 Speaker 1: What you guys did? You're in a big space of 1233 01:07:18,240 --> 01:07:23,040 Speaker 1: practice this singing to no no. But it's invaluable that 1234 01:07:23,120 --> 01:07:26,360 Speaker 1: kind of wisdom. And that's why I take my mentoring 1235 01:07:26,600 --> 01:07:29,520 Speaker 1: so seriously. When I'm working with new artist, is like, look, 1236 01:07:29,960 --> 01:07:33,400 Speaker 1: there's no book and most of these people quit and 1237 01:07:33,600 --> 01:07:35,600 Speaker 1: the people who taught me are not here to teach you. 1238 01:07:35,720 --> 01:07:38,760 Speaker 1: So it's my job to pass this flag onto you. 1239 01:07:39,240 --> 01:07:43,440 Speaker 1: Here are the following tricks I learned. Go pass it 1240 01:07:43,480 --> 01:07:48,560 Speaker 1: onto somebody else. You guys have this phone conversation you're 1241 01:07:48,640 --> 01:07:50,919 Speaker 1: talking about coming back, and you come back, and then 1242 01:07:51,480 --> 01:07:59,160 Speaker 1: here's this song when you hear it on the radio 1243 01:07:59,200 --> 01:08:02,400 Speaker 1: again after you've been through it and not through it, 1244 01:08:02,480 --> 01:08:04,520 Speaker 1: And is it cool to here struggle in on the 1245 01:08:04,560 --> 01:08:08,120 Speaker 1: radio again. I haven't heard it yet. You have it. 1246 01:08:09,160 --> 01:08:10,760 Speaker 1: My friends have all heard it, and my kids have 1247 01:08:10,840 --> 01:08:12,840 Speaker 1: heard it, and I was like, oh, I can't wait 1248 01:08:12,840 --> 01:08:14,840 Speaker 1: for me to hear it. And you know, it doesn't 1249 01:08:14,920 --> 01:08:17,720 Speaker 1: count if someone knows you're listening and they play it. 1250 01:08:17,760 --> 01:08:19,960 Speaker 1: I tell this new artist too. If if you're in 1251 01:08:20,000 --> 01:08:22,320 Speaker 1: the station and they go, hey, Jimmy, Jim's coming in. 1252 01:08:22,360 --> 01:08:24,040 Speaker 1: Here's this new song. We know he's listening right now, 1253 01:08:24,120 --> 01:08:29,639 Speaker 1: that doesn't count. You gotta you gotta discover it, huh. 1254 01:08:29,680 --> 01:08:33,040 Speaker 1: And I'm really excited to know because as a producer, 1255 01:08:33,080 --> 01:08:34,880 Speaker 1: you know, I produced this song as well as wrote it. 1256 01:08:35,680 --> 01:08:38,920 Speaker 1: And there's things I want to know on because radio 1257 01:08:39,000 --> 01:08:42,599 Speaker 1: processing does something to songs. And I learned from Hugh Pagum, 1258 01:08:42,640 --> 01:08:44,680 Speaker 1: who's the guy who made the Police records and the 1259 01:08:45,960 --> 01:08:50,040 Speaker 1: Phil Collins records, and he taught me things about how 1260 01:08:50,080 --> 01:08:52,479 Speaker 1: to record stuff so that when it gets on the radio, 1261 01:08:52,600 --> 01:08:59,760 Speaker 1: it sounds bigger. And that was in three and his 1262 01:09:00,120 --> 01:09:02,720 Speaker 1: rules I applied to this song. And I still want 1263 01:09:02,760 --> 01:09:05,720 Speaker 1: to see if it's true well, after you hear it 1264 01:09:05,760 --> 01:09:08,800 Speaker 1: on the radio, you let me know, because you know, 1265 01:09:08,880 --> 01:09:10,479 Speaker 1: I was just I was looking at a lot of 1266 01:09:10,520 --> 01:09:12,320 Speaker 1: you because I I love that solo album that you 1267 01:09:12,360 --> 01:09:13,960 Speaker 1: did too, and I know what I've been talking about that, 1268 01:09:13,960 --> 01:09:16,200 Speaker 1: But I even thought after the solo abum, I thought 1269 01:09:16,240 --> 01:09:19,040 Speaker 1: sing Along was such a freaking good song. You hear 1270 01:09:19,160 --> 01:09:27,640 Speaker 1: it going. I remember playing it because you and I 1271 01:09:27,720 --> 01:09:32,240 Speaker 1: get really disenfranchised with the bubble of Nashville, which is 1272 01:09:32,240 --> 01:09:35,080 Speaker 1: why I'm also polarizing, because I will yell at myself, 1273 01:09:35,160 --> 01:09:38,200 Speaker 1: which means my people, and be like, what are you thinking? 1274 01:09:38,240 --> 01:09:41,160 Speaker 1: Like you're just not seeing the forest in the tree sometimes, 1275 01:09:41,880 --> 01:09:45,559 Speaker 1: and I thought that twice with your songs with trailer 1276 01:09:45,600 --> 01:09:48,160 Speaker 1: Heads and sing Along. I remember playing sing Along like crazy, Hey, 1277 01:09:48,200 --> 01:09:50,360 Speaker 1: listen to this. You know who cares. I'm on a 1278 01:09:50,400 --> 01:09:53,920 Speaker 1: hundred stations and I have the like the love of 1279 01:09:53,960 --> 01:09:56,960 Speaker 1: this song. How can you and Paduca not love It's 1280 01:09:57,000 --> 01:09:58,920 Speaker 1: just you're not taking a risk. I don't know. It's 1281 01:09:58,960 --> 01:10:03,120 Speaker 1: so frustrated, Chase. Maybe, well, I thank you. First of all, 1282 01:10:03,960 --> 01:10:05,600 Speaker 1: I'm not asking for thanks because I just thought it 1283 01:10:05,640 --> 01:10:07,880 Speaker 1: was that good. If you were not here, I would 1284 01:10:08,520 --> 01:10:11,479 Speaker 1: say the same thing. I'm so disappointed in just what 1285 01:10:11,680 --> 01:10:14,200 Speaker 1: the people that do what I do. And I disappoint 1286 01:10:14,200 --> 01:10:17,000 Speaker 1: people too, I know that, but they all disappinted me 1287 01:10:17,040 --> 01:10:19,200 Speaker 1: in this that sense. Well, you're a music fan, which 1288 01:10:19,240 --> 01:10:23,000 Speaker 1: is different than being a radio host, Okay, and I'll 1289 01:10:23,040 --> 01:10:26,760 Speaker 1: you gotta you gotta accept that. But um, I will 1290 01:10:26,800 --> 01:10:32,519 Speaker 1: say that, uh before this sugaring phono game, I've finished 1291 01:10:32,520 --> 01:10:36,280 Speaker 1: my next solo album which is now sitting here waiting 1292 01:10:37,400 --> 01:10:40,680 Speaker 1: and I cannot wait to play it for people. I 1293 01:10:40,720 --> 01:10:45,280 Speaker 1: can't do that yet, but um, holy smokes, I had 1294 01:10:45,360 --> 01:10:49,840 Speaker 1: no idea, um that all the stuff was gonna land 1295 01:10:49,880 --> 01:10:54,479 Speaker 1: on top of each other. But I'm very grateful. But 1296 01:10:54,520 --> 01:10:56,439 Speaker 1: I'll tell you this much, and I love it because 1297 01:10:56,920 --> 01:10:58,400 Speaker 1: I like it that you're the only one who kind 1298 01:10:58,400 --> 01:11:03,040 Speaker 1: of gets this information. Um. I got encouraged by my 1299 01:11:03,040 --> 01:11:07,799 Speaker 1: wonderful manager over there and uh and and my publisher 1300 01:11:07,800 --> 01:11:13,040 Speaker 1: at the time still publisher, Julie, and the two of them, 1301 01:11:14,280 --> 01:11:16,640 Speaker 1: I played a show on the fourth of July this 1302 01:11:16,760 --> 01:11:19,240 Speaker 1: past year, and I got asked to do it by 1303 01:11:19,280 --> 01:11:21,320 Speaker 1: the guys that I sit on the Grammy board in 1304 01:11:21,360 --> 01:11:25,120 Speaker 1: Atlanta with and a guy named uh J Fly who's 1305 01:11:25,160 --> 01:11:28,960 Speaker 1: the a drummer An R And b like huge session drummer, 1306 01:11:29,000 --> 01:11:31,720 Speaker 1: and he also played with like Bobby Brown and all 1307 01:11:31,720 --> 01:11:34,439 Speaker 1: sorts of people. And he said, Christian, will you please 1308 01:11:34,479 --> 01:11:36,240 Speaker 1: come out and play? I keep asking you every year, 1309 01:11:36,280 --> 01:11:38,040 Speaker 1: but will you and your brother please come out and 1310 01:11:38,080 --> 01:11:41,280 Speaker 1: play my Fourth of July show. It's on television. It's 1311 01:11:41,800 --> 01:11:46,479 Speaker 1: downtown in Centennial Park. And I was like absolutely. I 1312 01:11:46,520 --> 01:11:48,680 Speaker 1: had no excuse this year. I was like, okay, j 1313 01:11:48,880 --> 01:11:51,160 Speaker 1: I'll come because I really did need to and I 1314 01:11:51,560 --> 01:11:54,240 Speaker 1: had been busy the other years and this year I 1315 01:11:54,400 --> 01:11:56,599 Speaker 1: was free and there was no reason I shouldn't do that. 1316 01:11:57,280 --> 01:11:58,800 Speaker 1: But I told him, I said, Jay, you know I 1317 01:11:58,840 --> 01:12:02,720 Speaker 1: can't imagine that. You know, sixty African American people are 1318 01:12:02,800 --> 01:12:06,760 Speaker 1: going to know trailer Hitch or baby Girl? So what 1319 01:12:06,800 --> 01:12:09,040 Speaker 1: do you want me to play? Like? I'm trying to 1320 01:12:09,040 --> 01:12:11,240 Speaker 1: be entertaining for you. I want to I want to 1321 01:12:11,280 --> 01:12:16,320 Speaker 1: reflect well on you help me. And he's like, oh, 1322 01:12:16,360 --> 01:12:19,840 Speaker 1: I love trailer, which and I said okay, and I 1323 01:12:20,520 --> 01:12:22,840 Speaker 1: we we rolled in and we did sound check and 1324 01:12:22,880 --> 01:12:26,400 Speaker 1: there were five background singers and they're like seven horn 1325 01:12:26,439 --> 01:12:33,640 Speaker 1: players and three keyword guys and I they landed a 1326 01:12:33,680 --> 01:12:36,839 Speaker 1: freaking earth wind and Fire song on top of trailer 1327 01:12:36,920 --> 01:12:39,519 Speaker 1: hitch and I have never been so happy in my 1328 01:12:39,720 --> 01:12:43,400 Speaker 1: entire life. And I remember turning around after that, after 1329 01:12:43,400 --> 01:12:45,880 Speaker 1: we had finished the song, and I watched sixty strangers 1330 01:12:46,360 --> 01:12:50,760 Speaker 1: dance to a song they probably never heard. And I 1331 01:12:50,880 --> 01:12:53,160 Speaker 1: turned around to Jay and I was like, country music 1332 01:12:53,200 --> 01:12:57,120 Speaker 1: meets this party. I don't think it's ever seen this party, 1333 01:12:57,280 --> 01:13:00,400 Speaker 1: and this party needs to happen, and we ever get 1334 01:13:00,439 --> 01:13:02,960 Speaker 1: a chance, let's do that. And I left the stage, 1335 01:13:02,960 --> 01:13:05,520 Speaker 1: and I thinked everybody, and I went on with my day, 1336 01:13:05,720 --> 01:13:09,160 Speaker 1: and I think I said the same thing to to 1337 01:13:09,280 --> 01:13:11,720 Speaker 1: Whitney and to Julian and even my brother Brandon. He's like, well, 1338 01:13:11,760 --> 01:13:13,240 Speaker 1: why don't we do it? And I'm like, oh no, 1339 01:13:13,439 --> 01:13:16,040 Speaker 1: we can never do that. I don't even think I 1340 01:13:16,080 --> 01:13:18,479 Speaker 1: have the songs for stuff like that. And they were like, 1341 01:13:18,520 --> 01:13:21,760 Speaker 1: you have millions of songs, just go through them and 1342 01:13:21,800 --> 01:13:25,479 Speaker 1: figure it out. So I had this crazy thing happened 1343 01:13:25,479 --> 01:13:28,080 Speaker 1: where I took songs that I normally write songs in 1344 01:13:28,080 --> 01:13:30,920 Speaker 1: Atlanta and bring them to Nashville and record them with 1345 01:13:31,000 --> 01:13:35,679 Speaker 1: Nashville great Nashville musicians, And in this case, I took 1346 01:13:35,680 --> 01:13:38,320 Speaker 1: a bunch of songs I wrote in Nashville and took 1347 01:13:38,360 --> 01:13:43,920 Speaker 1: them to Atlanta and played them with that band, and 1348 01:13:45,479 --> 01:13:48,800 Speaker 1: I couldn't be more confused as to how to ever 1349 01:13:48,920 --> 01:13:54,360 Speaker 1: perform these songs live. Like I I remember calling you 1350 01:13:54,560 --> 01:13:58,200 Speaker 1: and saying, I just recorded something I can never play 1351 01:13:58,439 --> 01:14:01,720 Speaker 1: because I don't know how to do it. Um. It 1352 01:14:01,800 --> 01:14:06,120 Speaker 1: was like Aretha Franklin's horn section and Jill Scott's horn section. 1353 01:14:06,200 --> 01:14:08,840 Speaker 1: And I was like justin timber Lakes music directors in 1354 01:14:08,880 --> 01:14:14,400 Speaker 1: there and and and I mean it was insane what 1355 01:14:14,479 --> 01:14:18,519 Speaker 1: was happening. And I love the fact that it felt 1356 01:14:18,520 --> 01:14:20,880 Speaker 1: like I was coming so out of control. I was 1357 01:14:21,120 --> 01:14:26,559 Speaker 1: discovering my songs through the fingers and the mouths and 1358 01:14:26,600 --> 01:14:29,960 Speaker 1: the rhythms of people that were complete strangers to me. 1359 01:14:30,800 --> 01:14:33,679 Speaker 1: And it made so much sense. So in a lot 1360 01:14:33,720 --> 01:14:38,720 Speaker 1: of ways, Um, it felt a lot like what I 1361 01:14:38,720 --> 01:14:41,439 Speaker 1: had imagined Paul Simon felt like when he made Grace Land, 1362 01:14:41,920 --> 01:14:45,599 Speaker 1: Like you took songs that you knew in a place 1363 01:14:45,680 --> 01:14:49,720 Speaker 1: that you didn't know, and you stopped holding onto it 1364 01:14:49,840 --> 01:14:53,200 Speaker 1: so tightly and you started to discover what's going on 1365 01:14:53,240 --> 01:14:55,720 Speaker 1: around you. And when you say that, you think of 1366 01:14:55,720 --> 01:14:58,920 Speaker 1: that record, it's like, you know, Diamonds, Yeah, and how 1367 01:14:58,960 --> 01:15:02,760 Speaker 1: that song start? I mean, I have that there are 1368 01:15:02,760 --> 01:15:04,920 Speaker 1: things on this set of recordings that I just did 1369 01:15:04,920 --> 01:15:09,240 Speaker 1: that I don't know how it happened. Well, I don't 1370 01:15:09,240 --> 01:15:11,599 Speaker 1: know when it's gonna come out, but I listen. I can't. 1371 01:15:11,720 --> 01:15:13,840 Speaker 1: I cannot wait to share it with everyone, and and 1372 01:15:13,920 --> 01:15:17,960 Speaker 1: I hope it happens this this calendar year. Um, maybe 1373 01:15:17,960 --> 01:15:22,360 Speaker 1: in pieces or parts it'll start to happen, especially with 1374 01:15:22,400 --> 01:15:24,679 Speaker 1: the you know, new attention on shore Land. I'm sure 1375 01:15:24,720 --> 01:15:27,640 Speaker 1: people will start digging backwards through our catalogs and our 1376 01:15:27,680 --> 01:15:31,000 Speaker 1: solo records and things and start to really assimilate. And 1377 01:15:31,080 --> 01:15:32,800 Speaker 1: I may be able to play some of these, I mean, 1378 01:15:32,880 --> 01:15:35,640 Speaker 1: if I can physically do it, UM, play some of 1379 01:15:35,640 --> 01:15:39,040 Speaker 1: these on while we're on tour. And I'm just super excited. 1380 01:15:39,960 --> 01:15:44,840 Speaker 1: So thank you for me for supporting what I like you. 1381 01:15:44,920 --> 01:15:47,479 Speaker 1: But if it wasn't good, I was supported, well, I 1382 01:15:47,640 --> 01:15:52,160 Speaker 1: I appreciate that. Like, don't play the ones that saw Yeah, 1383 01:15:51,160 --> 01:15:56,400 Speaker 1: I try not to have so much. Um, do you 1384 01:15:56,439 --> 01:15:58,640 Speaker 1: have any more spots that we could perfect? Because I 1385 01:15:58,640 --> 01:16:00,920 Speaker 1: have more things? Okay? You brother? By the way, Brandon 1386 01:16:00,960 --> 01:16:05,280 Speaker 1: Brandon Bush probably just from Lindsey. I've been I've been 1387 01:16:05,280 --> 01:16:08,559 Speaker 1: Brandon before, but just from Lindsay working with she comes in, 1388 01:16:08,560 --> 01:16:10,240 Speaker 1: It's like Brandon is one of the greatest musicians. I've 1389 01:16:10,240 --> 01:16:12,880 Speaker 1: ever seen him with my eyeball. And Brandon also played 1390 01:16:12,880 --> 01:16:15,439 Speaker 1: with train right. Yeah, he was the piano player and trained. 1391 01:16:16,320 --> 01:16:18,240 Speaker 1: He likes to call it the nadier of their career. 1392 01:16:18,760 --> 01:16:22,479 Speaker 1: But he he got the job after Drops the Jupiter 1393 01:16:23,600 --> 01:16:26,360 Speaker 1: because they didn't have a piano player and did they 1394 01:16:26,400 --> 01:16:30,000 Speaker 1: have to get one because of that song. Apparently that's 1395 01:16:30,040 --> 01:16:36,080 Speaker 1: what Brandon's job was. So, um, they they had the 1396 01:16:36,120 --> 01:16:38,800 Speaker 1: song happen and then they just put the piano on 1397 01:16:38,880 --> 01:16:43,840 Speaker 1: track because they didn't have anybody who played it, and 1398 01:16:43,880 --> 01:16:46,040 Speaker 1: then he went out to audition on the calling a 1399 01:16:46,320 --> 01:16:48,800 Speaker 1: meaning they're playing live for the TONI computers just a 1400 01:16:48,840 --> 01:16:52,120 Speaker 1: button to play the piano. There's a computer playing the 1401 01:16:52,160 --> 01:16:55,120 Speaker 1: piano and then they play to the click in their ears. 1402 01:16:55,520 --> 01:16:58,840 Speaker 1: But that song was so popular that I don't care 1403 01:16:58,960 --> 01:17:01,320 Speaker 1: who you are. Once it comes on, you start singing it. 1404 01:17:01,920 --> 01:17:04,200 Speaker 1: You know. It was It was Pavlaviam for me, and 1405 01:17:04,240 --> 01:17:06,080 Speaker 1: I loved the song. When it came on the radio, 1406 01:17:06,120 --> 01:17:08,680 Speaker 1: I was like, oh my gosh, this is everything I 1407 01:17:08,720 --> 01:17:13,519 Speaker 1: wanted from Elton John except through Pat Yeah Monahan. You know, 1408 01:17:14,120 --> 01:17:18,080 Speaker 1: it was so good and um Train was kind of 1409 01:17:18,080 --> 01:17:20,040 Speaker 1: borne out of the same space as Billy Pilgrim and 1410 01:17:20,400 --> 01:17:22,360 Speaker 1: kind of a little bit before John Mayer. It was 1411 01:17:22,400 --> 01:17:24,559 Speaker 1: the same of the aware of people or the people 1412 01:17:24,720 --> 01:17:28,680 Speaker 1: Ladderman and all the people are that discovered both of them, 1413 01:17:28,720 --> 01:17:33,200 Speaker 1: and Brandon joined the band as a sideman, and then 1414 01:17:33,680 --> 01:17:35,400 Speaker 1: they were like, oh my god, the same thing as lindsay, 1415 01:17:35,400 --> 01:17:37,400 Speaker 1: you're so talented, can you just be a part of 1416 01:17:37,400 --> 01:17:41,000 Speaker 1: our bank? So he joined into the band all right, 1417 01:17:41,080 --> 01:17:43,880 Speaker 1: as Calling All Angels. That next record came out, and 1418 01:17:43,920 --> 01:17:46,080 Speaker 1: he was there all the way through the Ascension of 1419 01:17:46,120 --> 01:17:48,680 Speaker 1: sugar Land. And when Pat started making solo records, I 1420 01:17:48,720 --> 01:17:51,160 Speaker 1: called Brandon. I said, Man, we're playing stadiums. Will you come. 1421 01:17:51,800 --> 01:17:55,320 Speaker 1: I think we can afford a keyboard player? And uh, 1422 01:17:55,800 --> 01:18:00,679 Speaker 1: he plays every record I've ever made since I was thirteen. 1423 01:18:01,760 --> 01:18:03,400 Speaker 1: There's not been a record he hasn't been on that 1424 01:18:03,479 --> 01:18:07,960 Speaker 1: I've either produced or it wasn't an artist. I mean 1425 01:18:08,040 --> 01:18:12,880 Speaker 1: two kids that because you played by ear, you know 1426 01:18:12,920 --> 01:18:15,680 Speaker 1: you would hear things and play things. And to get 1427 01:18:15,720 --> 01:18:19,360 Speaker 1: that once is a lottery win with a kid who 1428 01:18:19,960 --> 01:18:23,759 Speaker 1: but to get that twice with one the work ethic 1429 01:18:23,920 --> 01:18:26,760 Speaker 1: but to the natural ability, and it's always a combination. 1430 01:18:27,080 --> 01:18:28,920 Speaker 1: If you just have even a whole lot of one, 1431 01:18:28,960 --> 01:18:31,080 Speaker 1: it usually doesn't work out. You've got to have some 1432 01:18:31,200 --> 01:18:34,240 Speaker 1: collective of both, and they can be different levels. But 1433 01:18:34,400 --> 01:18:36,800 Speaker 1: you and your brother both where why where did that 1434 01:18:36,880 --> 01:18:41,320 Speaker 1: come from? I don't know. That's that's so, but it 1435 01:18:41,400 --> 01:18:45,520 Speaker 1: was part of our our are raising like we were raised. Um, 1436 01:18:45,840 --> 01:18:49,839 Speaker 1: we both got signed up for the same Japanese experimental program. 1437 01:18:50,000 --> 01:18:52,439 Speaker 1: We were. We were kind of guinea pigs at the 1438 01:18:52,520 --> 01:18:54,680 Speaker 1: University of Tennessee. You're not making a joke. I'm not 1439 01:18:54,720 --> 01:18:57,840 Speaker 1: making a joke. Um. There is a program called the 1440 01:18:57,840 --> 01:19:01,120 Speaker 1: Suzuki method, which was this Japanese idea that if children 1441 01:19:01,240 --> 01:19:03,960 Speaker 1: learned music at the time their brains learned language, they 1442 01:19:04,000 --> 01:19:06,360 Speaker 1: would learn it as a language. And at the time, 1443 01:19:06,360 --> 01:19:08,760 Speaker 1: in the early seventies, it was just a theory that 1444 01:19:08,880 --> 01:19:12,040 Speaker 1: nobody had proved it, but they were running pilot programs 1445 01:19:12,080 --> 01:19:15,200 Speaker 1: around America, and the University of Tennessee Knoxville was one 1446 01:19:15,240 --> 01:19:17,240 Speaker 1: of the pilot programs. And my mother signed me up 1447 01:19:17,280 --> 01:19:21,559 Speaker 1: when I was three, and so I played violin and 1448 01:19:21,600 --> 01:19:24,160 Speaker 1: I was from not Knoxville. I was from the mountains 1449 01:19:24,160 --> 01:19:28,960 Speaker 1: outside of Knoxville. So they called them fiddles, but I 1450 01:19:29,080 --> 01:19:33,160 Speaker 1: was playing like Bach and Vivaldi and stuff by ear. 1451 01:19:34,320 --> 01:19:38,360 Speaker 1: And as soon as my brother was three years old, 1452 01:19:38,400 --> 01:19:42,040 Speaker 1: he did the same thing, and within a couple of 1453 01:19:42,120 --> 01:19:44,479 Speaker 1: years he was like, can I not play violin? Can 1454 01:19:44,560 --> 01:19:48,479 Speaker 1: I play piano? And that happened so that by the 1455 01:19:48,520 --> 01:19:52,479 Speaker 1: time I was in middle school, I was really being 1456 01:19:52,520 --> 01:19:57,599 Speaker 1: made fun of for moving a violin case around because 1457 01:19:57,600 --> 01:19:59,960 Speaker 1: I was being kind of shipped into the Knoxville for school. 1458 01:20:00,760 --> 01:20:03,479 Speaker 1: My parents like, we're trying to get me into a 1459 01:20:03,479 --> 01:20:08,080 Speaker 1: private school. And I begged my mother to let me 1460 01:20:08,120 --> 01:20:11,559 Speaker 1: play guitar. I just begged her, and she said, you know, 1461 01:20:11,640 --> 01:20:16,120 Speaker 1: if you can play one season in the youth Symphony, 1462 01:20:16,200 --> 01:20:17,920 Speaker 1: I'll let you do it. She knew I couldn't read music, 1463 01:20:18,560 --> 01:20:21,760 Speaker 1: so I I went the long way. I took my 1464 01:20:21,800 --> 01:20:24,080 Speaker 1: little walkman that should have just been invented at the time, 1465 01:20:24,600 --> 01:20:27,080 Speaker 1: and I've recorded the person next to me on Wednesdays 1466 01:20:27,680 --> 01:20:29,800 Speaker 1: and I would learn it on Thursday and Friday, and 1467 01:20:29,840 --> 01:20:33,439 Speaker 1: I would perform it on Saturday to it and then 1468 01:20:33,479 --> 01:20:35,559 Speaker 1: play it back. I played my ear and that's how 1469 01:20:35,600 --> 01:20:37,400 Speaker 1: I survived, and I got to learn to play guitar 1470 01:20:37,520 --> 01:20:39,560 Speaker 1: because once I got through that season, she gave me 1471 01:20:39,600 --> 01:20:43,880 Speaker 1: a guitar, and within a year I had said, Brandon, 1472 01:20:43,920 --> 01:20:45,439 Speaker 1: we need to make a record and I don't know 1473 01:20:45,479 --> 01:20:49,360 Speaker 1: how to do that. Let's figure it out. Do you 1474 01:20:49,400 --> 01:20:52,120 Speaker 1: believe in the Suzuki method. Oh yeah, I think it's 1475 01:20:52,120 --> 01:20:55,800 Speaker 1: pretty cool. It's changed a lot. That's my blood. And 1476 01:20:56,160 --> 01:20:59,200 Speaker 1: Brandon learned how to read music because they had incorporated 1477 01:20:59,240 --> 01:21:02,360 Speaker 1: it earlier than they did with me. I was so 1478 01:21:02,439 --> 01:21:07,480 Speaker 1: early in the program um and he is U an orchestrator. 1479 01:21:07,520 --> 01:21:09,400 Speaker 1: Now you know when I did the musical last year 1480 01:21:09,400 --> 01:21:12,840 Speaker 1: and Atlanta, he was the music director. He's he and 1481 01:21:12,880 --> 01:21:16,439 Speaker 1: I have scored things for turn of Classic movies like 1482 01:21:16,640 --> 01:21:20,280 Speaker 1: we we do things anytime. Sugarland has a string section 1483 01:21:20,320 --> 01:21:22,760 Speaker 1: like still the same, the end of that has this 1484 01:21:22,880 --> 01:21:27,200 Speaker 1: giant string orchestra, and Brandon's scoring all of that. I mean, 1485 01:21:27,240 --> 01:21:32,960 Speaker 1: you got he did a musical, your solo records, sugar Land. 1486 01:21:33,200 --> 01:21:36,599 Speaker 1: You had a wedding song on the on the flupping 1487 01:21:36,640 --> 01:21:38,760 Speaker 1: Duke channels at one in the morning, and it's like 1488 01:21:39,200 --> 01:21:42,960 Speaker 1: Christian Buss sing about a dress on That's that's pretty 1489 01:21:43,040 --> 01:21:47,360 Speaker 1: nutty as Nutty goes that that is almost full Amon 1490 01:21:47,439 --> 01:21:50,639 Speaker 1: Joy crazy. I want to talk about your podcast because 1491 01:21:50,760 --> 01:21:53,920 Speaker 1: let's talk about a podcast. It's called Geeking Out with 1492 01:21:54,000 --> 01:21:57,960 Speaker 1: Christian Bush, and it's about people that geek out about, 1493 01:21:58,000 --> 01:22:00,479 Speaker 1: not just music. No, it doesn't have to be you 1494 01:22:00,520 --> 01:22:02,360 Speaker 1: told me it didn't have to be done. And it's 1495 01:22:02,360 --> 01:22:05,200 Speaker 1: the best because in Granger you're talking to grand Smith 1496 01:22:05,240 --> 01:22:07,519 Speaker 1: in the first episode about bee hives. I'm gonna tell 1497 01:22:07,560 --> 01:22:09,680 Speaker 1: you I learned so much on this podcast. Have a 1498 01:22:09,720 --> 01:22:11,280 Speaker 1: friend that has be hives. But when you guys were 1499 01:22:11,280 --> 01:22:15,519 Speaker 1: sitting you're you're like talking and eating or after. But 1500 01:22:15,600 --> 01:22:18,200 Speaker 1: he's taught Granger Smith is so into beehives. And oh 1501 01:22:18,240 --> 01:22:20,720 Speaker 1: my god. First of all, I was a Grander. I 1502 01:22:20,760 --> 01:22:22,960 Speaker 1: know Grandjer well grandj and I Granja lives in north 1503 01:22:23,000 --> 01:22:24,760 Speaker 1: of Boston. I lived on in the the fourteen years that 1504 01:22:24,800 --> 01:22:27,400 Speaker 1: we have. You know each other, yes, And I was thinking, 1505 01:22:27,439 --> 01:22:29,160 Speaker 1: I did not know you was to nerd about beehives. 1506 01:22:29,160 --> 01:22:31,280 Speaker 1: Then I thought, I didn't know behaves is so interesting. 1507 01:22:31,560 --> 01:22:34,120 Speaker 1: I had no idea. I had no idea. And that's 1508 01:22:34,160 --> 01:22:36,559 Speaker 1: what I love about this podcast. You know that when 1509 01:22:36,560 --> 01:22:39,799 Speaker 1: the when you had come to me and said, Christian, 1510 01:22:40,120 --> 01:22:42,439 Speaker 1: I'm interested in what you would be interested in. And 1511 01:22:42,479 --> 01:22:43,800 Speaker 1: I thought about it for a while and I think 1512 01:22:43,840 --> 01:22:48,720 Speaker 1: I sent you two or three ideas. And this has 1513 01:22:48,760 --> 01:22:52,200 Speaker 1: really stood the test of time of this concept that 1514 01:22:52,720 --> 01:22:56,280 Speaker 1: a podcast is good when you have rules, right, because 1515 01:22:56,280 --> 01:22:58,840 Speaker 1: they're boundaries that you can stay keep your conversations within. 1516 01:22:59,040 --> 01:23:01,400 Speaker 1: And so the rule for the podcast is, I want 1517 01:23:01,439 --> 01:23:03,760 Speaker 1: to talk to you about what you are completely into, 1518 01:23:03,800 --> 01:23:06,920 Speaker 1: what you are geeking out on that has nothing to 1519 01:23:06,960 --> 01:23:11,240 Speaker 1: do with your job. So people introduce themselves, they tell 1520 01:23:11,240 --> 01:23:13,320 Speaker 1: me what their job is, and then we stopped talking 1521 01:23:13,400 --> 01:23:17,559 Speaker 1: about their job, and they have to know what it 1522 01:23:17,640 --> 01:23:21,280 Speaker 1: is that you're interested in. And I learned so much. 1523 01:23:22,360 --> 01:23:24,839 Speaker 1: You will not believe some of the things people say. 1524 01:23:25,160 --> 01:23:29,720 Speaker 1: I mean what Granger started talking about bees. I had 1525 01:23:29,800 --> 01:23:33,040 Speaker 1: so many questions and he had so many answers and 1526 01:23:33,160 --> 01:23:34,800 Speaker 1: all the answers, and I was also blown away at 1527 01:23:34,800 --> 01:23:38,680 Speaker 1: how much you knew about freaking bee hives. Huh. But 1528 01:23:38,840 --> 01:23:41,719 Speaker 1: so I was this so on multi levels. I thought, Wow, 1529 01:23:41,720 --> 01:23:43,960 Speaker 1: that's weird Granger, Wow, bees do that. Wow, it's what 1530 01:23:44,040 --> 01:23:46,360 Speaker 1: Granger and bees do that. Christian, well you Christian just 1531 01:23:46,400 --> 01:23:48,800 Speaker 1: asked what I was thinking the whole thing. I was 1532 01:23:48,840 --> 01:23:51,360 Speaker 1: like you, I'm interested if you like I told him. 1533 01:23:51,360 --> 01:23:53,760 Speaker 1: At some point, have you put a GoPro camera at 1534 01:23:53,800 --> 01:23:56,040 Speaker 1: the beginning at the opening of your beehive covers. I 1535 01:23:56,080 --> 01:23:58,920 Speaker 1: want to see the bouncers, you know that the bees 1536 01:23:59,000 --> 01:24:00,960 Speaker 1: that fight the other beasts you can't come in here, 1537 01:24:01,040 --> 01:24:04,040 Speaker 1: and who slips through and who doesn't. I mean, it's 1538 01:24:04,320 --> 01:24:07,680 Speaker 1: fascinating to me. And then the middle part of it, 1539 01:24:07,960 --> 01:24:10,040 Speaker 1: um I then we kind of take the same idea, 1540 01:24:10,080 --> 01:24:12,719 Speaker 1: but we do something really quick, like I trade you something, 1541 01:24:12,760 --> 01:24:14,400 Speaker 1: like I give, I turn you onto something, and then 1542 01:24:14,400 --> 01:24:16,960 Speaker 1: you turned me onto something. And he was talking about 1543 01:24:18,560 --> 01:24:22,599 Speaker 1: it's crazy cold water therapy where you dunk yourself into 1544 01:24:22,640 --> 01:24:25,360 Speaker 1: like fifty or forty degree water for a certain amount 1545 01:24:25,360 --> 01:24:27,400 Speaker 1: of time until all the blood rushes to your core 1546 01:24:27,960 --> 01:24:29,439 Speaker 1: and then you get out of the water and the 1547 01:24:29,439 --> 01:24:33,240 Speaker 1: blood all rushes back to your you know, extremities, and 1548 01:24:33,280 --> 01:24:38,080 Speaker 1: that somehow this cleanses your body, like your bone marrow 1549 01:24:38,160 --> 01:24:43,320 Speaker 1: starts to make more blood fresh blood, right, And I 1550 01:24:43,360 --> 01:24:45,920 Speaker 1: was just kind of looking at him like this is 1551 01:24:46,120 --> 01:24:48,040 Speaker 1: I had not was all I could see when I 1552 01:24:48,080 --> 01:24:50,040 Speaker 1: look at you as Earl Dibbeles Jr. And then like 1553 01:24:50,600 --> 01:24:54,439 Speaker 1: Granger Smith and I just didn't expect naked Earl Dibbeles Jr. 1554 01:24:54,800 --> 01:24:58,599 Speaker 1: In a pool talking about bees, you know, like that 1555 01:24:58,800 --> 01:25:02,160 Speaker 1: is cool? To me and is the most interesting part 1556 01:25:02,160 --> 01:25:05,000 Speaker 1: about people. And I love that this podcast is happening 1557 01:25:05,000 --> 01:25:08,160 Speaker 1: because I can't wait for other people to go through 1558 01:25:08,160 --> 01:25:11,240 Speaker 1: this process. Yeah, I went through and think my grander 1559 01:25:11,280 --> 01:25:13,040 Speaker 1: two is he he's really ripped, like you wouldn't know 1560 01:25:13,080 --> 01:25:15,200 Speaker 1: it because he can you just see Earl Oh. Yeah, man, 1561 01:25:15,400 --> 01:25:19,400 Speaker 1: he's and and you know, he doesn't seem like a 1562 01:25:19,439 --> 01:25:23,120 Speaker 1: guy that would tear his shirt off, right, But he's 1563 01:25:23,200 --> 01:25:27,320 Speaker 1: totally a guy who I can tell after meeting him 1564 01:25:27,600 --> 01:25:30,320 Speaker 1: and spending time with him. You know a lot of 1565 01:25:30,320 --> 01:25:32,040 Speaker 1: people when you feel like your life is out of control, 1566 01:25:32,080 --> 01:25:34,519 Speaker 1: you control the one thing you can your body, your haircut, 1567 01:25:34,560 --> 01:25:38,639 Speaker 1: your whatever. You control one thing that is completely within 1568 01:25:38,680 --> 01:25:42,880 Speaker 1: your control. And it seems like his life has brought 1569 01:25:43,000 --> 01:25:47,720 Speaker 1: him into a place of real joy controlling his body. 1570 01:25:47,920 --> 01:25:52,960 Speaker 1: And that's cool. I really enjoyed that guy. He's good. 1571 01:25:53,120 --> 01:25:56,559 Speaker 1: It's good guy, dude. And I gotta tell you. When 1572 01:25:56,600 --> 01:25:58,240 Speaker 1: I was on the record label and they told me 1573 01:25:58,280 --> 01:26:00,280 Speaker 1: they were signing him and I went in research him, 1574 01:26:00,320 --> 01:26:02,560 Speaker 1: I was like, I think this is a terrible idea. 1575 01:26:03,000 --> 01:26:06,439 Speaker 1: You know. I was really concerned about the message that 1576 01:26:06,439 --> 01:26:08,600 Speaker 1: the Earl Dibel's piece was doing. I was like, I 1577 01:26:08,640 --> 01:26:10,759 Speaker 1: don't think a lot of the fans know that he's kidding. 1578 01:26:11,000 --> 01:26:14,080 Speaker 1: So I'm talking with you. I was like, I think, what, 1579 01:26:14,520 --> 01:26:16,920 Speaker 1: I don't want white supremacists on my label, you know, 1580 01:26:17,120 --> 01:26:19,439 Speaker 1: like forget that. I don't think they understand that this 1581 01:26:19,520 --> 01:26:24,519 Speaker 1: is a farce. And uh. It made me very nervous. 1582 01:26:24,600 --> 01:26:28,840 Speaker 1: And so I feel even doubly interested in him being 1583 01:26:28,840 --> 01:26:33,840 Speaker 1: a first guest because I believe that um, in our 1584 01:26:33,880 --> 01:26:38,400 Speaker 1: time of bouncing through information so quickly, that someone would 1585 01:26:38,439 --> 01:26:41,080 Speaker 1: miss what a great guy he is. I think they can, 1586 01:26:41,200 --> 01:26:43,720 Speaker 1: and I think some do and some don't care. And 1587 01:26:44,040 --> 01:26:46,200 Speaker 1: you look at his accounts. I think Earl Doubels has 1588 01:26:46,400 --> 01:26:48,680 Speaker 1: a couple million followers, and Green Dress a couple tho. 1589 01:26:49,360 --> 01:26:51,719 Speaker 1: You know what, I'd be happy to provide a rabbit 1590 01:26:51,720 --> 01:26:54,400 Speaker 1: hole for people to go dive into to find out more. 1591 01:26:55,600 --> 01:26:58,360 Speaker 1: Geeking out Christian Bush, I think it's fantastic. I just 1592 01:26:58,520 --> 01:27:00,240 Speaker 1: I feel like we could sit here for three hours 1593 01:27:00,280 --> 01:27:04,559 Speaker 1: and just talk and then we have and I'll tell you, 1594 01:27:05,200 --> 01:27:07,240 Speaker 1: just because I got so close to the Lindsay project 1595 01:27:07,720 --> 01:27:10,519 Speaker 1: that I would hear the songs early and then I 1596 01:27:10,560 --> 01:27:13,200 Speaker 1: would hear them when they were done. What what you 1597 01:27:13,280 --> 01:27:15,840 Speaker 1: and Lindsay did with this song. Here you make me 1598 01:27:16,040 --> 01:27:22,280 Speaker 1: feel Champagne the band, you know what's cool about us. 1599 01:27:22,280 --> 01:27:25,160 Speaker 1: So the backbeat is me playing acoustic guitar with my 1600 01:27:25,280 --> 01:27:31,479 Speaker 1: hand without any cord, so like muted, muted natural day, 1601 01:27:32,160 --> 01:27:40,280 Speaker 1: just call me rain until So the rhythm is you 1602 01:27:40,360 --> 01:27:47,840 Speaker 1: holding a mutic chord. I can open my own door. 1603 01:27:47,960 --> 01:27:56,559 Speaker 1: I think music is beautiful when it's really simple. That's funny. 1604 01:27:56,600 --> 01:27:58,479 Speaker 1: You can hear that. I mean, you're so. I would 1605 01:27:58,479 --> 01:28:00,360 Speaker 1: have never heard that. And it happened in the right 1606 01:28:00,360 --> 01:28:04,160 Speaker 1: here in your left here went yeah, man here that. 1607 01:28:04,200 --> 01:28:06,560 Speaker 1: I'll be honest with you. Yeah, at different level, I 1608 01:28:06,600 --> 01:28:11,360 Speaker 1: didn't do it. I didn't do the old yamahal Suzuki. Yeah. 1609 01:28:11,400 --> 01:28:14,840 Speaker 1: You know. I learned to make records by listening in headphones. 1610 01:28:15,600 --> 01:28:18,600 Speaker 1: So it's a good rule that if you see my 1611 01:28:18,720 --> 01:28:21,360 Speaker 1: name on an album, either as an artist or as 1612 01:28:21,360 --> 01:28:24,040 Speaker 1: a producer or writer, even but mostly as an artist 1613 01:28:24,080 --> 01:28:26,960 Speaker 1: or profuser, you should take the minute to put on 1614 01:28:27,080 --> 01:28:31,559 Speaker 1: the big headphones, the big Princess Leah ones and listen. 1615 01:28:31,920 --> 01:28:36,840 Speaker 1: Because I left you secrets law east Reg's yeah and 1616 01:28:36,920 --> 01:28:38,560 Speaker 1: so depending when you hear this, and people listen to 1617 01:28:38,560 --> 01:28:41,599 Speaker 1: podcasts for years after But as we do, the sugar 1618 01:28:41,640 --> 01:28:43,639 Speaker 1: Land is about to go out on the big tour 1619 01:28:44,680 --> 01:28:49,240 Speaker 1: and I'll be coming for sure. I'll be coming sugar Land. 1620 01:28:49,360 --> 01:28:53,000 Speaker 1: And you have Frankie Ballard and Claire Bowen out, and 1621 01:28:53,080 --> 01:28:57,320 Speaker 1: you have Lindsay l and you have Brandy Clark, who 1622 01:28:57,360 --> 01:29:01,200 Speaker 1: is one of my absolute favorite. I love Brandy boss 1623 01:29:01,400 --> 01:29:06,400 Speaker 1: Lindsay's but raisons again. But Brandy Clark, I don't know, 1624 01:29:06,560 --> 01:29:10,360 Speaker 1: man that she is good people, but Brandy's great. Man. 1625 01:29:10,800 --> 01:29:12,800 Speaker 1: I'm excited about our openers, you know, a little big 1626 01:29:12,840 --> 01:29:15,439 Speaker 1: town with our openers. For about three years, we just 1627 01:29:15,560 --> 01:29:19,360 Speaker 1: never gave up on them. I just kept thinking, these 1628 01:29:19,400 --> 01:29:23,360 Speaker 1: guys are so good and it's just not falling. The 1629 01:29:23,439 --> 01:29:26,720 Speaker 1: cards aren't falling for him, and they just put their 1630 01:29:26,760 --> 01:29:29,400 Speaker 1: head down and they just kept working and kept working. 1631 01:29:30,720 --> 01:29:33,479 Speaker 1: So I love the idea that people can come to 1632 01:29:33,600 --> 01:29:37,360 Speaker 1: a Shutland show and discover music they've never thought that 1633 01:29:37,479 --> 01:29:40,519 Speaker 1: they would be madly in love with. And if you 1634 01:29:40,600 --> 01:29:43,000 Speaker 1: can trust us for that, much like people trust you 1635 01:29:43,120 --> 01:29:46,000 Speaker 1: on your radio show for music. When you turn people 1636 01:29:46,040 --> 01:29:48,519 Speaker 1: onto something, I think it's the I think it's a 1637 01:29:48,640 --> 01:29:51,040 Speaker 1: trust that you earn and you got to do everything 1638 01:29:51,120 --> 01:29:54,599 Speaker 1: you can to keep it look at you, sugar Lands back, 1639 01:29:54,720 --> 01:29:59,320 Speaker 1: you gotta secret album, The Troubadour is gonna go and 1640 01:29:59,479 --> 01:30:07,439 Speaker 1: Sarah So it's it's being stages in Florida. You gotta podcast, Yes, 1641 01:30:07,840 --> 01:30:12,240 Speaker 1: you got, you got a lot. Oh yeah, you're writing. 1642 01:30:12,479 --> 01:30:13,920 Speaker 1: You have a song on the radio that you wrote. 1643 01:30:14,280 --> 01:30:16,800 Speaker 1: You didn't even produce. You're seeing it. You wrote it. 1644 01:30:17,040 --> 01:30:19,920 Speaker 1: I mean, this has been a dry number of years. 1645 01:30:20,240 --> 01:30:22,640 Speaker 1: You're like Jennifer Lopez. Man, the desert has been a 1646 01:30:22,720 --> 01:30:26,280 Speaker 1: long desert. It's great to see water. Thank you for 1647 01:30:26,360 --> 01:30:28,679 Speaker 1: coming over to the house. I really appreciate you coming over. 1648 01:30:29,240 --> 01:30:31,320 Speaker 1: You know, I'm a huge fan. I'm a I'm a 1649 01:30:31,400 --> 01:30:34,160 Speaker 1: big fan of yours man. Christian Book, Episode one hundred 1650 01:30:34,200 --> 01:30:37,200 Speaker 1: and it's been a special episode one. Check out geeking 1651 01:30:37,240 --> 01:30:38,920 Speaker 1: out with Christian Bush. Go out and see sugar Land 1652 01:30:38,960 --> 01:30:41,120 Speaker 1: on the road. Give him culled bluck. See I'm walking 1653 01:30:41,120 --> 01:30:43,240 Speaker 1: down the road. Like you said, it doesn't been dry 1654 01:30:44,000 --> 01:30:52,920 Speaker 1: Box one hundred, one hundred and we cast it's episode hundred, 1655 01:30:54,200 --> 01:31:02,439 Speaker 1: Cast one hundred one hundred. Thank one zero zero. Appreciate you, 1656 01:31:02,520 --> 01:31:04,640 Speaker 1: my friend. Appreciate you. All right, thank you very much. 1657 01:31:04,680 --> 01:31:05,439 Speaker 1: You next time about you