WEBVTT - #100 - Kristian Bush from Sugarland

0:00:01.040 --> 0:00:02.720
<v Speaker 1>All right, this is a a very special episode for us,

0:00:02.720 --> 0:00:06.960
<v Speaker 1>episode one hundred. I always said from the infancy stages

0:00:07.000 --> 0:00:09.119
<v Speaker 1>of this podcast, and once we hit one hundred, we

0:00:09.160 --> 0:00:12.520
<v Speaker 1>are officially a real podcast. So after this episode concludes

0:00:12.520 --> 0:00:15.400
<v Speaker 1>with Christian Bush, we will be a real podcast. And

0:00:15.480 --> 0:00:17.799
<v Speaker 1>I thank you all for listening to this thing and

0:00:17.840 --> 0:00:21.759
<v Speaker 1>making it big and relatively speaking big and might deep.

0:00:22.800 --> 0:00:26.759
<v Speaker 1>Good job. My friend been been at it since the beginning.

0:00:27.920 --> 0:00:30.720
<v Speaker 1>I bought all the equipment, didn't tell the company what

0:00:30.760 --> 0:00:34.120
<v Speaker 1>we're doing it. Mike set it up, been in two

0:00:34.120 --> 0:00:37.040
<v Speaker 1>houses and here we are episode one. How didn't get

0:00:37.080 --> 0:00:44.080
<v Speaker 1>your hands up? We're about to start with a Christian

0:00:44.080 --> 0:00:46.520
<v Speaker 1>in a second. But I just want to say thank

0:00:46.560 --> 0:00:48.199
<v Speaker 1>you so much for listening. We're trying to get on

0:00:48.240 --> 0:00:52.000
<v Speaker 1>songwriters and producers and artists and have our long conversations

0:00:52.000 --> 0:00:53.639
<v Speaker 1>just can't hear anywhere else. I think we've been able

0:00:53.680 --> 0:00:55.880
<v Speaker 1>to do that. And check out just scroll through and

0:00:55.960 --> 0:01:00.120
<v Speaker 1>check out Mary Moore's, Chris Stapleton and Ross Comperiman and

0:01:00.160 --> 0:01:04.480
<v Speaker 1>Shane McNally. There are so many there, just stories up stories.

0:01:04.959 --> 0:01:08.319
<v Speaker 1>We've tried to bring that to you. Even John Oates

0:01:08.480 --> 0:01:11.319
<v Speaker 1>from Hall of Notes. You know, we've had a John Mayer,

0:01:11.600 --> 0:01:12.959
<v Speaker 1>a lot, a lot of ones that aren't in the

0:01:13.000 --> 0:01:15.360
<v Speaker 1>format too. So I want to say that on the

0:01:15.440 --> 0:01:17.680
<v Speaker 1>Nashville Podcast Network and here we are, Episode one hundred,

0:01:17.680 --> 0:01:19.679
<v Speaker 1>we also have a network of shows. I like to

0:01:19.720 --> 0:01:22.840
<v Speaker 1>encourage you to check out Good Company with Jake Owen.

0:01:23.520 --> 0:01:25.319
<v Speaker 1>I like to encourage you to check out Geeking Out

0:01:25.319 --> 0:01:28.280
<v Speaker 1>with Christian Bush, which is not even about music really,

0:01:28.319 --> 0:01:31.840
<v Speaker 1>it's just about people geeking out over things. Whiskey ref

0:01:31.920 --> 0:01:33.880
<v Speaker 1>Raff with the guest from Whiskey Riff to a show

0:01:33.920 --> 0:01:37.520
<v Speaker 1>from Chicago about country music has the fans perspective. So

0:01:37.640 --> 0:01:39.360
<v Speaker 1>thank you for letting us do that special music for

0:01:39.400 --> 0:01:41.680
<v Speaker 1>episode one hundred. Although I might keep this and I'll

0:01:41.720 --> 0:01:43.160
<v Speaker 1>like to you like I kind of fee all and

0:01:43.200 --> 0:01:46.120
<v Speaker 1>I love that get your hands up. Here we are

0:01:46.280 --> 0:01:51.240
<v Speaker 1>Episode one hundred. Here we are, Episode one hundred. I

0:01:52.080 --> 0:01:58.040
<v Speaker 1>didn't know would be so much funding. Episode one hundred.

0:01:58.160 --> 0:02:00.960
<v Speaker 1>All right, I'm gonna in this down. We're gonna start

0:02:00.960 --> 0:02:04.000
<v Speaker 1>with Christian Bush. But appreciate everybody for listening. And Mike,

0:02:04.080 --> 0:02:07.640
<v Speaker 1>let's keep this music, okay, because I feel like eating

0:02:09.800 --> 0:02:15.239
<v Speaker 1>something human. It feels like a zombie movie. Alright, Christian Bush,

0:02:15.280 --> 0:02:19.280
<v Speaker 1>Episode hundre. Here we go. I welcome to the biggest

0:02:19.280 --> 0:02:22.680
<v Speaker 1>episode in the history of our podcast. For two reasons, yeah,

0:02:22.720 --> 0:02:27.359
<v Speaker 1>for two reasons. One, it's our one episode. Yes, oh

0:02:27.400 --> 0:02:31.960
<v Speaker 1>my god. We were going to do some sort of

0:02:32.000 --> 0:02:35.000
<v Speaker 1>special for one hundred. This is honest, God truth, and

0:02:35.480 --> 0:02:38.040
<v Speaker 1>I said, well, Christian is going to come up in

0:02:38.080 --> 0:02:41.040
<v Speaker 1>the next few weeks. So we saved episode one hundred

0:02:41.040 --> 0:02:44.160
<v Speaker 1>because I wanted it to be you, and that's why.

0:02:44.280 --> 0:02:47.120
<v Speaker 1>So it's all. And I've always said a car or something,

0:02:48.360 --> 0:02:54.360
<v Speaker 1>no does everybody in the room is a thing. Not

0:02:54.520 --> 0:02:56.760
<v Speaker 1>so much. But you can have my hat. I guess

0:02:57.360 --> 0:03:01.079
<v Speaker 1>we can trade hats. So it's are I've always said

0:03:01.080 --> 0:03:04.200
<v Speaker 1>to myself, you're not a legitimate podcast that has proven

0:03:04.400 --> 0:03:05.919
<v Speaker 1>that you will stay the test of time until you

0:03:06.000 --> 0:03:09.280
<v Speaker 1>hit one hundred episodes can be, but you needed a

0:03:09.360 --> 0:03:11.360
<v Speaker 1>hundred so people trust that you were going to be there.

0:03:11.720 --> 0:03:14.280
<v Speaker 1>And so we have over a hundred hours of content

0:03:14.440 --> 0:03:17.959
<v Speaker 1>of artists, producers, songwriters, and this is our one hundred.

0:03:18.040 --> 0:03:21.120
<v Speaker 1>So we're officially today. We're really yes, that's right, we

0:03:21.200 --> 0:03:26.240
<v Speaker 1>are a real podcast. Everyone yep, So that decide. I'm

0:03:26.320 --> 0:03:28.320
<v Speaker 1>very happy you're here. Mr Christian. Well, thank you for

0:03:28.320 --> 0:03:31.120
<v Speaker 1>having me, but so much to talk about, and I

0:03:31.160 --> 0:03:34.040
<v Speaker 1>feel like, why don't we start with today? Because Christian

0:03:34.040 --> 0:03:37.600
<v Speaker 1>has a new podcast that's up now and we'll get

0:03:37.640 --> 0:03:40.960
<v Speaker 1>to that, and we're gonna get to life. But why

0:03:40.960 --> 0:03:43.760
<v Speaker 1>don't we just start with today and let's talk about

0:03:43.760 --> 0:03:47.800
<v Speaker 1>sugar Land coming back. So I had mentioned to you

0:03:47.880 --> 0:03:49.720
<v Speaker 1>that it was difficult for me to interview you and

0:03:49.800 --> 0:03:52.360
<v Speaker 1>Jennifer because I just knew too much. I knew you

0:03:52.360 --> 0:03:55.080
<v Speaker 1>guys were coming back together before, and I'm a good

0:03:55.080 --> 0:03:58.000
<v Speaker 1>secret keeper. Yeah, but we'll back story that. Okay, I'll

0:03:58.000 --> 0:04:01.920
<v Speaker 1>back story for you. And this microphone the right one. O. UM,

0:04:02.040 --> 0:04:06.800
<v Speaker 1>I remember the moment where uh, my phone blew up

0:04:07.680 --> 0:04:13.240
<v Speaker 1>because um, people and that were listeners, and especially people

0:04:13.240 --> 0:04:15.080
<v Speaker 1>in the industry knew that you and I knew each

0:04:15.120 --> 0:04:17.880
<v Speaker 1>other because I you invited me to write on your

0:04:17.560 --> 0:04:21.680
<v Speaker 1>your first record, and you had said something on the

0:04:21.720 --> 0:04:23.680
<v Speaker 1>air about, you know what, why don't we bring sugar

0:04:23.760 --> 0:04:29.719
<v Speaker 1>Land back together together? And that was like a week

0:04:29.880 --> 0:04:34.160
<v Speaker 1>after I had gotten a phone call that said, hey, so,

0:04:34.440 --> 0:04:37.440
<v Speaker 1>if by chance, would this be something you'd be interested

0:04:37.440 --> 0:04:41.000
<v Speaker 1>in from Jennifer and and her people. And I was

0:04:41.080 --> 0:04:44.360
<v Speaker 1>like huh, and she said, look, do you can't tell

0:04:44.400 --> 0:04:48.000
<v Speaker 1>anybody that I've called you. And the first thing that

0:04:48.040 --> 0:04:51.080
<v Speaker 1>I thought to myself was, oh, my god, they think

0:04:51.080 --> 0:04:55.279
<v Speaker 1>I told Bobby, And well, that's what I was worried

0:04:55.720 --> 0:04:59.240
<v Speaker 1>because I have like five friends on Earth, and I

0:04:59.240 --> 0:05:01.839
<v Speaker 1>would consider you one of them. But I'm not sure

0:05:01.880 --> 0:05:04.640
<v Speaker 1>I would have disclosed that to you even if we

0:05:04.640 --> 0:05:09.560
<v Speaker 1>were friends. I did not, but I immediately thought that

0:05:09.600 --> 0:05:13.960
<v Speaker 1>I was. Oh. So I called my people and say,

0:05:14.000 --> 0:05:17.080
<v Speaker 1>can you call Bobby's people and tell him that he's

0:05:17.160 --> 0:05:22.479
<v Speaker 1>too close to the truth. He's flying deep throat, is

0:05:22.520 --> 0:05:26.280
<v Speaker 1>too close to Watergate. You know, I'm random. And because

0:05:26.320 --> 0:05:28.719
<v Speaker 1>I got a call that day from Tom, who we

0:05:28.760 --> 0:05:31.800
<v Speaker 1>both worked with, and Tom says, hey, can you come

0:05:31.839 --> 0:05:36.680
<v Speaker 1>to the office, I said, yeah, sure, I really get

0:05:37.200 --> 0:05:41.200
<v Speaker 1>called in. He just didn't want to tie text anything

0:05:41.360 --> 0:05:43.520
<v Speaker 1>or he goes, hey, I need to not talk about

0:05:43.520 --> 0:05:45.880
<v Speaker 1>sugar Land. So I think it's a great idea. What

0:05:45.920 --> 0:05:48.600
<v Speaker 1>if we got him back together for one show? Hey,

0:05:49.080 --> 0:05:51.279
<v Speaker 1>we need to not talk about sugar Land because they're

0:05:51.279 --> 0:05:54.080
<v Speaker 1>talking about sugar Land. And I was like, oh, I'm

0:05:54.080 --> 0:05:58.920
<v Speaker 1>out nothing. It was completely random and rare, and I

0:05:59.000 --> 0:06:02.000
<v Speaker 1>just felt my heart like they should be together again,

0:06:02.520 --> 0:06:05.039
<v Speaker 1>and I'm if for everybody listening that thinks maybe there

0:06:05.400 --> 0:06:08.400
<v Speaker 1>was nothing up. No, but I love your thank you.

0:06:09.200 --> 0:06:12.120
<v Speaker 1>Apparently it has the ability to will things into existence.

0:06:12.960 --> 0:06:14.640
<v Speaker 1>So I'd like you to say some other things on

0:06:14.680 --> 0:06:17.120
<v Speaker 1>the on the air, like you know, still the same

0:06:17.200 --> 0:06:21.000
<v Speaker 1>number one record. I feel still the same should be

0:06:21.000 --> 0:06:24.039
<v Speaker 1>a number one record. So I was trying to think

0:06:24.080 --> 0:06:27.760
<v Speaker 1>back because I don't know how we know, how we

0:06:27.880 --> 0:06:30.839
<v Speaker 1>actually met met? Okay, I do, I do? I do.

0:06:31.000 --> 0:06:35.719
<v Speaker 1>I loved Southern your record, That's what I want. What

0:06:35.760 --> 0:06:37.640
<v Speaker 1>I felt was because I didn't know you. I felt

0:06:37.640 --> 0:06:39.520
<v Speaker 1>like Trailer Hitch was one of those songs they screwed

0:06:39.600 --> 0:06:42.000
<v Speaker 1>up on Big Time because it was so good and

0:06:42.160 --> 0:06:45.440
<v Speaker 1>radio didn't give it the shot that it deserved. And

0:06:45.560 --> 0:06:49.720
<v Speaker 1>I remember just screaming about radio just I couldn't believe

0:06:50.080 --> 0:06:53.800
<v Speaker 1>that that was not a massive hit because it was

0:06:53.880 --> 0:06:59.000
<v Speaker 1>so good, and I was a little bit upset everybody,

0:06:59.200 --> 0:07:02.320
<v Speaker 1>and I said, hey, why aren't we helping this song?

0:07:02.400 --> 0:07:04.479
<v Speaker 1>It's so good. I didn't know you. We never met,

0:07:05.520 --> 0:07:08.000
<v Speaker 1>and that was the first time that someone said, hey,

0:07:08.000 --> 0:07:10.600
<v Speaker 1>you would you like to meet Christian And I was like, yeah,

0:07:11.800 --> 0:07:15.000
<v Speaker 1>sings and I didn't know came up came to the studio.

0:07:16.000 --> 0:07:17.600
<v Speaker 1>We talk, We talked a bit, but a lot of

0:07:17.640 --> 0:07:19.200
<v Speaker 1>people come to the studio. I talked a lot of people,

0:07:19.200 --> 0:07:21.640
<v Speaker 1>and I don't ever even do anything outside of my bubble,

0:07:22.560 --> 0:07:24.640
<v Speaker 1>and uh, I say, hey, we should get together, and

0:07:24.640 --> 0:07:26.320
<v Speaker 1>never do I follow that up because I never think

0:07:26.320 --> 0:07:28.120
<v Speaker 1>it's real. But for some reason I felt like you

0:07:28.160 --> 0:07:30.400
<v Speaker 1>were real, Like you like, hey, you want to just

0:07:30.520 --> 0:07:34.240
<v Speaker 1>come over, we'll do something. We'll right. And so you

0:07:34.280 --> 0:07:37.239
<v Speaker 1>were back in town because your permanent residences in Atlanta,

0:07:37.360 --> 0:07:40.320
<v Speaker 1>your main residence, and you're like, hey, I'm not gonna place,

0:07:40.360 --> 0:07:43.000
<v Speaker 1>come over. Well, I was writing a record and I

0:07:43.040 --> 0:07:46.239
<v Speaker 1>went over and we wrote every day is a good day.

0:07:46.360 --> 0:07:48.880
<v Speaker 1>Every day it is a good day, and that's how.

0:07:48.960 --> 0:07:50.200
<v Speaker 1>And I was like, I have to be friends with

0:07:50.200 --> 0:07:52.320
<v Speaker 1>that dude. He has three iPads going seven guitars to

0:07:52.480 --> 0:07:54.520
<v Speaker 1>mandolin's his whif he's playing with his feet on a

0:07:54.560 --> 0:07:56.480
<v Speaker 1>poco ball. It was the craziest thing I've ever seen.

0:07:57.000 --> 0:07:58.680
<v Speaker 1>He's crazy, like I have it in a different way.

0:07:59.080 --> 0:08:01.240
<v Speaker 1>And then I thought, yeah, we should be friend. And

0:08:01.280 --> 0:08:04.160
<v Speaker 1>then since then we've actually kept up a relationship. I mean,

0:08:04.240 --> 0:08:06.000
<v Speaker 1>I don't live here, so I can't. I don't have

0:08:06.040 --> 0:08:08.880
<v Speaker 1>a whole lot of, you know, time, but I also

0:08:08.880 --> 0:08:11.080
<v Speaker 1>I'm not here very often. I know you're not, but

0:08:11.160 --> 0:08:14.920
<v Speaker 1>I do appreciate it. You know. It's I've been doing

0:08:14.960 --> 0:08:16.640
<v Speaker 1>this for a very long time, and it's very rare

0:08:16.680 --> 0:08:18.920
<v Speaker 1>that you find like minded people within the same work

0:08:18.960 --> 0:08:22.840
<v Speaker 1>that you do or and like minded for me also

0:08:22.920 --> 0:08:27.920
<v Speaker 1>includes this um passion would drive of things that you

0:08:27.960 --> 0:08:30.120
<v Speaker 1>want to do. You know, It's like I wake up

0:08:30.120 --> 0:08:32.199
<v Speaker 1>in the morning and I feel like there's just not

0:08:32.320 --> 0:08:34.319
<v Speaker 1>enough time left to write all the songs I want

0:08:34.320 --> 0:08:36.280
<v Speaker 1>to write, or to do all the things I want

0:08:36.280 --> 0:08:39.040
<v Speaker 1>to do, and I kind of get that off of

0:08:39.080 --> 0:08:41.480
<v Speaker 1>you when I'm around you, Like I get that feeling

0:08:41.559 --> 0:08:43.000
<v Speaker 1>like and I may be wrong, I don't know if

0:08:43.000 --> 0:08:47.160
<v Speaker 1>I'm being presumptuous, but you got a lot you know

0:08:47.280 --> 0:08:51.080
<v Speaker 1>that you're that you're it feels like in my imagination

0:08:51.080 --> 0:08:53.240
<v Speaker 1>that you want to jump into Like if it was

0:08:53.240 --> 0:08:56.199
<v Speaker 1>a movie time, you'd be like, yeah, let's make a movie. Hey,

0:08:56.200 --> 0:08:57.880
<v Speaker 1>you want to go? You know, do we have enough

0:08:57.880 --> 0:09:00.679
<v Speaker 1>money with Let's let's buy a ticket on SpaceX, you know,

0:09:00.800 --> 0:09:03.760
<v Speaker 1>let's you know whatever it is. My therapist, you nail me,

0:09:03.760 --> 0:09:06.760
<v Speaker 1>and I kind of but I like that about and I,

0:09:07.200 --> 0:09:11.360
<v Speaker 1>you know, I'm super suspicious of human beings after doing

0:09:11.400 --> 0:09:14.280
<v Speaker 1>this long enough that not everyone's intentions are out in

0:09:14.320 --> 0:09:17.520
<v Speaker 1>front of them. They're always a little bit guarded, and

0:09:17.559 --> 0:09:19.800
<v Speaker 1>your intentions are always in front. So I appreciate that

0:09:19.840 --> 0:09:22.960
<v Speaker 1>about you. You know, it's funny too, as I was

0:09:23.000 --> 0:09:24.800
<v Speaker 1>mentioning to you before we started, can you turn the

0:09:24.840 --> 0:09:26.200
<v Speaker 1>air down a bit? It's a little hot near and

0:09:26.280 --> 0:09:27.960
<v Speaker 1>Mr Bush isn't a coat, and I want to make

0:09:27.960 --> 0:09:30.640
<v Speaker 1>sure I'm in my French provincial outfit. To me a

0:09:30.720 --> 0:09:33.880
<v Speaker 1>vest under a nice jacket. Well it's actually stitched into

0:09:33.920 --> 0:09:35.640
<v Speaker 1>the jail. What the jacket with the vest built in?

0:09:35.760 --> 0:09:39.240
<v Speaker 1>How about that? Very lazily French. And then there's a

0:09:39.240 --> 0:09:41.839
<v Speaker 1>little French up here. We French. What did you do

0:09:41.880 --> 0:09:44.640
<v Speaker 1>today to be so dressed? You know? And look I

0:09:44.760 --> 0:09:47.400
<v Speaker 1>I even put on my leopard glass, my kind of

0:09:47.480 --> 0:09:52.320
<v Speaker 1>leopard breathing glasses. Um. I was helping Tyler Farr pick

0:09:52.400 --> 0:09:55.040
<v Speaker 1>songs for his new record that I'm producing, and I

0:09:55.160 --> 0:09:58.560
<v Speaker 1>thought that, um, the way I would intimidate the song

0:09:58.640 --> 0:10:00.920
<v Speaker 1>pictures that I'm the the side of the table was

0:10:00.960 --> 0:10:05.559
<v Speaker 1>to bring my pencils and my pencil sharpener and dressed

0:10:05.559 --> 0:10:08.320
<v Speaker 1>this way today. This is the opposite of Tyler farr

0:10:09.080 --> 0:10:12.960
<v Speaker 1>And and and just quietly sharpened my pencils to a

0:10:13.040 --> 0:10:15.160
<v Speaker 1>fine point while I looked at their songs as they

0:10:15.160 --> 0:10:18.960
<v Speaker 1>pitched me crappy songs and then and then yeah, I

0:10:19.000 --> 0:10:22.120
<v Speaker 1>just needed I needed something today to intimidate, because I'm

0:10:22.160 --> 0:10:26.400
<v Speaker 1>the least intimidating person on earth in my imagination when

0:10:26.400 --> 0:10:28.240
<v Speaker 1>I woke up that this is this is what would help.

0:10:29.080 --> 0:10:31.640
<v Speaker 1>It's crazy and cool that you're working with Tyler, because

0:10:31.640 --> 0:10:34.800
<v Speaker 1>I like Tyler a lot. And I feel like because

0:10:35.080 --> 0:10:37.520
<v Speaker 1>now I kind of know you as a producer because

0:10:37.520 --> 0:10:41.760
<v Speaker 1>a Lindsay and you know, you did a wildly successful

0:10:41.800 --> 0:10:44.680
<v Speaker 1>album and it's not even started to be a successful

0:10:44.679 --> 0:10:48.240
<v Speaker 1>it's going to be. And you did it with at

0:10:48.240 --> 0:10:50.040
<v Speaker 1>a time with Lindsay when they did have a single out,

0:10:50.080 --> 0:10:51.920
<v Speaker 1>like they did an odd thing and said go make

0:10:51.920 --> 0:10:53.880
<v Speaker 1>a record, and you and Lindsay go make a record

0:10:53.920 --> 0:10:56.760
<v Speaker 1>and there was no single plan, there was nothing. Yeah,

0:10:56.880 --> 0:11:00.200
<v Speaker 1>you made a record with going into it with out

0:11:00.240 --> 0:11:03.360
<v Speaker 1>of sound a sign to you, right, And I think

0:11:03.360 --> 0:11:07.160
<v Speaker 1>that's maybe where I can help when it's an artist

0:11:07.280 --> 0:11:08.960
<v Speaker 1>and you did with her, and I was you know,

0:11:09.520 --> 0:11:11.640
<v Speaker 1>Lindy and I are still close, but we were really

0:11:11.679 --> 0:11:14.560
<v Speaker 1>closed in Apparently I was the very last to know.

0:11:15.520 --> 0:11:19.040
<v Speaker 1>Oh really as her producer, you know, and I live

0:11:19.080 --> 0:11:20.920
<v Speaker 1>here and you and I knew each other, but I

0:11:20.960 --> 0:11:23.880
<v Speaker 1>had no idea. And so I'm in there like helping

0:11:23.880 --> 0:11:26.200
<v Speaker 1>her pick songs and like, oh, I hear you're writing this.

0:11:26.280 --> 0:11:28.040
<v Speaker 1>I don't know, what do you think about this? You know?

0:11:28.280 --> 0:11:31.760
<v Speaker 1>And I just never brought up the question, like in

0:11:31.840 --> 0:11:35.880
<v Speaker 1>relationship songs that sounds like you're feeling good about a relationship.

0:11:36.200 --> 0:11:39.760
<v Speaker 1>I never asked what relationship. So finally she had to

0:11:39.800 --> 0:11:43.000
<v Speaker 1>actually stop me and go, hey, I just want you

0:11:43.040 --> 0:11:44.920
<v Speaker 1>to know. I know you don't listen to the radio

0:11:45.000 --> 0:11:47.360
<v Speaker 1>often and because in Atlanta we don't get your show.

0:11:48.160 --> 0:11:52.240
<v Speaker 1>Uh and um, She's like, I want you to know

0:11:52.280 --> 0:11:54.520
<v Speaker 1>that you know, Bobby and I are dating. I was like,

0:11:54.880 --> 0:11:58.400
<v Speaker 1>you're freaking kidding me for a while and she was

0:11:58.400 --> 0:12:01.560
<v Speaker 1>like no, really, I was like, well, thanks, I appreciate it.

0:12:01.640 --> 0:12:05.599
<v Speaker 1>So which songs am I ascribing to this? You like

0:12:05.720 --> 0:12:08.880
<v Speaker 1>to think of me in the head and you have

0:12:09.080 --> 0:12:11.400
<v Speaker 1>right now she has at the time of us recording,

0:12:11.400 --> 0:12:17.040
<v Speaker 1>this her highest song ever with Criminal. Yeah, it's a

0:12:17.440 --> 0:12:21.400
<v Speaker 1>twenty nine right now, her highest song ever. Yes, and

0:12:21.480 --> 0:12:23.480
<v Speaker 1>I remember hearing the work text and then after she

0:12:23.600 --> 0:12:25.120
<v Speaker 1>was done with you, I was like, oh yeah, Christians

0:12:25.160 --> 0:12:29.280
<v Speaker 1>adding a whole live bit. It's like, too brilliant. It's

0:12:29.320 --> 0:12:32.200
<v Speaker 1>really cool to see you in that element. I've been

0:12:32.240 --> 0:12:35.520
<v Speaker 1>able to see all the sides except the dad's side.

0:12:35.679 --> 0:12:37.400
<v Speaker 1>Have me as your kid, and then I'll have it all.

0:12:37.559 --> 0:12:39.600
<v Speaker 1>I'll know at all. Let me come living every one

0:12:39.600 --> 0:12:41.320
<v Speaker 1>of your kids and I get it. My kids are

0:12:41.320 --> 0:12:45.240
<v Speaker 1>pretty cool. Yeah, yeah, well that's okay. I got sidetracked

0:12:45.240 --> 0:12:47.800
<v Speaker 1>by far. You are doing Tyler's I'm doing Tyler's record

0:12:47.840 --> 0:12:50.720
<v Speaker 1>with him right now, and Matson and Budlines record. Pardon

0:12:50.920 --> 0:12:55.000
<v Speaker 1>Who's uh? Who's the duo? You did? Uh? Walker McGuire.

0:12:56.080 --> 0:12:58.160
<v Speaker 1>I didn't produce that, but I wrote their song that's

0:12:58.160 --> 0:13:00.400
<v Speaker 1>on the radio and an that's what it is called. Okay,

0:13:00.440 --> 0:13:01.839
<v Speaker 1>that's why you put it in the force. I was

0:13:02.080 --> 0:13:04.600
<v Speaker 1>in that little box. I was just it was I'm

0:13:04.640 --> 0:13:07.040
<v Speaker 1>having to pinch myself recently. You know, you you do

0:13:07.120 --> 0:13:09.959
<v Speaker 1>this work for so long and you have to get

0:13:10.000 --> 0:13:13.800
<v Speaker 1>no so often that there are times in which things

0:13:13.840 --> 0:13:16.640
<v Speaker 1>fall into place, much like you know you see actors

0:13:16.679 --> 0:13:19.920
<v Speaker 1>on movies, like suddenly they look like they're super hot

0:13:19.920 --> 0:13:22.240
<v Speaker 1>because they're in five movies at the same time. Well

0:13:22.240 --> 0:13:24.200
<v Speaker 1>that wasn't really the case. They made the movies at

0:13:24.200 --> 0:13:27.200
<v Speaker 1>different times, and the studios just accidentally released them all

0:13:27.240 --> 0:13:30.360
<v Speaker 1>at the same time. And suddenly, you know, Iron Man

0:13:30.600 --> 0:13:34.760
<v Speaker 1>is Robert Downe Jr. Has a comeback or something. Well,

0:13:34.760 --> 0:13:37.880
<v Speaker 1>you know what, you know, all this stuff happened, and

0:13:38.480 --> 0:13:40.880
<v Speaker 1>now it wasn't didn't happen on top of each other.

0:13:41.679 --> 0:13:45.200
<v Speaker 1>It just released on top of each other. And I

0:13:45.240 --> 0:13:49.199
<v Speaker 1>have a very difficult time taking the moment to stick

0:13:49.240 --> 0:13:52.400
<v Speaker 1>of candles into a cake and light them and then

0:13:52.400 --> 0:13:55.920
<v Speaker 1>blow them out and take a moment to acknowledge what's happening.

0:13:56.320 --> 0:13:58.600
<v Speaker 1>So I've been trying to do that this year a

0:13:58.600 --> 0:14:00.640
<v Speaker 1>little bit, and things have been all in on top

0:14:00.679 --> 0:14:02.720
<v Speaker 1>of each other. I mean, I'm just so proud of

0:14:03.320 --> 0:14:07.120
<v Speaker 1>the work that that Lindsey did and and and edited

0:14:07.200 --> 0:14:09.400
<v Speaker 1>with her. And then it's Walker McGuire single. I had

0:14:09.440 --> 0:14:11.480
<v Speaker 1>no idea. I mean, we wrote that in forty five

0:14:11.559 --> 0:14:16.360
<v Speaker 1>minutes at high noon on a Tuesday at a lake somewhere.

0:14:16.760 --> 0:14:19.760
<v Speaker 1>I didn't even know these guys, and I loved the song.

0:14:20.040 --> 0:14:21.920
<v Speaker 1>But then they decided to record it. And I'm not

0:14:21.960 --> 0:14:25.000
<v Speaker 1>sure I've had a song on the charts with someone else.

0:14:25.040 --> 0:14:29.480
<v Speaker 1>I didn't. I wasn't in the band at the same

0:14:29.480 --> 0:14:32.920
<v Speaker 1>time that surely, and now's we're back in the things

0:14:32.920 --> 0:14:34.560
<v Speaker 1>that all these songs are kind of hitting at the

0:14:34.600 --> 0:14:38.080
<v Speaker 1>same time. And I was giggling the other day because

0:14:38.120 --> 0:14:42.600
<v Speaker 1>someone said, Okay, so it's either you or you that's

0:14:42.640 --> 0:14:44.360
<v Speaker 1>going to be the most added this week. And I

0:14:44.360 --> 0:14:47.040
<v Speaker 1>was like, what do you mean? And I was like,

0:14:47.040 --> 0:14:50.200
<v Speaker 1>Oh my gosh, are you kidding me? So I've always

0:14:50.200 --> 0:14:52.840
<v Speaker 1>wondered about these guys who live here in town and

0:14:52.880 --> 0:14:54.880
<v Speaker 1>they have like nine number ones in a year or

0:14:54.960 --> 0:15:00.280
<v Speaker 1>something something astronomical. I'm like, how does that happen? Um?

0:15:00.280 --> 0:15:02.840
<v Speaker 1>Now I now at least know what kind of the

0:15:02.880 --> 0:15:05.120
<v Speaker 1>storm looks like. I don't know if it's the perfect storm.

0:15:05.480 --> 0:15:09.080
<v Speaker 1>I hope there are many perfect storms to come. Man.

0:15:09.800 --> 0:15:13.200
<v Speaker 1>I guess I missed the first round of sugar Land.

0:15:14.320 --> 0:15:16.440
<v Speaker 1>I didn't miss it as a fan because I went

0:15:16.480 --> 0:15:19.280
<v Speaker 1>to a Sugarland show even as a fan better, Yeah,

0:15:19.280 --> 0:15:21.240
<v Speaker 1>but I missed it in Laurel, Arkansas. I went and

0:15:21.240 --> 0:15:24.480
<v Speaker 1>watch Sugarland. I wouldn't watched you guys play with Kenny

0:15:24.640 --> 0:15:28.440
<v Speaker 1>So and that's where I saw all the excitement and

0:15:28.720 --> 0:15:32.240
<v Speaker 1>jumping around, and it's I mean, it's a lot, That's

0:15:32.240 --> 0:15:34.920
<v Speaker 1>what I remember, Yeah, very much, so, lots of bodies

0:15:34.920 --> 0:15:38.680
<v Speaker 1>moving around and so. But I was a sugar Land

0:15:38.760 --> 0:15:41.320
<v Speaker 1>fan more so than a Kenney fan, frankly at the time.

0:15:41.880 --> 0:15:44.960
<v Speaker 1>So I went to the show and before I moved

0:15:44.960 --> 0:15:49.400
<v Speaker 1>to Nashville. You guys weren't sugar Land, right, We never

0:15:49.480 --> 0:15:52.560
<v Speaker 1>crossed paths, right. So the first time we crossed paths

0:15:52.560 --> 0:15:54.840
<v Speaker 1>was you doing your solo record, which I think is

0:15:54.880 --> 0:15:56.800
<v Speaker 1>cool too because I liked you for you. So when

0:15:56.840 --> 0:16:00.880
<v Speaker 1>everybody gets out to say be my friend, just remember

0:16:01.000 --> 0:16:03.840
<v Speaker 1>I liked you for you, just like Blessing do the souls.

0:16:04.280 --> 0:16:08.240
<v Speaker 1>She likes me for me. You remember those guys? Did

0:16:08.240 --> 0:16:09.960
<v Speaker 1>you know those guys? I did not know them, but

0:16:10.000 --> 0:16:11.840
<v Speaker 1>I know this. Let me talk about this for a second.

0:16:11.960 --> 0:16:15.080
<v Speaker 1>So sleep number. Oh yes, So I did this podcast

0:16:15.080 --> 0:16:17.440
<v Speaker 1>in my bedrooms actually, which about the way we have

0:16:17.480 --> 0:16:19.480
<v Speaker 1>to like shut the door and Michael, people will come

0:16:19.560 --> 0:16:23.200
<v Speaker 1>up here because it's weird my bedroom doors open, but

0:16:23.240 --> 0:16:25.040
<v Speaker 1>I guess they do. See the old sleep number bed

0:16:25.080 --> 0:16:27.640
<v Speaker 1>in there. I have a sleep number because for me.

0:16:28.200 --> 0:16:30.720
<v Speaker 1>I do struggle with sleep. And the great thing about

0:16:30.760 --> 0:16:33.040
<v Speaker 1>sleep number is it's actually for me. It's the ideal

0:16:33.080 --> 0:16:35.400
<v Speaker 1>firmness for me. I went into a sleep number store

0:16:35.400 --> 0:16:37.360
<v Speaker 1>where you buy the bed and you can lay on

0:16:37.400 --> 0:16:38.960
<v Speaker 1>the bed there and there's a screen the one I

0:16:38.960 --> 0:16:40.600
<v Speaker 1>went to the screen above, and you look at it

0:16:40.920 --> 0:16:42.600
<v Speaker 1>and it shows you how you're laying and maybe why

0:16:42.640 --> 0:16:44.320
<v Speaker 1>you're not laying right or not getting the right amount

0:16:44.320 --> 0:16:46.040
<v Speaker 1>of sleep. And they give you a sleep number that's

0:16:46.080 --> 0:16:49.120
<v Speaker 1>just for you. And my sleep number setting was and

0:16:49.160 --> 0:16:51.960
<v Speaker 1>I've been back since. But it's a thirty. And if

0:16:52.000 --> 0:16:54.400
<v Speaker 1>your partner has a different one, you both can have

0:16:54.480 --> 0:16:56.800
<v Speaker 1>your own sleep number setting. The beds are so smart

0:16:56.800 --> 0:16:58.840
<v Speaker 1>they sent you every move that automatically adjust to you,

0:16:58.960 --> 0:17:01.960
<v Speaker 1>keeping you sleep comfortably to the night. There's even adjustment

0:17:02.000 --> 0:17:03.320
<v Speaker 1>for snow and lift up a little bit. I don't

0:17:03.320 --> 0:17:04.840
<v Speaker 1>know if your bed does that. And honor of fift

0:17:04.840 --> 0:17:07.520
<v Speaker 1>two weeks of an honor of fifty two years of football,

0:17:07.600 --> 0:17:10.440
<v Speaker 1>not weeks, but years of football. Take fifty dollars off

0:17:10.480 --> 0:17:13.440
<v Speaker 1>any item from over a hundred bucks from Sleep Number, which,

0:17:13.440 --> 0:17:15.679
<v Speaker 1>by the way, the pillars are awesome there too. Sleep

0:17:15.720 --> 0:17:18.399
<v Speaker 1>number dot com slash Big Game to because you're fifty

0:17:18.400 --> 0:17:21.720
<v Speaker 1>two dollar coupon now through February four again sleep number

0:17:21.760 --> 0:17:25.720
<v Speaker 1>dot com slash Big Game. So I don't really know

0:17:25.800 --> 0:17:29.880
<v Speaker 1>the origin of you you guys coming together. She really

0:17:29.960 --> 0:17:35.399
<v Speaker 1>was this interesting beginning, you know. Um yeah, if you

0:17:35.440 --> 0:17:39.639
<v Speaker 1>put it in time. Um. I was signed to a

0:17:39.640 --> 0:17:41.639
<v Speaker 1>record deal in Atlantic Records in New York as a

0:17:41.760 --> 0:17:45.119
<v Speaker 1>rock act, like a folk rock act called Billy Pilgrim,

0:17:45.160 --> 0:17:49.320
<v Speaker 1>and we were kind of a critics darling and for

0:17:49.440 --> 0:17:51.919
<v Speaker 1>us we were a huge success. But compared to our

0:17:52.000 --> 0:17:55.159
<v Speaker 1>label mates, which were like Matchbox twenty was signed the

0:17:55.200 --> 0:17:58.520
<v Speaker 1>same time we were, and Hootie and the Blowfish and

0:17:58.520 --> 0:18:04.600
<v Speaker 1>and I uh ed Roland and the Soul and those guys,

0:18:04.720 --> 0:18:06.040
<v Speaker 1>we were all at you know. It was all out

0:18:06.040 --> 0:18:11.160
<v Speaker 1>of the Southeast at the exact same time. And our band, um,

0:18:11.200 --> 0:18:13.919
<v Speaker 1>you know, Rolling Stone loved it. The review of our

0:18:13.920 --> 0:18:17.280
<v Speaker 1>first album was in the Kurt Coobing issue when he died.

0:18:18.359 --> 0:18:20.920
<v Speaker 1>So if you ever want to go read my first

0:18:20.960 --> 0:18:24.800
<v Speaker 1>band's first national review, it wasn't that issue. Yeah you

0:18:24.840 --> 0:18:34.159
<v Speaker 1>can find it. Oh yeah, there you go. My hair,

0:18:38.680 --> 0:18:46.879
<v Speaker 1>who's insomniac? G's what's the vocal situation here? That's me singing,

0:18:47.280 --> 0:18:51.800
<v Speaker 1>and my partner Andrew was also a singer, and that's

0:18:51.800 --> 0:18:53.800
<v Speaker 1>my friend Ellis Paul there in the background. I'm going,

0:18:55.000 --> 0:19:00.040
<v Speaker 1>but I'm the lead singer on this again. Down the

0:19:00.119 --> 0:19:09.480
<v Speaker 1>Black Hands, sad the textures? Do you sing? Do you sing? Different?

0:19:09.520 --> 0:19:11.359
<v Speaker 1>And a little bit. I mean I was twenty two,

0:19:12.480 --> 0:19:15.560
<v Speaker 1>you know, but I've always had a raspy quality of

0:19:15.560 --> 0:19:19.080
<v Speaker 1>my voice. But I was worried that country music wasn't

0:19:19.080 --> 0:19:22.920
<v Speaker 1>gonna take it. It wasn't gonna accept my raspy voice.

0:19:22.920 --> 0:19:25.320
<v Speaker 1>And at the time, Billy Pilgrim was kind of in

0:19:25.359 --> 0:19:28.639
<v Speaker 1>its waning years. We had had a really pretty good

0:19:28.720 --> 0:19:31.720
<v Speaker 1>run of it, you know, hundreds of thousands of records,

0:19:31.840 --> 0:19:34.760
<v Speaker 1>which for us was giant, And we've been on tour

0:19:34.800 --> 0:19:36.600
<v Speaker 1>around the world. Like I we opened from all of

0:19:36.640 --> 0:19:38.840
<v Speaker 1>Ethadge for a couple of years, and we had opened

0:19:38.840 --> 0:19:41.359
<v Speaker 1>for Bob Dylan and Beck and Tom Petty and all

0:19:41.400 --> 0:19:44.680
<v Speaker 1>these bands, right and learned how to travel the world

0:19:44.680 --> 0:19:51.280
<v Speaker 1>playing arenas. And I wasn't even twenty six yet, and

0:19:52.160 --> 0:19:55.720
<v Speaker 1>I had a terrible tragedy. My mom died. Um, then

0:19:55.760 --> 0:19:58.960
<v Speaker 1>they flew the planes into the buildings. Um. We I've

0:19:59.000 --> 0:20:01.639
<v Speaker 1>been working on other people career. We'd helped John John

0:20:01.720 --> 0:20:06.000
<v Speaker 1>get started in Seawan Mallins and he had moved to Atlanta.

0:20:06.160 --> 0:20:08.119
<v Speaker 1>He had moved to Atlanta at the time and was

0:20:08.160 --> 0:20:10.560
<v Speaker 1>he with Clay When I met him. He and Clay

0:20:10.600 --> 0:20:12.760
<v Speaker 1>were working and my brother Brandon worked on that first

0:20:12.800 --> 0:20:16.920
<v Speaker 1>record with them and then worked on John's first record UM.

0:20:16.960 --> 0:20:19.560
<v Speaker 1>And our bass player from Billy Pilgrim was Dave Jabrier.

0:20:20.560 --> 0:20:22.879
<v Speaker 1>So the first record do you mean like the EP inside,

0:20:22.880 --> 0:20:27.320
<v Speaker 1>Once Out or Over Squares which which UM the first

0:20:27.359 --> 0:20:32.600
<v Speaker 1>record on Aware, which was Room for Squares, and then

0:20:32.600 --> 0:20:34.720
<v Speaker 1>the one before that was kind of the one that

0:20:34.760 --> 0:20:39.879
<v Speaker 1>had like the sweatshirt song, and that's just Brandon working

0:20:39.920 --> 0:20:42.040
<v Speaker 1>on that. Your brother he worked on both those records,

0:20:42.760 --> 0:20:45.760
<v Speaker 1>and so that's that was the world I was in.

0:20:45.800 --> 0:20:48.160
<v Speaker 1>I was kind of trying to help new artists get

0:20:48.160 --> 0:20:52.439
<v Speaker 1>started UM on the Coat Tails or whatever. Billy Pilgrim

0:20:52.560 --> 0:20:54.520
<v Speaker 1>was able to go forward, and that's how I knew

0:20:54.600 --> 0:20:57.920
<v Speaker 1>Jennifer as she was an opening act for Billy Polgram

0:20:58.000 --> 0:21:00.840
<v Speaker 1>as Jennifer Nettles as Jennifer Nettles AM, and before that

0:21:00.920 --> 0:21:03.280
<v Speaker 1>it was a duo she was in and then they

0:21:03.320 --> 0:21:06.760
<v Speaker 1>broke up, and and then she went on by herself

0:21:06.880 --> 0:21:10.040
<v Speaker 1>to keep making money in the Atlanta scene, and I

0:21:10.119 --> 0:21:12.040
<v Speaker 1>had a major label record deal, so that was a

0:21:12.280 --> 0:21:14.720
<v Speaker 1>it was a big feather in the cap from down there.

0:21:14.800 --> 0:21:17.320
<v Speaker 1>You they didn't hand them out like candy like they

0:21:17.359 --> 0:21:19.760
<v Speaker 1>do here. It was one at a time. So we

0:21:19.760 --> 0:21:25.920
<v Speaker 1>were after the Black Crows and before Sean Mullins. Actually

0:21:26.080 --> 0:21:29.760
<v Speaker 1>we would have been right after the Black Crows and

0:21:29.800 --> 0:21:34.800
<v Speaker 1>then Collective Soul, then Billy Pilgrim, then Sean, then John

0:21:34.840 --> 0:21:41.040
<v Speaker 1>Mayor then back to sugar Land. Then this is all

0:21:41.080 --> 0:21:43.879
<v Speaker 1>out of the same four blocks. I mean, it's all

0:21:43.960 --> 0:21:45.639
<v Speaker 1>right there. It's all in one space. And if you

0:21:45.680 --> 0:21:48.280
<v Speaker 1>go backwards, it was the Indigo Girls, and then it

0:21:48.400 --> 0:21:52.920
<v Speaker 1>was Um Michelle Malone and Dragged the River, and then

0:21:52.960 --> 0:21:55.880
<v Speaker 1>you then you're kind of moving towards Athens like um

0:21:56.240 --> 0:21:59.200
<v Speaker 1>to be fifty two s R em Pylon and those

0:21:59.320 --> 0:22:02.600
<v Speaker 1>those bands Um and maybe after us there was hoped

0:22:02.640 --> 0:22:05.119
<v Speaker 1>for a Golden Summer, which was like a more Athens

0:22:05.200 --> 0:22:08.080
<v Speaker 1>Atlanta band and more alt. But did they start looking

0:22:08.119 --> 0:22:10.600
<v Speaker 1>for bands in that area since there was success because

0:22:10.640 --> 0:22:13.000
<v Speaker 1>a lot of times with the sound, well just use Seattle,

0:22:13.000 --> 0:22:14.480
<v Speaker 1>which is the one that choosed a lot when that

0:22:14.560 --> 0:22:19.720
<v Speaker 1>Seattle sound happens and Nirvana turns all the hair bands

0:22:19.760 --> 0:22:21.920
<v Speaker 1>into now It's grunge, and they go find Pearl Jam

0:22:21.920 --> 0:22:24.280
<v Speaker 1>and they go find out they find they start to

0:22:24.280 --> 0:22:26.000
<v Speaker 1>search the scene from where do they do that in

0:22:26.040 --> 0:22:28.000
<v Speaker 1>Atlanta to where they Okay, we have a few, so

0:22:28.040 --> 0:22:30.160
<v Speaker 1>let's go see what else is in this? Very much

0:22:30.280 --> 0:22:32.440
<v Speaker 1>And it would come through either a lawyer or two

0:22:32.680 --> 0:22:34.320
<v Speaker 1>that they were friends with, A and R people on

0:22:34.440 --> 0:22:36.879
<v Speaker 1>Sony or different places, and they would come and they

0:22:36.880 --> 0:22:39.960
<v Speaker 1>would you know this this little club and we played

0:22:39.960 --> 0:22:41.920
<v Speaker 1>it was called track Side Tavern. And then the guy

0:22:41.960 --> 0:22:44.280
<v Speaker 1>who was the bartender their name Eddio, and opened up

0:22:44.320 --> 0:22:46.520
<v Speaker 1>Eddie's at it, and so we all. I was the

0:22:46.520 --> 0:22:49.239
<v Speaker 1>first show at Eddie's really painted the walls the night

0:22:49.280 --> 0:22:52.520
<v Speaker 1>before and opened for Michelle Malone on the Wednesday. And

0:22:52.560 --> 0:22:57.320
<v Speaker 1>I graduated from college three days later and u and

0:22:57.359 --> 0:23:01.760
<v Speaker 1>got a record deal that summer on Atlantic Records. So

0:23:02.280 --> 0:23:04.199
<v Speaker 1>I have had a major label record deal since I

0:23:04.240 --> 0:23:09.280
<v Speaker 1>got out of college, which is really like, it's it's asinine,

0:23:10.000 --> 0:23:14.320
<v Speaker 1>it's a it shouldn't probably have happened. But did you

0:23:14.320 --> 0:23:17.359
<v Speaker 1>and Jennifer when you met was it? Hey, we're just

0:23:17.680 --> 0:23:20.760
<v Speaker 1>artists and we're our own respective artists, or was it hey,

0:23:20.840 --> 0:23:25.439
<v Speaker 1>we should maybe share ideas, or saying, how does that

0:23:25.640 --> 0:23:28.920
<v Speaker 1>happen because she's coming out of a duo, obviously that's successful.

0:23:30.119 --> 0:23:34.840
<v Speaker 1>Well she it wasn't. Actually it was an invitation. UM.

0:23:34.920 --> 0:23:37.680
<v Speaker 1>I didn't know her very well. So during Billy Pilgrim World,

0:23:37.680 --> 0:23:40.000
<v Speaker 1>she came in and she was recording with Corey I

0:23:40.000 --> 0:23:43.600
<v Speaker 1>think in the studio where I recorded all the time,

0:23:43.760 --> 0:23:45.800
<v Speaker 1>and I remember walking in on one of their sessions

0:23:45.800 --> 0:23:48.240
<v Speaker 1>and going, oh, that's kind of cool. But I didn't

0:23:48.240 --> 0:23:51.480
<v Speaker 1>really know her, and she opened for us, and I

0:23:51.640 --> 0:23:54.280
<v Speaker 1>unfortunately have to say at that time I didn't show

0:23:54.359 --> 0:23:57.320
<v Speaker 1>up early to hear the openers all the time. UM.

0:23:57.480 --> 0:24:01.840
<v Speaker 1>And I regret that I do it a lot more now. UM.

0:24:01.880 --> 0:24:04.360
<v Speaker 1>But we never became friends. And then I remember being

0:24:04.400 --> 0:24:06.240
<v Speaker 1>on a writer's night with her, which I think is

0:24:06.280 --> 0:24:08.880
<v Speaker 1>irony at some we're not irony, but I think it's fascinating.

0:24:09.560 --> 0:24:12.000
<v Speaker 1>After Billy Pilgrim was kind of slowing down, I had

0:24:12.080 --> 0:24:16.920
<v Speaker 1>started um writing songs with a local songwriter named Kristin Hall,

0:24:17.200 --> 0:24:20.080
<v Speaker 1>and she was the third person in Sutterland at the

0:24:20.160 --> 0:24:25.440
<v Speaker 1>very beginning. Kristen was the guitar tech for the Indigo girls. Yeah,

0:24:25.520 --> 0:24:27.920
<v Speaker 1>and they just knew that she was a great songwriter

0:24:28.320 --> 0:24:30.960
<v Speaker 1>and she had moved back to Atlanta from l A

0:24:31.320 --> 0:24:34.680
<v Speaker 1>and she wanted to write songs and she knew me,

0:24:34.960 --> 0:24:37.000
<v Speaker 1>and she called and said, you have any songs left over?

0:24:37.000 --> 0:24:39.720
<v Speaker 1>And I was like, yeah, I have a lot because

0:24:39.840 --> 0:24:41.720
<v Speaker 1>Andrew and I aren't working as much, but I still

0:24:41.800 --> 0:24:44.359
<v Speaker 1>have the same amount of songs. She's like, well, why

0:24:44.400 --> 0:24:45.840
<v Speaker 1>don't you come over and help me and let me

0:24:45.840 --> 0:24:49.160
<v Speaker 1>help you finish them. It's like okay, And within two

0:24:49.240 --> 0:24:50.919
<v Speaker 1>or three weeks she's like, let's start a band. I

0:24:50.920 --> 0:24:52.320
<v Speaker 1>was like, I need a band, like I need a

0:24:52.320 --> 0:24:56.560
<v Speaker 1>hole in the head. I already have a band and

0:24:56.600 --> 0:24:59.360
<v Speaker 1>I don't need another band, but I would. I'm enjoying

0:24:59.400 --> 0:25:01.800
<v Speaker 1>writing with you, and so we asked Dave Librier to

0:25:01.840 --> 0:25:04.119
<v Speaker 1>come over and I was like, you know, I like

0:25:04.240 --> 0:25:06.440
<v Speaker 1>being in a band with him. He and John were

0:25:06.480 --> 0:25:09.080
<v Speaker 1>working at the time, and we wrote a song called

0:25:09.119 --> 0:25:11.280
<v Speaker 1>Girl called Tennessee and it was on the first sugar

0:25:11.320 --> 0:25:15.520
<v Speaker 1>Land record and we just kept writing songs and pretty

0:25:15.560 --> 0:25:19.160
<v Speaker 1>soon Dave didn't show up anymore, but Kristen kept calling

0:25:19.160 --> 0:25:20.760
<v Speaker 1>and saying, look, I've got a band in the basement.

0:25:20.800 --> 0:25:25.840
<v Speaker 1>Where you come, right. I was like, really, okay, well

0:25:26.040 --> 0:25:28.280
<v Speaker 1>all right, and I would show up and we would

0:25:28.320 --> 0:25:31.679
<v Speaker 1>audition a singer because I was pretty convinced that my

0:25:31.800 --> 0:25:34.600
<v Speaker 1>voice was not going to make it against Billy Currington. Okay,

0:25:34.600 --> 0:25:36.800
<v Speaker 1>so you thought that, you thought I'm not going to

0:25:36.880 --> 0:25:38.800
<v Speaker 1>be the front voice. I don't. I didn't think I

0:25:38.800 --> 0:25:41.639
<v Speaker 1>could sell it because at the time two thousand and

0:25:41.680 --> 0:25:45.360
<v Speaker 1>two country music singers were all they were all smooth.

0:25:46.400 --> 0:25:50.399
<v Speaker 1>It was very interesting. And I kind of said, all right, well,

0:25:51.200 --> 0:25:53.120
<v Speaker 1>what do you suggest and she said, well, I suggest

0:25:53.160 --> 0:25:55.359
<v Speaker 1>we get a female singer because there's a big hole

0:25:55.440 --> 0:25:59.480
<v Speaker 1>in the world that's been left by the Dixie Chicks

0:26:00.080 --> 0:26:02.640
<v Speaker 1>them stopping working. I think it's some of the best

0:26:02.720 --> 0:26:05.680
<v Speaker 1>music I've heard. And I said, all right, I don't

0:26:05.680 --> 0:26:07.479
<v Speaker 1>know if I can get on board, but let me

0:26:07.520 --> 0:26:09.640
<v Speaker 1>work at this a little bit. And I went out

0:26:09.720 --> 0:26:12.680
<v Speaker 1>and I started. I bought UM an Emmy Lou Harris record,

0:26:14.080 --> 0:26:18.160
<v Speaker 1>uh that Daniel lamb Wide produced and it was called

0:26:18.160 --> 0:26:20.720
<v Speaker 1>Wrecking Ball. And the reason I bought it it's because

0:26:20.800 --> 0:26:24.440
<v Speaker 1>when my My the Billy Pilgrim record before that went,

0:26:24.520 --> 0:26:28.960
<v Speaker 1>the guitar player who was hired UM was producing Emmy

0:26:29.040 --> 0:26:31.159
<v Speaker 1>Lou Harris up until that moment, and he put one

0:26:31.200 --> 0:26:32.920
<v Speaker 1>of my songs on hold, and I had never had

0:26:32.920 --> 0:26:34.280
<v Speaker 1>a song on hold in my life. I didn't know

0:26:34.320 --> 0:26:36.800
<v Speaker 1>what that meant. And because I thought you had to

0:26:36.840 --> 0:26:38.800
<v Speaker 1>write the songs that you're sang, I didn't know there

0:26:38.800 --> 0:26:44.359
<v Speaker 1>were two different jobs. And I was fascinated because the

0:26:44.480 --> 0:26:47.800
<v Speaker 1>day after we finished that Billy Pilgrim record, or the

0:26:47.880 --> 0:26:50.040
<v Speaker 1>day we finished it, I walked out into the hallway

0:26:50.040 --> 0:26:52.080
<v Speaker 1>and left, and I met a guy named Steve Earle

0:26:52.160 --> 0:26:55.679
<v Speaker 1>that was in the waiting room, and and he had

0:26:55.720 --> 0:26:57.760
<v Speaker 1>just gotten out of jail, and he was he was

0:26:57.800 --> 0:27:00.359
<v Speaker 1>coming in to make as record with the same band,

0:27:01.160 --> 0:27:03.520
<v Speaker 1>with the same producer in the same building. And I

0:27:03.520 --> 0:27:07.160
<v Speaker 1>thought to myself, note to self, whenever this guy puts

0:27:07.160 --> 0:27:09.840
<v Speaker 1>out his record, go buy it, because it's gonna sound

0:27:09.880 --> 0:27:12.960
<v Speaker 1>exactly like your record. And wouldn't that be cool to

0:27:13.000 --> 0:27:15.280
<v Speaker 1>see what it sounds like when the same band plays

0:27:15.280 --> 0:27:19.600
<v Speaker 1>a different kind of songs? Right? Um? So I had

0:27:19.640 --> 0:27:23.080
<v Speaker 1>then bought also a Steve Earl record, very close to

0:27:23.160 --> 0:27:25.199
<v Speaker 1>the time I bought that Emmy Lou Harris record, and

0:27:25.600 --> 0:27:28.760
<v Speaker 1>between the two, um, I thought to myself, well, if

0:27:28.840 --> 0:27:31.480
<v Speaker 1>this is country music, I can do this because it

0:27:31.560 --> 0:27:37.080
<v Speaker 1>sounds like YouTube plus country music, right. Um. And what

0:27:37.200 --> 0:27:41.320
<v Speaker 1>I've quickly learned is that country music had nothing to

0:27:41.440 --> 0:27:47.800
<v Speaker 1>do with a fiddle, which actually was my first instrument.

0:27:47.920 --> 0:27:51.760
<v Speaker 1>Like it, It had more to do with the story

0:27:52.680 --> 0:27:56.000
<v Speaker 1>of this in the songwriting, and in the nineties, we

0:27:56.000 --> 0:28:00.760
<v Speaker 1>weren't telling stories. We were telling emotions, right we had.

0:28:00.960 --> 0:28:03.480
<v Speaker 1>We were just trying to make you feel what it

0:28:03.560 --> 0:28:07.600
<v Speaker 1>felt like it was in that lyric. And so as

0:28:07.600 --> 0:28:10.800
<v Speaker 1>soon as I knew this, I was like, oh, okay,

0:28:10.920 --> 0:28:12.520
<v Speaker 1>I think I can do that. I went over to

0:28:12.560 --> 0:28:14.480
<v Speaker 1>Christin's house and I started playing things, and we started

0:28:14.520 --> 0:28:17.200
<v Speaker 1>auditioning people, and there were five or six different people,

0:28:17.240 --> 0:28:19.919
<v Speaker 1>and we came up with rules where we had to

0:28:19.920 --> 0:28:22.040
<v Speaker 1>write a song or two with each audition to see

0:28:22.040 --> 0:28:24.720
<v Speaker 1>if we could write with them. And so if you

0:28:24.720 --> 0:28:26.520
<v Speaker 1>look at the first sugar Land record, five or six

0:28:26.600 --> 0:28:28.359
<v Speaker 1>of those songs have writers on it that none of

0:28:28.359 --> 0:28:32.000
<v Speaker 1>them are Jennifer because she wasn't even in the band yet,

0:28:33.040 --> 0:28:36.000
<v Speaker 1>Like we were just cycling through and the songs were

0:28:36.040 --> 0:28:39.160
<v Speaker 1>so good that we were getting and so when she

0:28:39.200 --> 0:28:42.719
<v Speaker 1>came into auditions, she sang the songs and uh, I

0:28:42.760 --> 0:28:45.080
<v Speaker 1>remember there was one song. It was a song that

0:28:45.200 --> 0:28:47.240
<v Speaker 1>was the namesake of the band. It's called sugar Land

0:28:47.280 --> 0:28:49.520
<v Speaker 1>and I kind of wrote it in my shower one

0:28:49.520 --> 0:28:51.880
<v Speaker 1>morning and came in and brought it to this group

0:28:51.920 --> 0:28:54.479
<v Speaker 1>of people in the basement of Christin's houses. Is it

0:28:54.520 --> 0:28:57.480
<v Speaker 1>wrong or a curse if I write a song with

0:28:58.440 --> 0:29:00.320
<v Speaker 1>called the name of the band that we heared out

0:29:00.400 --> 0:29:04.600
<v Speaker 1>last night? And she was like, I don't think so.

0:29:04.760 --> 0:29:07.160
<v Speaker 1>I think bad Company has done it or things like this.

0:29:07.240 --> 0:29:08.560
<v Speaker 1>And I was like, all right, well, if this is

0:29:08.600 --> 0:29:13.280
<v Speaker 1>a curse, it's my fault. And Jennifer auditioned on that

0:29:13.400 --> 0:29:15.320
<v Speaker 1>song and when she got to the bridge of that

0:29:15.360 --> 0:29:17.800
<v Speaker 1>song and was singing it, I just about lost my mind.

0:29:17.840 --> 0:29:21.440
<v Speaker 1>I was like, that that I can do. And so

0:29:21.520 --> 0:29:23.400
<v Speaker 1>we sat down and we wrote two songs and the

0:29:23.520 --> 0:29:27.200
<v Speaker 1>first song was it was a song called honky Ton

0:29:27.360 --> 0:29:30.800
<v Speaker 1>Kevin and I don't think that it exists anywhere. We

0:29:30.880 --> 0:29:32.680
<v Speaker 1>recorded it, but we didn't give it, we didn't show

0:29:32.680 --> 0:29:34.840
<v Speaker 1>it to the label. And the second song we wrote

0:29:34.960 --> 0:29:39.720
<v Speaker 1>was a baby girl. Wow? Is that right? Damn? My dad?

0:29:47.760 --> 0:29:54.160
<v Speaker 1>How about that that quick found it? Found it? Did

0:29:54.160 --> 0:29:56.480
<v Speaker 1>you know you found it? I knew the song was good,

0:29:58.160 --> 0:30:03.640
<v Speaker 1>and so it's hard to know. So we decided to

0:30:03.640 --> 0:30:06.320
<v Speaker 1>play a show, and we only had four songs or

0:30:06.320 --> 0:30:10.200
<v Speaker 1>five songs that we could play, um like four the

0:30:10.280 --> 0:30:12.920
<v Speaker 1>ones we had previously written, maybe six maybe. We played

0:30:12.920 --> 0:30:16.959
<v Speaker 1>hockeytoll Agavan that night and Baby Girl, and no one

0:30:17.040 --> 0:30:20.120
<v Speaker 1>knew who our band was because we hadn't played out.

0:30:20.880 --> 0:30:23.920
<v Speaker 1>But we each had individual crowds, like Jennifer had a

0:30:24.000 --> 0:30:25.880
<v Speaker 1>crowd that we had two or three other people that

0:30:25.920 --> 0:30:28.840
<v Speaker 1>come see her, and Billy Pilgrim, you know, we had

0:30:29.320 --> 0:30:32.120
<v Speaker 1>a couple or more people that would come to see us.

0:30:32.120 --> 0:30:34.640
<v Speaker 1>And Kristen had a following of people that would come

0:30:34.640 --> 0:30:36.000
<v Speaker 1>see her. And we thought, well, let's just play like

0:30:36.040 --> 0:30:38.680
<v Speaker 1>a Tuesday or something, bill it as sugar Land and

0:30:38.680 --> 0:30:40.720
<v Speaker 1>then put our individual names in there and see if

0:30:40.760 --> 0:30:44.680
<v Speaker 1>anybody shows up. And we got to Baby Girl and

0:30:44.720 --> 0:30:49.440
<v Speaker 1>we played it and people cheered after the lad when

0:30:49.480 --> 0:30:51.200
<v Speaker 1>it got to the last course, they just got on

0:30:51.200 --> 0:30:54.640
<v Speaker 1>their feet and started cheering. And I was like, holy crap,

0:30:55.680 --> 0:30:59.280
<v Speaker 1>this must be what it's like if you're Darius Rucker

0:30:59.320 --> 0:31:01.320
<v Speaker 1>and you finally sing hold my Hand for the first

0:31:01.360 --> 0:31:07.959
<v Speaker 1>time and everybody goes bonkers, you know, and um, so

0:31:08.080 --> 0:31:10.480
<v Speaker 1>I remember telling her. I was like look, I really

0:31:10.520 --> 0:31:12.880
<v Speaker 1>don't want to do this in a van. I want

0:31:12.920 --> 0:31:14.720
<v Speaker 1>if we're gonna do this, I've done this before, I

0:31:14.720 --> 0:31:15.920
<v Speaker 1>want to do it in a bus. And I want

0:31:15.960 --> 0:31:18.240
<v Speaker 1>to shoot for arenas or stadiums, like I want the

0:31:18.320 --> 0:31:22.120
<v Speaker 1>target to be so high that if we miss, it's

0:31:22.120 --> 0:31:27.960
<v Speaker 1>gonna be awesome. That costs money. We had no we

0:31:28.000 --> 0:31:30.720
<v Speaker 1>had nothing to even do it, so we we bankrolled

0:31:30.720 --> 0:31:34.320
<v Speaker 1>it all from our little place. Um. We got our

0:31:34.440 --> 0:31:38.520
<v Speaker 1>record deal because we we sold tickets on a gray

0:31:38.840 --> 0:31:42.440
<v Speaker 1>on a bus that we rented. I got a passenger bus.

0:31:42.960 --> 0:31:47.320
<v Speaker 1>We sold fifty dollar tickets to fifty fans, and we

0:31:47.400 --> 0:31:49.960
<v Speaker 1>bought a keg of beer and put it on the bus,

0:31:50.360 --> 0:31:52.760
<v Speaker 1>and we got a gig at the last place I

0:31:52.760 --> 0:31:55.200
<v Speaker 1>had gotten a record deal out of Nashville, which was

0:31:55.240 --> 0:31:57.520
<v Speaker 1>twelfth and Porter. I got my Billy Pogram record deal

0:31:57.520 --> 0:31:59.960
<v Speaker 1>out of that room. So I called the same piece.

0:32:01.480 --> 0:32:05.520
<v Speaker 1>Can we play and you know whatever your showcase time

0:32:05.640 --> 0:32:08.320
<v Speaker 1>is before you have to really open for business. And

0:32:08.360 --> 0:32:11.120
<v Speaker 1>they said sure, and they said you know you're you

0:32:11.160 --> 0:32:13.080
<v Speaker 1>can only have the tickets that you sell. And I

0:32:13.160 --> 0:32:15.000
<v Speaker 1>was like, that's cool, we don't need to sell any tickets.

0:32:15.000 --> 0:32:16.080
<v Speaker 1>And they were like what do you mean We're like,

0:32:16.120 --> 0:32:20.240
<v Speaker 1>we're we're bringing all of our people. They were like okay,

0:32:20.320 --> 0:32:23.520
<v Speaker 1>and they were kind of confused, and and we said

0:32:23.520 --> 0:32:25.600
<v Speaker 1>what we really need or the seats for the like

0:32:25.720 --> 0:32:27.920
<v Speaker 1>record people, because we couldn't get anyone to come to

0:32:27.960 --> 0:32:30.680
<v Speaker 1>Atlanta where we actually had two or three people that

0:32:30.760 --> 0:32:35.320
<v Speaker 1>show up, So we bust everybody in and walked in

0:32:35.480 --> 0:32:38.280
<v Speaker 1>and played our five or six seven songs and then

0:32:38.400 --> 0:32:41.520
<v Speaker 1>handed our copy of our homemade record out to the

0:32:41.520 --> 0:32:45.760
<v Speaker 1>record they won. Luke Lewis signed us that night. Did

0:32:45.760 --> 0:32:48.640
<v Speaker 1>you feel like this might be a little too fast?

0:32:48.960 --> 0:32:51.880
<v Speaker 1>Did you feel like we're ready? Oh, there's no such

0:32:51.880 --> 0:32:54.480
<v Speaker 1>thing as that. For me, I had already done it. It

0:32:54.400 --> 0:32:56.360
<v Speaker 1>It might have felt that way to other people, but

0:32:56.520 --> 0:32:58.880
<v Speaker 1>I've been on a major label for eight years before then.

0:32:58.960 --> 0:33:01.160
<v Speaker 1>But you had to be with that. And for me,

0:33:01.480 --> 0:33:04.560
<v Speaker 1>that's and what are I do? In all aspects of

0:33:04.560 --> 0:33:08.640
<v Speaker 1>my life? Chemistry is the most important thing because I

0:33:08.680 --> 0:33:11.520
<v Speaker 1>can't do anything with that great people around me. Even

0:33:11.560 --> 0:33:13.120
<v Speaker 1>when I do stand up, if I don't have the

0:33:13.160 --> 0:33:16.160
<v Speaker 1>right people running lights and sound, I have to surround

0:33:16.160 --> 0:33:17.880
<v Speaker 1>myself with better people than what I do because it

0:33:17.920 --> 0:33:20.280
<v Speaker 1>makes me better. So here you are, there are three

0:33:20.320 --> 0:33:22.920
<v Speaker 1>of you. You haven't spent a ton of time together,

0:33:23.840 --> 0:33:26.960
<v Speaker 1>and now you're embarking on this new life a little

0:33:27.040 --> 0:33:29.200
<v Speaker 1>was there any apprehension like, man, I don't even know

0:33:29.240 --> 0:33:32.200
<v Speaker 1>if I like these people. Well, I think there's this

0:33:32.280 --> 0:33:37.760
<v Speaker 1>kind of a joy and at least shared ambition. Um

0:33:37.840 --> 0:33:41.360
<v Speaker 1>I knew Kristen kind of. I didn't know enough that.

0:33:41.920 --> 0:33:43.800
<v Speaker 1>I mean maybe I did that she was going to

0:33:43.880 --> 0:33:47.880
<v Speaker 1>get anxious like that was not really a life she wanted. Um.

0:33:47.920 --> 0:33:52.000
<v Speaker 1>I didn't know Jennifer very well at all. But um,

0:33:52.560 --> 0:33:54.920
<v Speaker 1>we both seem to have the skill to be in

0:33:55.000 --> 0:33:59.840
<v Speaker 1>duo's you know. Um we knew how to, we knew

0:33:59.840 --> 0:34:03.320
<v Speaker 1>how make music. It wasn't our first time. This is

0:34:03.320 --> 0:34:06.080
<v Speaker 1>where we gotta pay the bills real quick. I'd hand

0:34:06.080 --> 0:34:08.680
<v Speaker 1>it to you, like I love Christian grabbing for the spot.

0:34:09.360 --> 0:34:11.160
<v Speaker 1>I get so into the stories to forget to do well.

0:34:11.840 --> 0:34:13.880
<v Speaker 1>We get to keep the lights on here. Tax seasons

0:34:13.920 --> 0:34:17.080
<v Speaker 1>approaching in this week is tax Identity Theft Awareness Week.

0:34:17.600 --> 0:34:19.560
<v Speaker 1>So what you're looking forward to getting your tax refund,

0:34:19.560 --> 0:34:22.799
<v Speaker 1>which everybody is tax identity thieves might be looking forward

0:34:22.840 --> 0:34:26.320
<v Speaker 1>to it too, So frosters. Basically they use I R

0:34:26.600 --> 0:34:29.600
<v Speaker 1>S imposter scams. They just take numbers because they're so

0:34:29.640 --> 0:34:31.920
<v Speaker 1>readily available, and they use those numbers to get information

0:34:31.960 --> 0:34:34.880
<v Speaker 1>about you. One or four people have experienced identity sept

0:34:34.920 --> 0:34:37.279
<v Speaker 1>and if you're only monitoring your credit, your identity can

0:34:37.280 --> 0:34:39.200
<v Speaker 1>still be stolen in ways that you may not detect.

0:34:39.360 --> 0:34:41.360
<v Speaker 1>Thieves could sell your information on the dark web or

0:34:41.400 --> 0:34:44.759
<v Speaker 1>get an online payday loan in your name boom. That's

0:34:44.760 --> 0:34:47.279
<v Speaker 1>why live flock exists. That's why I have had life

0:34:47.280 --> 0:34:50.000
<v Speaker 1>flock four years, way before there ever a sponsor or

0:34:50.040 --> 0:34:53.280
<v Speaker 1>client or whatever you call a partner on the podcast

0:34:53.280 --> 0:34:55.239
<v Speaker 1>for the show, I was using life flock way before that,

0:34:55.280 --> 0:34:57.840
<v Speaker 1>which makes it easy to talk about. Life flock detects

0:34:57.840 --> 0:35:00.360
<v Speaker 1>a wide range identity of threats. If they detect your

0:35:00.400 --> 0:35:02.320
<v Speaker 1>information is being used to get alerts on your phone

0:35:02.400 --> 0:35:05.239
<v Speaker 1>and your email. They smoke signal all kinds of things.

0:35:05.440 --> 0:35:08.279
<v Speaker 1>If there's a problem, a US based restoration specialists work

0:35:08.320 --> 0:35:10.680
<v Speaker 1>to fix it. No one can prevent all identities, have

0:35:10.719 --> 0:35:13.640
<v Speaker 1>to monitor all transactions at all businesses. But LifeLock can

0:35:13.719 --> 0:35:15.680
<v Speaker 1>uncover the threats that you missed ten percent off if

0:35:15.680 --> 0:35:19.960
<v Speaker 1>you used the promo code boneslock use bones or LifeLock

0:35:20.040 --> 0:35:22.520
<v Speaker 1>dot com. Use the promo code bones and save ten

0:35:22.560 --> 0:35:25.560
<v Speaker 1>percent now and there you go. They see that's how

0:35:25.560 --> 0:35:28.759
<v Speaker 1>we do it. You are really good at this job.

0:35:28.960 --> 0:35:31.440
<v Speaker 1>That's all I know how to do. You have to

0:35:31.440 --> 0:35:33.840
<v Speaker 1>find what you know how to do in really target,

0:35:34.040 --> 0:35:38.320
<v Speaker 1>just go right into it. So what was the first

0:35:38.360 --> 0:35:41.160
<v Speaker 1>single for sugar Land? Wasn't baby Girl? It was the

0:35:41.200 --> 0:35:47.120
<v Speaker 1>first song, and um, yeah, it took forever. It was

0:35:47.200 --> 0:35:51.040
<v Speaker 1>fifty two four weeks, the whole year, and uh it

0:35:51.600 --> 0:35:54.319
<v Speaker 1>died a couple of times revisionist history. This is just

0:35:54.360 --> 0:35:56.440
<v Speaker 1>a huge song that made you guys instantly famous. It

0:35:56.520 --> 0:36:00.759
<v Speaker 1>was never it was never number one? Why it's so

0:36:00.800 --> 0:36:02.880
<v Speaker 1>funny because I want to like about Sundays kept it

0:36:02.880 --> 0:36:06.600
<v Speaker 1>out of number one? What I about? Yeah, Craig Morgan.

0:36:07.200 --> 0:36:09.040
<v Speaker 1>So I was talking to Keith. He but it's funny

0:36:09.080 --> 0:36:10.719
<v Speaker 1>you say this, and Keith and I were talking about

0:36:10.800 --> 0:36:12.759
<v Speaker 1>number one. I think I was talking about whatever I

0:36:12.800 --> 0:36:15.640
<v Speaker 1>have this convert I'm so fascinated with number ones for

0:36:15.680 --> 0:36:18.880
<v Speaker 1>the sake of it, and how this format throws them

0:36:18.880 --> 0:36:21.959
<v Speaker 1>away so much that the number ones, it's a nice

0:36:22.040 --> 0:36:24.560
<v Speaker 1>little you get a trophy. But those aren't the songs

0:36:24.560 --> 0:36:27.520
<v Speaker 1>that last They were not. I mean it wasn't always

0:36:27.560 --> 0:36:30.880
<v Speaker 1>this It wasn't always this way. Okay, so I know

0:36:30.960 --> 0:36:33.200
<v Speaker 1>the way now and I completely grab I got about

0:36:33.200 --> 0:36:36.279
<v Speaker 1>the system so much and nausea people it's and we're

0:36:36.320 --> 0:36:38.799
<v Speaker 1>also not able to live with music because we're just

0:36:38.840 --> 0:36:41.920
<v Speaker 1>cycling through so much quick now. But the fact that

0:36:41.920 --> 0:36:45.080
<v Speaker 1>that wasn't a number one song and could quite possibly

0:36:45.120 --> 0:36:47.880
<v Speaker 1>be one of the three biggest songs that people associate

0:36:47.880 --> 0:36:50.960
<v Speaker 1>with sugar Land ever, and you guys are grant you

0:36:51.040 --> 0:36:53.759
<v Speaker 1>guys have done at all, and that wasn't a number one.

0:36:54.680 --> 0:36:57.120
<v Speaker 1>That just shows you that a song doesn't have to

0:36:57.120 --> 0:37:00.680
<v Speaker 1>be given a ranking to last to test the time, right, well,

0:37:00.719 --> 0:37:03.880
<v Speaker 1>I mean whether what I learned very quickly is that

0:37:04.800 --> 0:37:07.800
<v Speaker 1>the check that you get is the exact same for

0:37:07.880 --> 0:37:12.080
<v Speaker 1>number two as you get for number one, basically basically

0:37:12.120 --> 0:37:14.400
<v Speaker 1>the same. And and I didn't know that it was

0:37:14.440 --> 0:37:18.000
<v Speaker 1>such a science or a chess game to move up

0:37:18.040 --> 0:37:22.080
<v Speaker 1>a chart. And it was a real humbling for me because, um,

0:37:22.120 --> 0:37:25.160
<v Speaker 1>in Billy Pilgrim, we had we had four number ones

0:37:25.800 --> 0:37:29.279
<v Speaker 1>in triple A, you know, and we we thought that

0:37:29.360 --> 0:37:32.680
<v Speaker 1>was fantastic, but we didn't really know what that meant

0:37:33.040 --> 0:37:35.080
<v Speaker 1>because at the time, you couldn't really tell what was

0:37:35.120 --> 0:37:38.879
<v Speaker 1>the real chart or wasn't. And we remember stepping off

0:37:38.880 --> 0:37:41.400
<v Speaker 1>an elevator at the A c M S and the

0:37:42.239 --> 0:37:44.640
<v Speaker 1>maybe David Mobralely or maybe it was John Anger, one

0:37:44.640 --> 0:37:46.320
<v Speaker 1>of the radio guys came to me and shook my

0:37:46.360 --> 0:37:49.200
<v Speaker 1>hand and said congratulations and said congratulations for what And

0:37:49.200 --> 0:37:53.320
<v Speaker 1>they're like, you have the longest charting single and recorded

0:37:53.320 --> 0:37:56.839
<v Speaker 1>country music history. And I was like, what does that mean?

0:37:58.520 --> 0:38:01.920
<v Speaker 1>And they were, well, it stayed on the chart the longest,

0:38:01.960 --> 0:38:05.680
<v Speaker 1>it went up, the slowest it it. It had the

0:38:05.800 --> 0:38:10.520
<v Speaker 1>longest arc, and I've never forgotten that moment. I'm sure

0:38:10.560 --> 0:38:13.600
<v Speaker 1>it's been surpassed because I think I think Lee Brice

0:38:13.680 --> 0:38:17.200
<v Speaker 1>ended up beating it with like fifty seven weeks. But

0:38:17.280 --> 0:38:20.480
<v Speaker 1>I would say that I love the idea that even

0:38:20.520 --> 0:38:23.440
<v Speaker 1>if it goes slow, as long as it goes, what

0:38:23.520 --> 0:38:27.080
<v Speaker 1>you're doing is just reaching more people. I'm really agnostic

0:38:27.160 --> 0:38:32.279
<v Speaker 1>about the award. I don't really care, but my my

0:38:32.320 --> 0:38:34.840
<v Speaker 1>ambition has always been reached the most amount of people

0:38:34.880 --> 0:38:37.359
<v Speaker 1>that you can reach. What doesn't matter what it is.

0:38:37.640 --> 0:38:40.879
<v Speaker 1>Put it in a commercial, give the song away, put

0:38:40.880 --> 0:38:43.399
<v Speaker 1>it on the radio, put it on television. I don't care.

0:38:43.920 --> 0:38:46.680
<v Speaker 1>Just I want to reach the most amount of people.

0:38:48.760 --> 0:38:51.759
<v Speaker 1>So the song takes fifty let's just say fifty two weeks,

0:38:51.800 --> 0:38:54.440
<v Speaker 1>let's sake of the story. That also to credit your

0:38:54.520 --> 0:38:58.760
<v Speaker 1>label because I wasn't involved. That costs money to continue

0:38:58.760 --> 0:39:01.640
<v Speaker 1>pushing a song, and not only that, it takes their

0:39:01.680 --> 0:39:04.439
<v Speaker 1>heart being in it to go. We know that this

0:39:04.480 --> 0:39:07.120
<v Speaker 1>song is moving slow, but we have faith and not

0:39:07.200 --> 0:39:10.600
<v Speaker 1>only the song but the band. And there's something to

0:39:10.640 --> 0:39:14.239
<v Speaker 1>be said about commitment these days in the creative industry,

0:39:14.920 --> 0:39:16.759
<v Speaker 1>and even these last fifty years, there's something to be

0:39:16.760 --> 0:39:20.040
<v Speaker 1>said about that. So did you feel like, okay, they

0:39:20.080 --> 0:39:22.880
<v Speaker 1>have our back a bit, like they sat and pushed

0:39:23.000 --> 0:39:27.640
<v Speaker 1>us for fifty weeks to record to radio stations. Yeah,

0:39:27.760 --> 0:39:31.240
<v Speaker 1>well I was. I was impressed. I had I've really

0:39:31.280 --> 0:39:34.680
<v Speaker 1>had quite a run with record label presidents. I was

0:39:34.760 --> 0:39:37.560
<v Speaker 1>signed by it they turnover. Yeah, well I was signed

0:39:37.560 --> 0:39:40.480
<v Speaker 1>by Ahmed Ard again to Atlantic Records with his very

0:39:40.520 --> 0:39:43.840
<v Speaker 1>first female and our person. It was Jennifer Stark and

0:39:43.920 --> 0:39:47.200
<v Speaker 1>she she she's the one who signed Billy Pilgrim and

0:39:47.360 --> 0:39:50.640
<v Speaker 1>he was in lieu of Uncle Tupelo. I guess they

0:39:50.640 --> 0:39:58.080
<v Speaker 1>didn't accept the deal and they and all that stuff

0:39:58.120 --> 0:40:00.960
<v Speaker 1>and and uh, we you know, we were the second choice.

0:40:01.360 --> 0:40:03.840
<v Speaker 1>But I have to say that the commitment that I

0:40:04.000 --> 0:40:07.760
<v Speaker 1>learned from those employees and and the habits I learned,

0:40:08.680 --> 0:40:12.480
<v Speaker 1>you know, um translated. So when I got to Mercury

0:40:12.520 --> 0:40:15.320
<v Speaker 1>and it was Luke Lewis and and and all of

0:40:15.360 --> 0:40:18.040
<v Speaker 1>the people that worked there at the time, they were

0:40:18.080 --> 0:40:23.280
<v Speaker 1>into making artists. They were not into making singles. And

0:40:23.640 --> 0:40:27.640
<v Speaker 1>I understood that and it made sense. You know, um

0:40:27.840 --> 0:40:31.040
<v Speaker 1>Shania Twain was the big winner on that label when

0:40:31.040 --> 0:40:35.920
<v Speaker 1>we signed, and uh, George Strait was pulling in a

0:40:35.960 --> 0:40:40.800
<v Speaker 1>lot of money, and Billy Currington was the new signing,

0:40:40.960 --> 0:40:45.280
<v Speaker 1>and you know, like it was very interesting at the time.

0:40:45.400 --> 0:40:48.880
<v Speaker 1>And I knew how to stay off their radar to

0:40:49.040 --> 0:40:51.960
<v Speaker 1>keep from draining their coffers because I had learned it

0:40:52.000 --> 0:40:54.560
<v Speaker 1>ten years earlier. Probably had to do it just for

0:40:54.600 --> 0:40:59.040
<v Speaker 1>your own sake. Yeah, And we didn't. We didn't take

0:40:59.040 --> 0:41:03.000
<v Speaker 1>an advance really, you know, we didn't take to our support.

0:41:03.719 --> 0:41:05.680
<v Speaker 1>We we never took anything from the label. I want

0:41:05.680 --> 0:41:08.040
<v Speaker 1>one of the few bands that I think at that label,

0:41:08.760 --> 0:41:12.560
<v Speaker 1>UM got checks, which makes it easier to spend money

0:41:12.560 --> 0:41:15.000
<v Speaker 1>on you if you're not taking money already. Yeah, I

0:41:15.040 --> 0:41:17.080
<v Speaker 1>wanted that was my idea. That's what I had learned

0:41:17.160 --> 0:41:22.279
<v Speaker 1>in the nineties was all my education, which I you know,

0:41:22.320 --> 0:41:24.760
<v Speaker 1>I absorbed everything about how to be in the record

0:41:24.760 --> 0:41:28.640
<v Speaker 1>business as as early as I could, and got out

0:41:28.640 --> 0:41:32.440
<v Speaker 1>of college and applied that knowledge as fast as I could.

0:41:32.680 --> 0:41:36.000
<v Speaker 1>And by the time we got here, um, they were

0:41:36.000 --> 0:41:38.120
<v Speaker 1>still in the business of spending money, but they just

0:41:38.160 --> 0:41:42.120
<v Speaker 1>didn't have to spend it on us. So after that

0:41:42.160 --> 0:41:45.640
<v Speaker 1>song runs its course and puts you guys on the map,

0:41:46.560 --> 0:41:49.960
<v Speaker 1>what did it? What did it? Peak? Number two it

0:41:50.120 --> 0:41:52.319
<v Speaker 1>was there's a moment. You can do this. You can

0:41:52.400 --> 0:41:54.799
<v Speaker 1>have this moment if you want it. Get online, go

0:41:54.880 --> 0:41:57.719
<v Speaker 1>to the YouTube and type in Sherland playing Baby Girl

0:41:57.800 --> 0:42:01.960
<v Speaker 1>the a c NS and you will see people who

0:42:01.960 --> 0:42:07.920
<v Speaker 1>are broke closing the show. We were broke. I was

0:42:07.960 --> 0:42:12.239
<v Speaker 1>forty in debt. Was that when Jenny had our shoes off?

0:42:14.880 --> 0:42:18.680
<v Speaker 1>So that show we were supposed to sing thirty seconds

0:42:18.680 --> 0:42:22.440
<v Speaker 1>of Baby Girl into the presenter microphone early in the show.

0:42:23.160 --> 0:42:26.040
<v Speaker 1>Did something happened with a closing guy? Something happened. So

0:42:26.120 --> 0:42:28.600
<v Speaker 1>if you go back and figure it all out, there

0:42:28.680 --> 0:42:31.440
<v Speaker 1>was there were two or three things that went down,

0:42:31.520 --> 0:42:34.600
<v Speaker 1>and suddenly they asked us, Hey, can you sing a

0:42:34.640 --> 0:42:36.920
<v Speaker 1>minute instead of thirty seconds and do you have your instruments?

0:42:36.960 --> 0:42:40.200
<v Speaker 1>And you're like sure, and they said, okay, I know

0:42:40.280 --> 0:42:41.879
<v Speaker 1>this is short notice, but can you get a band

0:42:41.920 --> 0:42:44.839
<v Speaker 1>here in two days? We're like why. They're like, well,

0:42:44.840 --> 0:42:46.920
<v Speaker 1>can you do an abbreviated version of your song like

0:42:46.960 --> 0:42:49.360
<v Speaker 1>a a real performance? Can you get a drummer? Do

0:42:49.360 --> 0:42:51.040
<v Speaker 1>you have a track? What can you sing to it?

0:42:51.520 --> 0:42:55.200
<v Speaker 1>We're like yeah, we're on the phone calling me. And

0:42:55.239 --> 0:42:58.280
<v Speaker 1>then there they got up to the rehearsal day before

0:42:58.280 --> 0:43:00.920
<v Speaker 1>the show and they said, so, George Straits, that's what

0:43:01.040 --> 0:43:04.160
<v Speaker 1>it was. I remember that sick and we were wondering

0:43:04.160 --> 0:43:07.440
<v Speaker 1>if you would close the show, and so we closed

0:43:07.440 --> 0:43:12.160
<v Speaker 1>the show. We were people that nobody knew, and Jennifer

0:43:12.200 --> 0:43:16.200
<v Speaker 1>had on the same shoes as like Sarah Evans or something,

0:43:16.239 --> 0:43:18.120
<v Speaker 1>and she's like, oh, forget it and just threw them

0:43:18.120 --> 0:43:22.160
<v Speaker 1>off and ran out there. And then the curtain goes

0:43:22.280 --> 0:43:27.319
<v Speaker 1>up and we start singing baby Girl right and I'll

0:43:27.360 --> 0:43:32.480
<v Speaker 1>never forget and I will forever be grateful. There was this,

0:43:32.880 --> 0:43:37.840
<v Speaker 1>to me, incredible pause between us finishing the last note

0:43:38.200 --> 0:43:41.880
<v Speaker 1>and people clapping. It was just nothing. It was like dead.

0:43:43.160 --> 0:43:46.000
<v Speaker 1>And I watched Tim mcgrawl and Faith Hill stand up

0:43:46.040 --> 0:43:49.080
<v Speaker 1>and they were dead sinner in that room, and they

0:43:49.120 --> 0:43:51.759
<v Speaker 1>stood up and started clapping, and then every in my

0:43:51.800 --> 0:43:57.040
<v Speaker 1>mind they guilted everyone looking back. When do you as

0:43:57.120 --> 0:44:00.680
<v Speaker 1>signed that silence to that break? What do you assign

0:44:00.680 --> 0:44:05.280
<v Speaker 1>it to? Huge amounts of adrenaline and shame and worry?

0:44:06.200 --> 0:44:09.480
<v Speaker 1>Like you know, adrenaline slows down your perception. So I

0:44:09.480 --> 0:44:12.000
<v Speaker 1>think we hit the last note. And I didn't know

0:44:12.040 --> 0:44:14.839
<v Speaker 1>if we had sucked or if we hadn't, or if

0:44:14.840 --> 0:44:16.799
<v Speaker 1>we sounded good or if we didn't. I didn't know

0:44:16.880 --> 0:44:21.719
<v Speaker 1>anything about performing on television like that, and sure enough,

0:44:22.680 --> 0:44:26.600
<v Speaker 1>you know, people talk about that day as, oh, that's

0:44:26.600 --> 0:44:28.400
<v Speaker 1>when we found out who you were. That's when I

0:44:28.719 --> 0:44:32.360
<v Speaker 1>remember the shooting, when you started. That's something. I remember

0:44:32.440 --> 0:44:35.520
<v Speaker 1>seeing her on with no shoes, and I was like,

0:44:35.840 --> 0:44:39.480
<v Speaker 1>that's really cool. They seem like normal folks were just

0:44:39.600 --> 0:44:43.120
<v Speaker 1>that alone. That's small and it wasn't a contrived thing.

0:44:43.239 --> 0:44:44.720
<v Speaker 1>I guess she was just one of the same shoes

0:44:44.719 --> 0:44:47.359
<v Speaker 1>as someone else. Yet still didn't Oh yeah, I wasn't

0:44:47.360 --> 0:44:49.879
<v Speaker 1>on purpose. But I mean, if you put in your head,

0:44:49.960 --> 0:44:52.279
<v Speaker 1>I mean I try to remind new artists of this

0:44:52.320 --> 0:44:55.239
<v Speaker 1>all the time. That you can close the A C M. S.

0:44:55.360 --> 0:44:58.839
<v Speaker 1>And seven hours earlier you were in your hotel room

0:44:58.920 --> 0:45:01.600
<v Speaker 1>trying to do computer programming in order to pay your bills.

0:45:01.600 --> 0:45:05.719
<v Speaker 1>Because you in the hole like that's real, that's going

0:45:05.760 --> 0:45:09.440
<v Speaker 1>to happen, and you're gonna have to make those choices.

0:45:09.480 --> 0:45:12.360
<v Speaker 1>Early on, we didn't take publishing deals, we didn't take anything,

0:45:13.239 --> 0:45:18.279
<v Speaker 1>you know, we just went the long way. And sometimes

0:45:18.320 --> 0:45:20.319
<v Speaker 1>that's the right choice. It's not always the right choice

0:45:20.320 --> 0:45:24.360
<v Speaker 1>for everyone, especially not today, but um, at the time,

0:45:24.440 --> 0:45:27.840
<v Speaker 1>that's what it is. So there's this kind of authenticity

0:45:27.960 --> 0:45:39.880
<v Speaker 1>to the song being performed by people who actually done right. Um.

0:45:40.040 --> 0:45:43.120
<v Speaker 1>But in retrospect, you know, I we didn't have a

0:45:43.200 --> 0:45:47.719
<v Speaker 1>number one song until our second albums. That yeah, on

0:45:47.760 --> 0:45:49.960
<v Speaker 1>the first On the first record you had what talking

0:45:50.120 --> 0:45:52.440
<v Speaker 1>what were the hits? Um, we had a baby girl,

0:45:52.920 --> 0:45:55.680
<v Speaker 1>and then we had something more. Now I know all

0:45:55.719 --> 0:45:59.920
<v Speaker 1>the answers to this as you're talking through that, I'm

0:46:00.000 --> 0:46:01.719
<v Speaker 1>not letting you tell I know all the answer. I

0:46:01.719 --> 0:46:04.040
<v Speaker 1>don't like to know all the answer we had. We

0:46:04.040 --> 0:46:06.520
<v Speaker 1>had a song called just Might Make Me Believe, which

0:46:06.719 --> 0:46:08.480
<v Speaker 1>was Kristen's song. It was the only song that she

0:46:08.520 --> 0:46:12.400
<v Speaker 1>wrote myrself and then we had um uh down in

0:46:12.440 --> 0:46:15.920
<v Speaker 1>Mississippi and up to No Good, which was on that record,

0:46:16.440 --> 0:46:20.000
<v Speaker 1>and then they then Kristen quit right at the end

0:46:20.000 --> 0:46:22.200
<v Speaker 1>of that and we had to go in and make

0:46:22.239 --> 0:46:25.719
<v Speaker 1>a second record in two weeks. So really she and I,

0:46:25.880 --> 0:46:28.000
<v Speaker 1>Jennifer and I wrote that whole second record in two

0:46:28.000 --> 0:46:30.799
<v Speaker 1>weeks in jan January? Did you not have to write

0:46:30.800 --> 0:46:32.799
<v Speaker 1>the record? Had to shoot all the photos and the

0:46:32.840 --> 0:46:35.120
<v Speaker 1>whole image had to be kind of altered, right because

0:46:35.120 --> 0:46:37.120
<v Speaker 1>everything you had all this. Yeah, we we started over,

0:46:37.920 --> 0:46:39.520
<v Speaker 1>but it was kind of cool and we knew how

0:46:39.520 --> 0:46:41.560
<v Speaker 1>to start over because we had just done it, I

0:46:41.560 --> 0:46:44.279
<v Speaker 1>guess a couple of times, you know. So it was

0:46:44.320 --> 0:46:46.480
<v Speaker 1>just I had to keep reminding us that you just

0:46:46.520 --> 0:46:49.080
<v Speaker 1>start over. And for Terryll and then to want to

0:46:49.320 --> 0:46:53.759
<v Speaker 1>was on that change and a minute just kids could

0:46:53.760 --> 0:47:00.480
<v Speaker 1>stop it span and we could thank it three, you know,

0:47:03.840 --> 0:47:07.480
<v Speaker 1>and then um my version of the Who which was

0:47:07.760 --> 0:47:14.799
<v Speaker 1>settling that. And if you listen to that song and

0:47:14.800 --> 0:47:17.279
<v Speaker 1>you listened to Sweet Louisiana Sound, you'll hear a lot

0:47:17.280 --> 0:47:20.280
<v Speaker 1>of the same stuff from Billy Posum. Maybe I won't,

0:47:20.280 --> 0:47:30.600
<v Speaker 1>but you would, because this is a jam. Yeah up straight,

0:47:34.880 --> 0:47:39.879
<v Speaker 1>it's that to me. I hear the nineties ish third

0:47:39.880 --> 0:47:44.680
<v Speaker 1>Eye Blind on that Yeah, same thing. Yeah, because that's

0:47:44.719 --> 0:47:49.960
<v Speaker 1>where I'm from. Um, and then uh, what Everyday America

0:47:50.920 --> 0:47:53.719
<v Speaker 1>was the next single, and then we were pulling from

0:47:53.760 --> 0:47:56.440
<v Speaker 1>my bag of old billy pogram tricks during that because

0:47:56.440 --> 0:47:58.319
<v Speaker 1>we just needed songs. I was like, pull out of

0:47:58.320 --> 0:48:01.279
<v Speaker 1>this basket. We'll write whatever the lyric is. And I

0:48:01.320 --> 0:48:03.960
<v Speaker 1>had had that song for a lady named Beth Wood

0:48:04.040 --> 0:48:07.839
<v Speaker 1>in the early nineties, and I just redid it and

0:48:07.880 --> 0:48:09.880
<v Speaker 1>we got to rewrite it with Lisa Carver and Jennifer

0:48:09.920 --> 0:48:12.000
<v Speaker 1>loved it, and so we rewrote that whole song and

0:48:12.000 --> 0:48:18.279
<v Speaker 1>then uh, then stay, you should know we don't have

0:48:18.440 --> 0:48:27.279
<v Speaker 1>to live this way, don't. We recorded this three or

0:48:27.280 --> 0:48:29.759
<v Speaker 1>four times, and this is me and my brother and

0:48:29.880 --> 0:48:35.319
<v Speaker 1>Jennifer playing at once. So that's Brandon playing Hammon and

0:48:35.360 --> 0:48:36.759
<v Speaker 1>he and I are looking at each other and doing

0:48:36.760 --> 0:48:40.960
<v Speaker 1>the little brother speak because there's no tempo and I'm

0:48:40.960 --> 0:48:44.839
<v Speaker 1>watching her singing and we're doing it live. So that's

0:48:45.360 --> 0:48:49.400
<v Speaker 1>one performance. This track is one performance, no click track,

0:48:49.680 --> 0:48:53.799
<v Speaker 1>just visual cues. Yeah, that's it. And I it was

0:48:53.840 --> 0:48:57.080
<v Speaker 1>a song that she had written by herself years before,

0:48:57.719 --> 0:49:00.480
<v Speaker 1>and the Kristen who was in the band didn't really

0:49:00.480 --> 0:49:03.560
<v Speaker 1>like the song and I kind of did, and so

0:49:03.600 --> 0:49:05.640
<v Speaker 1>when it came up on the second record, it was

0:49:05.920 --> 0:49:07.680
<v Speaker 1>I was like, hey, what do you think about that?

0:49:07.760 --> 0:49:09.480
<v Speaker 1>And she was like, oh, I love that song. But

0:49:09.600 --> 0:49:11.640
<v Speaker 1>we tried it with a band. We tried it sound

0:49:11.640 --> 0:49:14.200
<v Speaker 1>like the Black Crows. We tried all these different different

0:49:14.800 --> 0:49:17.239
<v Speaker 1>and it didn't work, and Uh, we were kind of

0:49:17.239 --> 0:49:18.560
<v Speaker 1>at the end of our rope. I was like, can

0:49:18.560 --> 0:49:20.719
<v Speaker 1>I just call my brother? Can we just do that?

0:49:21.320 --> 0:49:25.359
<v Speaker 1>It seems like sure? And it was magic? Was that

0:49:25.400 --> 0:49:32.560
<v Speaker 1>the song that stadiumed it for? You guys? Well, I

0:49:32.560 --> 0:49:39.239
<v Speaker 1>think that Kenny stadium Us is what happened, and we

0:49:39.239 --> 0:49:42.279
<v Speaker 1>were a very good compliment to his show. I went

0:49:42.360 --> 0:49:45.160
<v Speaker 1>to that show. We were like, he taught us a

0:49:45.280 --> 0:49:47.560
<v Speaker 1>lot about how to take your music and do that.

0:49:47.880 --> 0:49:52.360
<v Speaker 1>But I think, um, I think settling probably turned us

0:49:52.360 --> 0:49:59.640
<v Speaker 1>into a stadium act and stay Uh showed people that

0:50:01.160 --> 0:50:08.000
<v Speaker 1>her voice and her ability to emote was so highly developed.

0:50:09.040 --> 0:50:12.359
<v Speaker 1>The video moved people to when you think of over

0:50:12.400 --> 0:50:16.600
<v Speaker 1>the last ten years, the videos that really stick with you,

0:50:17.560 --> 0:50:20.360
<v Speaker 1>I remember that video. So they we ran out of

0:50:20.360 --> 0:50:22.319
<v Speaker 1>money at the label. They didn't want to put out

0:50:22.320 --> 0:50:25.719
<v Speaker 1>any more songs, and we said, but we want to

0:50:25.760 --> 0:50:27.040
<v Speaker 1>why don't we try this? When they were like, you

0:50:27.040 --> 0:50:29.239
<v Speaker 1>want to put out an almost five minute acoustic song

0:50:29.360 --> 0:50:32.000
<v Speaker 1>for the radio, and they're like, well, I mean all

0:50:32.000 --> 0:50:36.239
<v Speaker 1>you have to say is no. And we said, can

0:50:36.280 --> 0:50:38.719
<v Speaker 1>we have a video budget? They're like, no, you're out

0:50:38.719 --> 0:50:42.640
<v Speaker 1>of money. You have like fifteen or thirty thousand dollar

0:50:42.760 --> 0:50:45.080
<v Speaker 1>or something to do this, which bought us half a day.

0:50:46.840 --> 0:50:49.560
<v Speaker 1>So that video is the way that it is because

0:50:49.640 --> 0:50:53.040
<v Speaker 1>we didn't have anything. We we had just played the

0:50:53.040 --> 0:50:56.799
<v Speaker 1>stadium in Philadelphia the night before we shot that, and

0:50:56.840 --> 0:50:59.000
<v Speaker 1>we were doing it in New York in a sound

0:50:59.080 --> 0:51:02.200
<v Speaker 1>stage that we could have word with somebody who would

0:51:02.239 --> 0:51:06.160
<v Speaker 1>only work until two or three o'clock. And I didn't

0:51:06.200 --> 0:51:07.960
<v Speaker 1>even have a good like my guitar. Tech forgot to

0:51:07.960 --> 0:51:09.640
<v Speaker 1>put a guitar in the back and I had to

0:51:09.680 --> 0:51:12.360
<v Speaker 1>borrow a guitar. I ended up buying the guitar a

0:51:12.400 --> 0:51:16.880
<v Speaker 1>borrow and I loved it so much, but um we

0:51:16.880 --> 0:51:20.400
<v Speaker 1>we We went in and filmed two passes or three passes,

0:51:20.440 --> 0:51:23.520
<v Speaker 1>and Jennifer was on the edge in her personal life

0:51:23.520 --> 0:51:28.120
<v Speaker 1>at the time, and she just started weeping absolutely real,

0:51:28.640 --> 0:51:32.480
<v Speaker 1>and I got an upset the director. I was like, hey,

0:51:32.640 --> 0:51:35.279
<v Speaker 1>I was like a gorilla. It's like, why are you

0:51:35.320 --> 0:51:40.120
<v Speaker 1>imagine making her do this everybody else? And she's like

0:51:40.160 --> 0:51:42.239
<v Speaker 1>I'm okay, I'm okay, I'm okay, I'm okay. And then

0:51:43.920 --> 0:51:45.840
<v Speaker 1>there's a second pass of the video and then she

0:51:45.920 --> 0:51:48.120
<v Speaker 1>just kind of loses it to stop singing at some point,

0:51:48.920 --> 0:51:51.879
<v Speaker 1>and we didn't have a chance to do anything other

0:51:51.920 --> 0:51:56.759
<v Speaker 1>than what you just saw. And the people at the

0:51:56.840 --> 0:51:59.359
<v Speaker 1>label loved it because it was so real, and then

0:51:59.640 --> 0:52:01.920
<v Speaker 1>they said it they sent it to the record company

0:52:02.239 --> 0:52:04.680
<v Speaker 1>or the radio stations, and I think the video is

0:52:04.719 --> 0:52:09.520
<v Speaker 1>what really helped the programmers get on board. Um, and

0:52:09.600 --> 0:52:12.040
<v Speaker 1>I'm forever grateful. I mean, geez, that's from one of

0:52:12.160 --> 0:52:19.319
<v Speaker 1>a Grammy, you know, like, that's unreal. The video, it

0:52:19.440 --> 0:52:23.719
<v Speaker 1>just sits with me. That's cool. And now that I

0:52:23.760 --> 0:52:28.319
<v Speaker 1>know the story, the video is so awesome. Guys, you're yeah, yeah, Well,

0:52:28.440 --> 0:52:31.600
<v Speaker 1>I mean it was the end of what was going

0:52:31.640 --> 0:52:33.120
<v Speaker 1>to happen, and then we were supposed to just go

0:52:33.160 --> 0:52:36.680
<v Speaker 1>make another record. And I'm so happy that that song

0:52:36.760 --> 0:52:39.200
<v Speaker 1>had what it had because it it creates this thing

0:52:39.239 --> 0:52:41.680
<v Speaker 1>that I see a lot now, which is you get

0:52:41.719 --> 0:52:45.120
<v Speaker 1>momentum on something like um like girl Crush or something

0:52:45.200 --> 0:52:46.920
<v Speaker 1>like I was. I was telling those guys. I was like,

0:52:47.120 --> 0:52:50.600
<v Speaker 1>you guys got one. You got one of those, because

0:52:50.640 --> 0:52:53.399
<v Speaker 1>your next one is going to be all of the

0:52:53.440 --> 0:52:56.319
<v Speaker 1>fuel that that one generates you will burn on your

0:52:56.360 --> 0:53:02.840
<v Speaker 1>next rocket stage. And it's incalculable and you can't you

0:53:02.880 --> 0:53:05.319
<v Speaker 1>can't predict it. But if you keep your head down

0:53:05.360 --> 0:53:08.440
<v Speaker 1>and you keep working, you'll come across it. So that

0:53:08.560 --> 0:53:12.480
<v Speaker 1>song does what it does. There's an immense pressure to

0:53:12.520 --> 0:53:16.520
<v Speaker 1>follow up a monster with another monster, right, so what

0:53:16.600 --> 0:53:19.520
<v Speaker 1>do you do? We went to Atlanta and we told

0:53:19.520 --> 0:53:21.520
<v Speaker 1>everyone that we were no longer making records in Nashville

0:53:23.080 --> 0:53:24.879
<v Speaker 1>and you will have to come to us. And how

0:53:24.880 --> 0:53:29.000
<v Speaker 1>did that go over? Like a lead bricks? But you know,

0:53:29.120 --> 0:53:31.480
<v Speaker 1>you gotta remember, like we rolled into the studio where

0:53:32.719 --> 0:53:36.880
<v Speaker 1>Springsteen had been making The Rising, where Stone Temple pilots

0:53:36.920 --> 0:53:38.760
<v Speaker 1>and made all their records, or Pearl Jam made their records.

0:53:38.800 --> 0:53:42.520
<v Speaker 1>We rolled into the exact same place, right, and we

0:53:42.600 --> 0:53:45.800
<v Speaker 1>brought our producer down in our our Nashville kind of players,

0:53:46.640 --> 0:53:50.840
<v Speaker 1>and we wrote that record while we were on the road.

0:53:51.800 --> 0:53:54.279
<v Speaker 1>But it took a while, and we were obsessed with

0:53:54.440 --> 0:53:58.560
<v Speaker 1>using the acoustic nous and the authenticity of the music

0:53:58.640 --> 0:54:01.000
<v Speaker 1>we grew up with in atlat which was like Aaria

0:54:01.040 --> 0:54:04.000
<v Speaker 1>I'm and the Indigo Girls and and Black Crows and

0:54:04.040 --> 0:54:11.040
<v Speaker 1>all these kind of Atlanta southern but pop but rock.

0:54:11.320 --> 0:54:16.520
<v Speaker 1>But we're based primarily on country music. You know, um,

0:54:16.560 --> 0:54:19.439
<v Speaker 1>Georgia satellites and all this stuff, and can we make

0:54:19.480 --> 0:54:22.080
<v Speaker 1>that kind of album? And I think everyone was expecting

0:54:22.160 --> 0:54:25.240
<v Speaker 1>us to go, at least in the in the record label.

0:54:25.280 --> 0:54:30.720
<v Speaker 1>They were hoping that we would go super anthemic, gigantic, whatever,

0:54:30.800 --> 0:54:35.319
<v Speaker 1>and then we made this essentially acoustic rock record. Um

0:54:35.719 --> 0:54:37.799
<v Speaker 1>love on the inside. I had all I want to

0:54:37.840 --> 0:54:53.120
<v Speaker 1>do totally love that. Had U shi it happens? Had happened?

0:54:56.280 --> 0:54:59.640
<v Speaker 1>Did you try to go and write that on the CD?

0:54:59.800 --> 0:55:01.880
<v Speaker 1>And they said make it happens. But we did that

0:55:01.920 --> 0:55:03.680
<v Speaker 1>when we were writing it. We wrote that with Bobby Pinson.

0:55:04.320 --> 0:55:08.799
<v Speaker 1>He kind of had the groove to it, and we're

0:55:08.840 --> 0:55:11.879
<v Speaker 1>really fast writers together, and Bobby did a great job

0:55:11.880 --> 0:55:15.640
<v Speaker 1>on that song. I was trying to get it in

0:55:15.680 --> 0:55:17.480
<v Speaker 1>there because I thought it would be funny, and then

0:55:17.600 --> 0:55:25.640
<v Speaker 1>already Gone was on that record. Many songs were going

0:55:25.680 --> 0:55:27.720
<v Speaker 1>to the top of the chart in even ten weeks

0:55:27.719 --> 0:55:31.399
<v Speaker 1>at a time, So where we had been fifty four

0:55:31.440 --> 0:55:33.520
<v Speaker 1>weeks on our first song, we're now eight or nine

0:55:33.560 --> 0:55:37.400
<v Speaker 1>weeks on a song, going from when it hits the

0:55:37.480 --> 0:55:39.240
<v Speaker 1>chart to the top of the charts. We were burning

0:55:39.239 --> 0:55:44.360
<v Speaker 1>through songs um and this tour ended up being on television,

0:55:45.160 --> 0:55:48.520
<v Speaker 1>so we had a summer special. I was obsessed with

0:55:49.440 --> 0:55:52.279
<v Speaker 1>remembering seeing concerts on television. I remember seeing the Karth

0:55:52.320 --> 0:55:55.560
<v Speaker 1>Park's concert and York New York one, and I was like,

0:55:55.600 --> 0:55:58.480
<v Speaker 1>how do we do that? And this record, Jennifer and

0:55:58.560 --> 0:56:03.000
<v Speaker 1>I were completely aware that the distance between what was

0:56:03.040 --> 0:56:06.960
<v Speaker 1>happening in culture and what was happening on television was closing.

0:56:08.480 --> 0:56:11.279
<v Speaker 1>The gap was closing, and we vowed to each other

0:56:11.280 --> 0:56:13.600
<v Speaker 1>that every song on this record would be on television

0:56:14.760 --> 0:56:17.600
<v Speaker 1>some way, somehow. We would make it so that every

0:56:17.640 --> 0:56:19.799
<v Speaker 1>single song we would either perform or there'd be a

0:56:19.880 --> 0:56:23.040
<v Speaker 1>video or something. And we did it. We pulled it off,

0:56:24.360 --> 0:56:26.239
<v Speaker 1>and I don't know how we did it, but I mean,

0:56:26.280 --> 0:56:29.080
<v Speaker 1>we're four performances later on the A c M. S

0:56:29.080 --> 0:56:31.759
<v Speaker 1>playing what I'd Give or something. We're like in deep

0:56:31.840 --> 0:56:35.400
<v Speaker 1>deep tracks. But we had a summer special in ABC.

0:56:35.600 --> 0:56:38.719
<v Speaker 1>They allowed us to do this. Now they didn't. They

0:56:38.760 --> 0:56:42.439
<v Speaker 1>we had to pay for it ourselves, which the entire

0:56:42.480 --> 0:56:44.960
<v Speaker 1>filming and the recording and everything. So we took the

0:56:45.040 --> 0:56:47.879
<v Speaker 1>money from our shows and we had a twenty two

0:56:47.920 --> 0:56:53.120
<v Speaker 1>camera shoot in Lexington, Virginia. One time. We had one

0:56:53.120 --> 0:56:57.759
<v Speaker 1>shot and then we took all the footage back and

0:56:57.760 --> 0:57:01.759
<v Speaker 1>they edited it together and they made a an hour

0:57:01.800 --> 0:57:06.239
<v Speaker 1>and a half concert video and then they edited it

0:57:06.280 --> 0:57:08.040
<v Speaker 1>down to forty five minutes and put it as a

0:57:08.080 --> 0:57:10.239
<v Speaker 1>primetime special in the summer. Did they buy that back

0:57:10.239 --> 0:57:16.520
<v Speaker 1>from you? No, So you take your money and create it,

0:57:16.600 --> 0:57:19.880
<v Speaker 1>they air it, but they don't buy it back from you. Um,

0:57:20.080 --> 0:57:26.640
<v Speaker 1>we got the label paid us for our investment, but

0:57:26.720 --> 0:57:31.320
<v Speaker 1>we didn't get any money after that. And UM, what

0:57:31.360 --> 0:57:34.680
<v Speaker 1>we decided was they were going to put it out

0:57:34.960 --> 0:57:38.880
<v Speaker 1>as a They were afraid people are gonna buy DVDs anymore,

0:57:40.040 --> 0:57:42.840
<v Speaker 1>and uh so we put out a cover record to

0:57:42.880 --> 0:57:44.960
<v Speaker 1>go with it, and they sold it. They were doing

0:57:45.000 --> 0:57:47.520
<v Speaker 1>exclusives with different box stores and this one was with

0:57:47.520 --> 0:57:51.560
<v Speaker 1>Walmart and so they bought three copies and then never

0:57:51.760 --> 0:57:53.080
<v Speaker 1>came out again. I don't think you can get it

0:57:53.120 --> 0:57:56.600
<v Speaker 1>anywhere right now. But that was the kind of trajectory.

0:57:56.680 --> 0:57:58.920
<v Speaker 1>Is that we had to keep investing in ourselves and

0:57:59.840 --> 0:58:02.680
<v Speaker 1>um using our money because the labels were going broke.

0:58:02.680 --> 0:58:06.120
<v Speaker 1>Then remember less than less money was coming in and

0:58:06.360 --> 0:58:11.480
<v Speaker 1>by love on the inside, we were making more sales

0:58:11.560 --> 0:58:13.800
<v Speaker 1>for the label than anyone else on the label. So

0:58:14.040 --> 0:58:16.280
<v Speaker 1>suddenly we're carrying the We're in the front of the

0:58:16.360 --> 0:58:20.840
<v Speaker 1>cart where Shanaya used to be and it was weird.

0:58:22.000 --> 0:58:25.280
<v Speaker 1>And then we went and essentially made a rock record

0:58:26.280 --> 0:58:29.840
<v Speaker 1>that everyone thought we were crazy for and now it's

0:58:29.880 --> 0:58:32.720
<v Speaker 1>probably one of my favorite records we ever made. Was

0:58:32.920 --> 0:58:37.760
<v Speaker 1>the incredible machine, you know, and it had it had

0:58:37.800 --> 0:58:46.880
<v Speaker 1>stuck like clue on it again, did you write this one? Yeah?

0:58:47.120 --> 0:58:49.760
<v Speaker 1>Did you write this with Kevin? It did? Actually Kevin

0:58:49.800 --> 0:58:53.520
<v Speaker 1>pitched me the chorus to this song. So Kevin, by

0:58:53.560 --> 0:58:56.680
<v Speaker 1>the way, Kevin Griffin from Better than I probably the

0:58:56.680 --> 0:58:59.640
<v Speaker 1>twenty better than I was such a diehard better than

0:58:59.680 --> 0:59:01.480
<v Speaker 1>as in. And so last night we played a show

0:59:01.480 --> 0:59:03.840
<v Speaker 1>at the Rheman and I had Kevin came out and

0:59:03.880 --> 0:59:05.880
<v Speaker 1>we did good and desperately wanting it was a great

0:59:06.600 --> 0:59:07.920
<v Speaker 1>Christian I've got to play and do a lot of

0:59:07.920 --> 0:59:09.800
<v Speaker 1>cool things in my life. Did that freak you out?

0:59:10.480 --> 0:59:13.040
<v Speaker 1>It might have been my favorite musical moment that I've

0:59:13.040 --> 0:59:16.080
<v Speaker 1>ever been a part of. And Kevin so nice and kind,

0:59:16.120 --> 0:59:19.640
<v Speaker 1>and he says, whatever, whatever you want to do, we'll

0:59:19.680 --> 0:59:22.760
<v Speaker 1>do it. And I said, well, I would play deeper

0:59:22.800 --> 0:59:25.000
<v Speaker 1>tracks like this time of year, or I said, but

0:59:25.080 --> 0:59:29.240
<v Speaker 1>the the fans won't want to hear good obviously, And

0:59:29.280 --> 0:59:31.920
<v Speaker 1>so we played good and desperately wanting and I was

0:59:31.960 --> 0:59:34.360
<v Speaker 1>just doing b g VS and was playing guitar and

0:59:34.400 --> 0:59:36.400
<v Speaker 1>I knew this song when I was a kid, right,

0:59:37.240 --> 0:59:38.840
<v Speaker 1>But and then he threw to me and let me.

0:59:39.400 --> 0:59:41.880
<v Speaker 1>It really was full circle. There were two things that

0:59:41.880 --> 0:59:45.360
<v Speaker 1>happened last night. And we had actually invited you guys

0:59:45.440 --> 0:59:48.160
<v Speaker 1>to come play, and then you were hosting a different award.

0:59:48.200 --> 0:59:52.440
<v Speaker 1>Then you got the flu and they do. But but

0:59:52.960 --> 0:59:56.200
<v Speaker 1>um so Darius came out and Darius my first ever

0:59:56.280 --> 0:59:58.800
<v Speaker 1>radio interview at seventeen years old, first person that ever interview,

0:59:58.880 --> 1:00:01.360
<v Speaker 1>my gosh. And so Darius and I have paralleled with

1:00:01.400 --> 1:00:05.600
<v Speaker 1>each other for a long time and yeah, and so

1:00:06.160 --> 1:00:08.840
<v Speaker 1>he's been my guy, like in different formats. And so

1:00:08.920 --> 1:00:10.920
<v Speaker 1>Darius comes out and he jumps on stage and the

1:00:10.960 --> 1:00:13.320
<v Speaker 1>metal we're close enough where Darius just walks out the

1:00:13.360 --> 1:00:15.760
<v Speaker 1>end of our set. He doesn't care. He just walks out.

1:00:15.760 --> 1:00:17.840
<v Speaker 1>We're doing Purple Rain. Darius walks out and starts singing

1:00:17.840 --> 1:00:20.040
<v Speaker 1>Propple Rain with this and he's like, I sing the

1:00:20.040 --> 1:00:21.240
<v Speaker 1>song with my I said, I'm gonna sing it. So

1:00:21.320 --> 1:00:23.360
<v Speaker 1>him and Natalie Soball are going back and forth and

1:00:23.400 --> 1:00:25.720
<v Speaker 1>it's amazing. Than he does his new single that his

1:00:25.760 --> 1:00:27.400
<v Speaker 1>waggon well, and I said, hey, you can't interrupt our

1:00:27.440 --> 1:00:30.720
<v Speaker 1>set without me making you do something extra. So I

1:00:30.800 --> 1:00:34.840
<v Speaker 1>played Cracked Review five million times on tape and then

1:00:34.880 --> 1:00:37.880
<v Speaker 1>DVD A on CD, and I said, I would like

1:00:37.920 --> 1:00:39.040
<v Speaker 1>for you to do hold in my Hand and I'd

1:00:39.080 --> 1:00:41.560
<v Speaker 1>like to sing it with you. And he goes, okay

1:00:41.760 --> 1:00:43.920
<v Speaker 1>with a little love and he passed it over and

1:00:43.960 --> 1:00:45.760
<v Speaker 1>I'm like, this Heaven I did better than ever and

1:00:45.800 --> 1:00:50.480
<v Speaker 1>Hootie the same night, This is awesome. So that was

1:00:50.520 --> 1:00:52.960
<v Speaker 1>pretty exciting. But Kevin Griffin wrote that song with you,

1:00:53.720 --> 1:00:56.960
<v Speaker 1>and I have to say that I attribute our drummer

1:00:57.320 --> 1:01:01.160
<v Speaker 1>Travis McNabb, who i've referenced a toimes our conversation. But

1:01:01.480 --> 1:01:06.120
<v Speaker 1>Travis was originally who helped me and Billy Pilgrim get

1:01:06.120 --> 1:01:08.640
<v Speaker 1>our record deal, and then he went on to play

1:01:08.680 --> 1:01:11.280
<v Speaker 1>in a band called the Beggars where maybe he was

1:01:11.320 --> 1:01:13.960
<v Speaker 1>in Seven Simons. Then he worked with me and all

1:01:13.960 --> 1:01:15.360
<v Speaker 1>my recordings, and then he went on to be in

1:01:15.400 --> 1:01:16.800
<v Speaker 1>the Beggars, and then he went and joined Better Than

1:01:16.840 --> 1:01:21.160
<v Speaker 1>Ezra for fifteen years. And I called him at some

1:01:21.240 --> 1:01:24.680
<v Speaker 1>point when sugar Land had kind of graduated into Kenny

1:01:24.760 --> 1:01:29.320
<v Speaker 1>Chesney stadium shows and said, hey, man, you're not gonna

1:01:29.360 --> 1:01:31.720
<v Speaker 1>believe what I'm doing now, but I have a country

1:01:31.760 --> 1:01:35.600
<v Speaker 1>band and I could really use your drumming awesomeness. I

1:01:35.640 --> 1:01:38.040
<v Speaker 1>see that Better Than Ezra is not on the charts anymore.

1:01:38.160 --> 1:01:42.120
<v Speaker 1>What are you doing? And he was like, oh, well,

1:01:42.160 --> 1:01:45.760
<v Speaker 1>I'll come audition, and so he came an audition and

1:01:45.800 --> 1:01:49.160
<v Speaker 1>eventually got the job right. And so I've always felt

1:01:49.200 --> 1:01:56.200
<v Speaker 1>a little terrible that I had taken right. And uh So,

1:01:56.600 --> 1:02:01.200
<v Speaker 1>at some point Kevin uh try Us started representing, Hey, look,

1:02:01.240 --> 1:02:02.920
<v Speaker 1>let me let Kevin pitch you a song. I said, well,

1:02:03.000 --> 1:02:05.480
<v Speaker 1>Jennifer and I are writing incredible machine all by ourselves.

1:02:05.480 --> 1:02:08.280
<v Speaker 1>We're not going to take outside songs. And if I

1:02:08.280 --> 1:02:09.640
<v Speaker 1>if I open it up to that, I gotta call

1:02:09.680 --> 1:02:12.120
<v Speaker 1>Bobby Penson. I gotta call all these people you know

1:02:12.880 --> 1:02:15.840
<v Speaker 1>that had been on our records that a very small

1:02:15.880 --> 1:02:18.440
<v Speaker 1>amount of writers that we had written with, because I'm

1:02:18.440 --> 1:02:21.080
<v Speaker 1>taking money off their table. If I don't allow them in,

1:02:21.360 --> 1:02:23.600
<v Speaker 1>and if I get one guy in and it happens

1:02:23.640 --> 1:02:27.360
<v Speaker 1>to be the all rock guy, they're gonna kill me.

1:02:27.920 --> 1:02:31.480
<v Speaker 1>I'm just starting to make friends, you know. He said, well,

1:02:31.520 --> 1:02:34.480
<v Speaker 1>just let me pitch. Having pitched one thing, I said,

1:02:34.480 --> 1:02:36.880
<v Speaker 1>we'll make sure it's not a full song and make

1:02:36.920 --> 1:02:40.400
<v Speaker 1>sure that um if we if we don't like it,

1:02:40.480 --> 1:02:42.400
<v Speaker 1>we don't have to take it. And if we do

1:02:42.480 --> 1:02:45.000
<v Speaker 1>like it, then we can write it to make it

1:02:45.040 --> 1:02:47.480
<v Speaker 1>fit as sugar Land because we're the only people who

1:02:47.520 --> 1:02:49.720
<v Speaker 1>know how to make a Sugarland song. No, we've never

1:02:49.960 --> 1:02:54.000
<v Speaker 1>cut an outside song. And uh, he pitched us that

1:02:54.080 --> 1:02:56.280
<v Speaker 1>chorus and it freaked me out. I loved it so much.

1:02:56.400 --> 1:03:01.320
<v Speaker 1>How does the chorus it? Uh? It was the go

1:03:02.520 --> 1:03:04.720
<v Speaker 1>Beat again, hawk Beat Again. And he had a co

1:03:04.800 --> 1:03:08.640
<v Speaker 1>writer named Shy Carter who was new in town. He

1:03:08.720 --> 1:03:10.920
<v Speaker 1>was like a Nellie writer or had written in the

1:03:11.000 --> 1:03:16.200
<v Speaker 1>Nellie's camp. And I was half being kind to Travis

1:03:16.240 --> 1:03:19.160
<v Speaker 1>to just because he asked me, and I felt guilt.

1:03:19.840 --> 1:03:22.160
<v Speaker 1>And then the other half is the song was so

1:03:22.240 --> 1:03:24.280
<v Speaker 1>catchy and it was at the very end of our

1:03:24.720 --> 1:03:28.200
<v Speaker 1>recording sessions, and I was like, geez, Jennifer, I kind

1:03:28.200 --> 1:03:30.479
<v Speaker 1>of like this. It scares me and I like things

1:03:30.480 --> 1:03:33.000
<v Speaker 1>that scare me a little. And she listened to it

1:03:33.040 --> 1:03:36.800
<v Speaker 1>and she's like, okay, I'm game. So we wrote the

1:03:36.800 --> 1:03:38.640
<v Speaker 1>rest of it and sent it back to them and

1:03:38.680 --> 1:03:40.720
<v Speaker 1>said do you hate this? And they're like no, no, no.

1:03:40.760 --> 1:03:44.400
<v Speaker 1>I got right ahead and we recorded it that day

1:03:45.680 --> 1:03:50.720
<v Speaker 1>and Kevin, you know, I had to keep calling him

1:03:50.760 --> 1:03:52.640
<v Speaker 1>because I said, you know, this is gonna be a single.

1:03:53.200 --> 1:03:56.360
<v Speaker 1>The label likes it the most, and it's got to

1:03:56.440 --> 1:03:58.240
<v Speaker 1>like a rap part in the back of it. I

1:03:58.280 --> 1:04:00.320
<v Speaker 1>hope you don't hate it. But we were gonna we

1:04:00.320 --> 1:04:03.200
<v Speaker 1>were going to get a guy from Atlanta to rap

1:04:03.840 --> 1:04:08.200
<v Speaker 1>and he wanted like hard cold cash. We thought, well,

1:04:08.360 --> 1:04:10.400
<v Speaker 1>with save the money and Jennifer, why don't you just

1:04:10.440 --> 1:04:11.960
<v Speaker 1>do it? So I went upstairs and we wrote the

1:04:12.000 --> 1:04:15.000
<v Speaker 1>rap in the back of it, and then people started

1:04:16.120 --> 1:04:21.080
<v Speaker 1>on radio cutting the rap out and like radio programmers

1:04:21.080 --> 1:04:24.400
<v Speaker 1>were shortening the song on their own, and it caused

1:04:24.400 --> 1:04:26.440
<v Speaker 1>a bit of a stir, and so I had to

1:04:26.480 --> 1:04:28.960
<v Speaker 1>call Kevin and say, Kevin, I don't know your co writer,

1:04:29.680 --> 1:04:31.720
<v Speaker 1>but can you get him to keep signing off on

1:04:31.760 --> 1:04:35.160
<v Speaker 1>these promos because the writers all have to agree to things.

1:04:35.280 --> 1:04:39.120
<v Speaker 1>And I didn't know the guy, and he was causing trouble.

1:04:39.160 --> 1:04:41.160
<v Speaker 1>He was like, no, I'm not gonna sign that, and

1:04:41.200 --> 1:04:43.240
<v Speaker 1>I'm not gonna do this. And I was like, look, Kevin,

1:04:43.280 --> 1:04:46.200
<v Speaker 1>you need to get your buddy in the because I've

1:04:46.240 --> 1:04:48.800
<v Speaker 1>been over backwards to make this work and I love it,

1:04:48.880 --> 1:04:53.760
<v Speaker 1>and I think it's actually polarizing enough that people are

1:04:53.800 --> 1:04:57.440
<v Speaker 1>listening to it and it sounds enough like Shirley and

1:04:57.520 --> 1:05:01.000
<v Speaker 1>but also it was weird. You know, it's challenging people

1:05:01.040 --> 1:05:03.800
<v Speaker 1>because no one had ever had a rap or anything all.

1:05:03.840 --> 1:05:11.160
<v Speaker 1>Dean didn't exist with his collaborations yet and so we

1:05:11.160 --> 1:05:15.640
<v Speaker 1>were kind of getting carved out of Oh. I think

1:05:16.560 --> 1:05:19.040
<v Speaker 1>Jennifer and Christian went off the reservation. I think we're

1:05:19.080 --> 1:05:21.120
<v Speaker 1>now done with the big string of hits with sugar

1:05:21.200 --> 1:05:24.160
<v Speaker 1>Land and the record. They will kind of stayed on it,

1:05:24.360 --> 1:05:28.880
<v Speaker 1>and Shy came around and started to understand that he

1:05:28.960 --> 1:05:33.000
<v Speaker 1>could get more business if we did this, and uh,

1:05:33.160 --> 1:05:35.160
<v Speaker 1>and then things started to smooth out and that that

1:05:35.400 --> 1:05:38.040
<v Speaker 1>song went really well and the album sold really well,

1:05:38.080 --> 1:05:41.040
<v Speaker 1>and we then we launched probably the most ambitious tour

1:05:41.200 --> 1:05:43.760
<v Speaker 1>we've never done. Was that tour. If you saw a

1:05:43.800 --> 1:05:47.640
<v Speaker 1>sugar Land tour that you will never forget, it will

1:05:47.680 --> 1:05:50.880
<v Speaker 1>be that. I remember we were playing and you've been

1:05:50.960 --> 1:05:54.160
<v Speaker 1>nice enough to play with my goofy band, the Raging Idiots,

1:05:54.160 --> 1:05:57.920
<v Speaker 1>And I was like, Christian, I felt. I was like,

1:05:57.960 --> 1:05:59.640
<v Speaker 1>we played, You're like, no problem, I'll play. Get talking

1:05:59.680 --> 1:06:02.640
<v Speaker 1>about with sing songs? And I ask and you said, hey,

1:06:02.640 --> 1:06:05.040
<v Speaker 1>when you're playing stadiums, like, is it just amazing? You know?

1:06:05.080 --> 1:06:07.560
<v Speaker 1>You know what? Sometimes sound done work in stadiums. Either

1:06:07.640 --> 1:06:09.640
<v Speaker 1>it's like you're playing at a bar, like you get it,

1:06:09.720 --> 1:06:14.480
<v Speaker 1>you get one year that where it's just bigger. I

1:06:14.480 --> 1:06:17.800
<v Speaker 1>still remember that conversation. You're like, you think it's everything's perfect,

1:06:17.880 --> 1:06:21.000
<v Speaker 1>but sometimes it's worse because there's just so many more

1:06:21.080 --> 1:06:24.520
<v Speaker 1>things to happen. Yeah, like that you're messing with in

1:06:24.560 --> 1:06:26.920
<v Speaker 1>your head that nobody even knows. Yeah, there's a whole

1:06:26.960 --> 1:06:31.080
<v Speaker 1>psychology to performance that on those large scales. That's that's

1:06:31.120 --> 1:06:35.000
<v Speaker 1>super interesting, and it's there's no one to ask because

1:06:35.120 --> 1:06:38.440
<v Speaker 1>not a lot of people, you know. I remember asking Kenny,

1:06:38.480 --> 1:06:39.800
<v Speaker 1>how do you start your show in the back of

1:06:39.800 --> 1:06:43.880
<v Speaker 1>the stadium and he said, oh, because you can't once

1:06:43.920 --> 1:06:46.400
<v Speaker 1>you walk out in front of those stadium speakers. The

1:06:46.520 --> 1:06:49.880
<v Speaker 1>delay is so great that in your microphone you're hearing

1:06:49.920 --> 1:06:56.960
<v Speaker 1>yourself two or three seconds after you're singing right. And

1:06:57.080 --> 1:06:58.520
<v Speaker 1>I said, how do you do it on the other

1:06:58.600 --> 1:07:00.600
<v Speaker 1>end of the stadium when you're like come up out

1:07:00.600 --> 1:07:03.840
<v Speaker 1>of the ground magically? He said, Oh, I learned this

1:07:03.920 --> 1:07:08.280
<v Speaker 1>from the rolling stones, the flicker light. There's a strobe

1:07:08.320 --> 1:07:10.440
<v Speaker 1>that keeps you on time. Just sing to the to

1:07:10.520 --> 1:07:14.440
<v Speaker 1>the light. So how do you learn that unless somebody

1:07:14.640 --> 1:07:16.760
<v Speaker 1>You're in a stadium of practice? Right? What is that?

1:07:16.760 --> 1:07:18.200
<v Speaker 1>What you guys did? You're in a big space of

1:07:18.240 --> 1:07:23.040
<v Speaker 1>practice this singing to no no. But it's invaluable that

1:07:23.120 --> 1:07:26.360
<v Speaker 1>kind of wisdom. And that's why I take my mentoring

1:07:26.600 --> 1:07:29.520
<v Speaker 1>so seriously. When I'm working with new artist, is like, look,

1:07:29.960 --> 1:07:33.400
<v Speaker 1>there's no book and most of these people quit and

1:07:33.600 --> 1:07:35.600
<v Speaker 1>the people who taught me are not here to teach you.

1:07:35.720 --> 1:07:38.760
<v Speaker 1>So it's my job to pass this flag onto you.

1:07:39.240 --> 1:07:43.440
<v Speaker 1>Here are the following tricks I learned. Go pass it

1:07:43.480 --> 1:07:48.560
<v Speaker 1>onto somebody else. You guys have this phone conversation you're

1:07:48.640 --> 1:07:50.919
<v Speaker 1>talking about coming back, and you come back, and then

1:07:51.480 --> 1:07:59.160
<v Speaker 1>here's this song when you hear it on the radio

1:07:59.200 --> 1:08:02.400
<v Speaker 1>again after you've been through it and not through it,

1:08:02.480 --> 1:08:04.520
<v Speaker 1>And is it cool to here struggle in on the

1:08:04.560 --> 1:08:08.120
<v Speaker 1>radio again. I haven't heard it yet. You have it.

1:08:09.160 --> 1:08:10.760
<v Speaker 1>My friends have all heard it, and my kids have

1:08:10.840 --> 1:08:12.840
<v Speaker 1>heard it, and I was like, oh, I can't wait

1:08:12.840 --> 1:08:14.840
<v Speaker 1>for me to hear it. And you know, it doesn't

1:08:14.920 --> 1:08:17.720
<v Speaker 1>count if someone knows you're listening and they play it.

1:08:17.760 --> 1:08:19.960
<v Speaker 1>I tell this new artist too. If if you're in

1:08:20.000 --> 1:08:22.320
<v Speaker 1>the station and they go, hey, Jimmy, Jim's coming in.

1:08:22.360 --> 1:08:24.040
<v Speaker 1>Here's this new song. We know he's listening right now,

1:08:24.120 --> 1:08:29.639
<v Speaker 1>that doesn't count. You gotta you gotta discover it, huh.

1:08:29.680 --> 1:08:33.040
<v Speaker 1>And I'm really excited to know because as a producer,

1:08:33.080 --> 1:08:34.880
<v Speaker 1>you know, I produced this song as well as wrote it.

1:08:35.680 --> 1:08:38.920
<v Speaker 1>And there's things I want to know on because radio

1:08:39.000 --> 1:08:42.599
<v Speaker 1>processing does something to songs. And I learned from Hugh Pagum,

1:08:42.640 --> 1:08:44.680
<v Speaker 1>who's the guy who made the Police records and the

1:08:45.960 --> 1:08:50.040
<v Speaker 1>Phil Collins records, and he taught me things about how

1:08:50.080 --> 1:08:52.479
<v Speaker 1>to record stuff so that when it gets on the radio,

1:08:52.600 --> 1:08:59.760
<v Speaker 1>it sounds bigger. And that was in three and his

1:09:00.120 --> 1:09:02.720
<v Speaker 1>rules I applied to this song. And I still want

1:09:02.760 --> 1:09:05.720
<v Speaker 1>to see if it's true well, after you hear it

1:09:05.760 --> 1:09:08.800
<v Speaker 1>on the radio, you let me know, because you know,

1:09:08.880 --> 1:09:10.479
<v Speaker 1>I was just I was looking at a lot of

1:09:10.520 --> 1:09:12.320
<v Speaker 1>you because I I love that solo album that you

1:09:12.360 --> 1:09:13.960
<v Speaker 1>did too, and I know what I've been talking about that,

1:09:13.960 --> 1:09:16.200
<v Speaker 1>But I even thought after the solo abum, I thought

1:09:16.240 --> 1:09:19.040
<v Speaker 1>sing Along was such a freaking good song. You hear

1:09:19.160 --> 1:09:27.640
<v Speaker 1>it going. I remember playing it because you and I

1:09:27.720 --> 1:09:32.240
<v Speaker 1>get really disenfranchised with the bubble of Nashville, which is

1:09:32.240 --> 1:09:35.080
<v Speaker 1>why I'm also polarizing, because I will yell at myself,

1:09:35.160 --> 1:09:38.200
<v Speaker 1>which means my people, and be like, what are you thinking?

1:09:38.240 --> 1:09:41.160
<v Speaker 1>Like you're just not seeing the forest in the tree sometimes,

1:09:41.880 --> 1:09:45.559
<v Speaker 1>and I thought that twice with your songs with trailer

1:09:45.600 --> 1:09:48.160
<v Speaker 1>Heads and sing Along. I remember playing sing Along like crazy, Hey,

1:09:48.200 --> 1:09:50.360
<v Speaker 1>listen to this. You know who cares. I'm on a

1:09:50.400 --> 1:09:53.920
<v Speaker 1>hundred stations and I have the like the love of

1:09:53.960 --> 1:09:56.960
<v Speaker 1>this song. How can you and Paduca not love It's

1:09:57.000 --> 1:09:58.920
<v Speaker 1>just you're not taking a risk. I don't know. It's

1:09:58.960 --> 1:10:03.120
<v Speaker 1>so frustrated, Chase. Maybe, well, I thank you. First of all,

1:10:03.960 --> 1:10:05.600
<v Speaker 1>I'm not asking for thanks because I just thought it

1:10:05.640 --> 1:10:07.880
<v Speaker 1>was that good. If you were not here, I would

1:10:08.520 --> 1:10:11.479
<v Speaker 1>say the same thing. I'm so disappointed in just what

1:10:11.680 --> 1:10:14.200
<v Speaker 1>the people that do what I do. And I disappoint

1:10:14.200 --> 1:10:17.000
<v Speaker 1>people too, I know that, but they all disappinted me

1:10:17.040 --> 1:10:19.200
<v Speaker 1>in this that sense. Well, you're a music fan, which

1:10:19.240 --> 1:10:23.000
<v Speaker 1>is different than being a radio host, Okay, and I'll

1:10:23.040 --> 1:10:26.760
<v Speaker 1>you gotta you gotta accept that. But um, I will

1:10:26.800 --> 1:10:32.519
<v Speaker 1>say that, uh before this sugaring phono game, I've finished

1:10:32.520 --> 1:10:36.280
<v Speaker 1>my next solo album which is now sitting here waiting

1:10:37.400 --> 1:10:40.680
<v Speaker 1>and I cannot wait to play it for people. I

1:10:40.720 --> 1:10:45.280
<v Speaker 1>can't do that yet, but um, holy smokes, I had

1:10:45.360 --> 1:10:49.840
<v Speaker 1>no idea, um that all the stuff was gonna land

1:10:49.880 --> 1:10:54.479
<v Speaker 1>on top of each other. But I'm very grateful. But

1:10:54.520 --> 1:10:56.439
<v Speaker 1>I'll tell you this much, and I love it because

1:10:56.920 --> 1:10:58.400
<v Speaker 1>I like it that you're the only one who kind

1:10:58.400 --> 1:11:03.040
<v Speaker 1>of gets this information. Um. I got encouraged by my

1:11:03.040 --> 1:11:07.799
<v Speaker 1>wonderful manager over there and uh and and my publisher

1:11:07.800 --> 1:11:13.040
<v Speaker 1>at the time still publisher, Julie, and the two of them,

1:11:14.280 --> 1:11:16.640
<v Speaker 1>I played a show on the fourth of July this

1:11:16.760 --> 1:11:19.240
<v Speaker 1>past year, and I got asked to do it by

1:11:19.280 --> 1:11:21.320
<v Speaker 1>the guys that I sit on the Grammy board in

1:11:21.360 --> 1:11:25.120
<v Speaker 1>Atlanta with and a guy named uh J Fly who's

1:11:25.160 --> 1:11:28.960
<v Speaker 1>the a drummer An R And b like huge session drummer,

1:11:29.000 --> 1:11:31.720
<v Speaker 1>and he also played with like Bobby Brown and all

1:11:31.720 --> 1:11:34.439
<v Speaker 1>sorts of people. And he said, Christian, will you please

1:11:34.479 --> 1:11:36.240
<v Speaker 1>come out and play? I keep asking you every year,

1:11:36.280 --> 1:11:38.040
<v Speaker 1>but will you and your brother please come out and

1:11:38.080 --> 1:11:41.280
<v Speaker 1>play my Fourth of July show. It's on television. It's

1:11:41.800 --> 1:11:46.479
<v Speaker 1>downtown in Centennial Park. And I was like absolutely. I

1:11:46.520 --> 1:11:48.680
<v Speaker 1>had no excuse this year. I was like, okay, j

1:11:48.880 --> 1:11:51.160
<v Speaker 1>I'll come because I really did need to and I

1:11:51.560 --> 1:11:54.240
<v Speaker 1>had been busy the other years and this year I

1:11:54.400 --> 1:11:56.599
<v Speaker 1>was free and there was no reason I shouldn't do that.

1:11:57.280 --> 1:11:58.800
<v Speaker 1>But I told him, I said, Jay, you know I

1:11:58.840 --> 1:12:02.720
<v Speaker 1>can't imagine that. You know, sixty African American people are

1:12:02.800 --> 1:12:06.760
<v Speaker 1>going to know trailer Hitch or baby Girl? So what

1:12:06.800 --> 1:12:09.040
<v Speaker 1>do you want me to play? Like? I'm trying to

1:12:09.040 --> 1:12:11.240
<v Speaker 1>be entertaining for you. I want to I want to

1:12:11.280 --> 1:12:16.320
<v Speaker 1>reflect well on you help me. And he's like, oh,

1:12:16.360 --> 1:12:19.840
<v Speaker 1>I love trailer, which and I said okay, and I

1:12:20.520 --> 1:12:22.840
<v Speaker 1>we we rolled in and we did sound check and

1:12:22.880 --> 1:12:26.400
<v Speaker 1>there were five background singers and they're like seven horn

1:12:26.439 --> 1:12:33.640
<v Speaker 1>players and three keyword guys and I they landed a

1:12:33.680 --> 1:12:36.839
<v Speaker 1>freaking earth wind and Fire song on top of trailer

1:12:36.920 --> 1:12:39.519
<v Speaker 1>hitch and I have never been so happy in my

1:12:39.720 --> 1:12:43.400
<v Speaker 1>entire life. And I remember turning around after that, after

1:12:43.400 --> 1:12:45.880
<v Speaker 1>we had finished the song, and I watched sixty strangers

1:12:46.360 --> 1:12:50.760
<v Speaker 1>dance to a song they probably never heard. And I

1:12:50.880 --> 1:12:53.160
<v Speaker 1>turned around to Jay and I was like, country music

1:12:53.200 --> 1:12:57.120
<v Speaker 1>meets this party. I don't think it's ever seen this party,

1:12:57.280 --> 1:13:00.400
<v Speaker 1>and this party needs to happen, and we ever get

1:13:00.439 --> 1:13:02.960
<v Speaker 1>a chance, let's do that. And I left the stage,

1:13:02.960 --> 1:13:05.520
<v Speaker 1>and I thinked everybody, and I went on with my day,

1:13:05.720 --> 1:13:09.160
<v Speaker 1>and I think I said the same thing to to

1:13:09.280 --> 1:13:11.720
<v Speaker 1>Whitney and to Julian and even my brother Brandon. He's like, well,

1:13:11.760 --> 1:13:13.240
<v Speaker 1>why don't we do it? And I'm like, oh no,

1:13:13.439 --> 1:13:16.040
<v Speaker 1>we can never do that. I don't even think I

1:13:16.080 --> 1:13:18.479
<v Speaker 1>have the songs for stuff like that. And they were like,

1:13:18.520 --> 1:13:21.760
<v Speaker 1>you have millions of songs, just go through them and

1:13:21.800 --> 1:13:25.479
<v Speaker 1>figure it out. So I had this crazy thing happened

1:13:25.479 --> 1:13:28.080
<v Speaker 1>where I took songs that I normally write songs in

1:13:28.080 --> 1:13:30.920
<v Speaker 1>Atlanta and bring them to Nashville and record them with

1:13:31.000 --> 1:13:35.679
<v Speaker 1>Nashville great Nashville musicians, And in this case, I took

1:13:35.680 --> 1:13:38.320
<v Speaker 1>a bunch of songs I wrote in Nashville and took

1:13:38.360 --> 1:13:43.920
<v Speaker 1>them to Atlanta and played them with that band, and

1:13:45.479 --> 1:13:48.800
<v Speaker 1>I couldn't be more confused as to how to ever

1:13:48.920 --> 1:13:54.360
<v Speaker 1>perform these songs live. Like I I remember calling you

1:13:54.560 --> 1:13:58.200
<v Speaker 1>and saying, I just recorded something I can never play

1:13:58.439 --> 1:14:01.720
<v Speaker 1>because I don't know how to do it. Um. It

1:14:01.800 --> 1:14:06.120
<v Speaker 1>was like Aretha Franklin's horn section and Jill Scott's horn section.

1:14:06.200 --> 1:14:08.840
<v Speaker 1>And I was like justin timber Lakes music directors in

1:14:08.880 --> 1:14:14.400
<v Speaker 1>there and and and I mean it was insane what

1:14:14.479 --> 1:14:18.519
<v Speaker 1>was happening. And I love the fact that it felt

1:14:18.520 --> 1:14:20.880
<v Speaker 1>like I was coming so out of control. I was

1:14:21.120 --> 1:14:26.559
<v Speaker 1>discovering my songs through the fingers and the mouths and

1:14:26.600 --> 1:14:29.960
<v Speaker 1>the rhythms of people that were complete strangers to me.

1:14:30.800 --> 1:14:33.679
<v Speaker 1>And it made so much sense. So in a lot

1:14:33.720 --> 1:14:38.720
<v Speaker 1>of ways, Um, it felt a lot like what I

1:14:38.720 --> 1:14:41.439
<v Speaker 1>had imagined Paul Simon felt like when he made Grace Land,

1:14:41.920 --> 1:14:45.599
<v Speaker 1>Like you took songs that you knew in a place

1:14:45.680 --> 1:14:49.720
<v Speaker 1>that you didn't know, and you stopped holding onto it

1:14:49.840 --> 1:14:53.200
<v Speaker 1>so tightly and you started to discover what's going on

1:14:53.240 --> 1:14:55.720
<v Speaker 1>around you. And when you say that, you think of

1:14:55.720 --> 1:14:58.920
<v Speaker 1>that record, it's like, you know, Diamonds, Yeah, and how

1:14:58.960 --> 1:15:02.760
<v Speaker 1>that song start? I mean, I have that there are

1:15:02.760 --> 1:15:04.920
<v Speaker 1>things on this set of recordings that I just did

1:15:04.920 --> 1:15:09.240
<v Speaker 1>that I don't know how it happened. Well, I don't

1:15:09.240 --> 1:15:11.599
<v Speaker 1>know when it's gonna come out, but I listen. I can't.

1:15:11.720 --> 1:15:13.840
<v Speaker 1>I cannot wait to share it with everyone, and and

1:15:13.920 --> 1:15:17.960
<v Speaker 1>I hope it happens this this calendar year. Um, maybe

1:15:17.960 --> 1:15:22.360
<v Speaker 1>in pieces or parts it'll start to happen, especially with

1:15:22.400 --> 1:15:24.679
<v Speaker 1>the you know, new attention on shore Land. I'm sure

1:15:24.720 --> 1:15:27.640
<v Speaker 1>people will start digging backwards through our catalogs and our

1:15:27.680 --> 1:15:31.000
<v Speaker 1>solo records and things and start to really assimilate. And

1:15:31.080 --> 1:15:32.800
<v Speaker 1>I may be able to play some of these, I mean,

1:15:32.880 --> 1:15:35.640
<v Speaker 1>if I can physically do it, UM, play some of

1:15:35.640 --> 1:15:39.040
<v Speaker 1>these on while we're on tour. And I'm just super excited.

1:15:39.960 --> 1:15:44.840
<v Speaker 1>So thank you for me for supporting what I like you.

1:15:44.920 --> 1:15:47.479
<v Speaker 1>But if it wasn't good, I was supported, well, I

1:15:47.640 --> 1:15:52.160
<v Speaker 1>I appreciate that. Like, don't play the ones that saw Yeah,

1:15:51.160 --> 1:15:56.400
<v Speaker 1>I try not to have so much. Um, do you

1:15:56.439 --> 1:15:58.640
<v Speaker 1>have any more spots that we could perfect? Because I

1:15:58.640 --> 1:16:00.920
<v Speaker 1>have more things? Okay? You brother? By the way, Brandon

1:16:00.960 --> 1:16:05.280
<v Speaker 1>Brandon Bush probably just from Lindsey. I've been I've been

1:16:05.280 --> 1:16:08.559
<v Speaker 1>Brandon before, but just from Lindsay working with she comes in,

1:16:08.560 --> 1:16:10.240
<v Speaker 1>It's like Brandon is one of the greatest musicians. I've

1:16:10.240 --> 1:16:12.880
<v Speaker 1>ever seen him with my eyeball. And Brandon also played

1:16:12.880 --> 1:16:15.439
<v Speaker 1>with train right. Yeah, he was the piano player and trained.

1:16:16.320 --> 1:16:18.240
<v Speaker 1>He likes to call it the nadier of their career.

1:16:18.760 --> 1:16:22.479
<v Speaker 1>But he he got the job after Drops the Jupiter

1:16:23.600 --> 1:16:26.360
<v Speaker 1>because they didn't have a piano player and did they

1:16:26.400 --> 1:16:30.000
<v Speaker 1>have to get one because of that song. Apparently that's

1:16:30.040 --> 1:16:36.080
<v Speaker 1>what Brandon's job was. So, um, they they had the

1:16:36.120 --> 1:16:38.800
<v Speaker 1>song happen and then they just put the piano on

1:16:38.880 --> 1:16:43.840
<v Speaker 1>track because they didn't have anybody who played it, and

1:16:43.880 --> 1:16:46.040
<v Speaker 1>then he went out to audition on the calling a

1:16:46.320 --> 1:16:48.800
<v Speaker 1>meaning they're playing live for the TONI computers just a

1:16:48.840 --> 1:16:52.120
<v Speaker 1>button to play the piano. There's a computer playing the

1:16:52.160 --> 1:16:55.120
<v Speaker 1>piano and then they play to the click in their ears.

1:16:55.520 --> 1:16:58.840
<v Speaker 1>But that song was so popular that I don't care

1:16:58.960 --> 1:17:01.320
<v Speaker 1>who you are. Once it comes on, you start singing it.

1:17:01.920 --> 1:17:04.200
<v Speaker 1>You know. It was It was Pavlaviam for me, and

1:17:04.240 --> 1:17:06.080
<v Speaker 1>I loved the song. When it came on the radio,

1:17:06.120 --> 1:17:08.680
<v Speaker 1>I was like, oh my gosh, this is everything I

1:17:08.720 --> 1:17:13.519
<v Speaker 1>wanted from Elton John except through Pat Yeah Monahan. You know,

1:17:14.120 --> 1:17:18.080
<v Speaker 1>it was so good and um Train was kind of

1:17:18.080 --> 1:17:20.040
<v Speaker 1>borne out of the same space as Billy Pilgrim and

1:17:20.400 --> 1:17:22.360
<v Speaker 1>kind of a little bit before John Mayer. It was

1:17:22.400 --> 1:17:24.559
<v Speaker 1>the same of the aware of people or the people

1:17:24.720 --> 1:17:28.680
<v Speaker 1>Ladderman and all the people are that discovered both of them,

1:17:28.720 --> 1:17:33.200
<v Speaker 1>and Brandon joined the band as a sideman, and then

1:17:33.680 --> 1:17:35.400
<v Speaker 1>they were like, oh my god, the same thing as lindsay,

1:17:35.400 --> 1:17:37.400
<v Speaker 1>you're so talented, can you just be a part of

1:17:37.400 --> 1:17:41.000
<v Speaker 1>our bank? So he joined into the band all right,

1:17:41.080 --> 1:17:43.880
<v Speaker 1>as Calling All Angels. That next record came out, and

1:17:43.920 --> 1:17:46.080
<v Speaker 1>he was there all the way through the Ascension of

1:17:46.120 --> 1:17:48.680
<v Speaker 1>sugar Land. And when Pat started making solo records, I

1:17:48.720 --> 1:17:51.160
<v Speaker 1>called Brandon. I said, Man, we're playing stadiums. Will you come.

1:17:51.800 --> 1:17:55.320
<v Speaker 1>I think we can afford a keyboard player? And uh,

1:17:55.800 --> 1:18:00.679
<v Speaker 1>he plays every record I've ever made since I was thirteen.

1:18:01.760 --> 1:18:03.400
<v Speaker 1>There's not been a record he hasn't been on that

1:18:03.479 --> 1:18:07.960
<v Speaker 1>I've either produced or it wasn't an artist. I mean

1:18:08.040 --> 1:18:12.880
<v Speaker 1>two kids that because you played by ear, you know

1:18:12.920 --> 1:18:15.680
<v Speaker 1>you would hear things and play things. And to get

1:18:15.720 --> 1:18:19.360
<v Speaker 1>that once is a lottery win with a kid who

1:18:19.960 --> 1:18:23.759
<v Speaker 1>but to get that twice with one the work ethic

1:18:23.920 --> 1:18:26.760
<v Speaker 1>but to the natural ability, and it's always a combination.

1:18:27.080 --> 1:18:28.920
<v Speaker 1>If you just have even a whole lot of one,

1:18:28.960 --> 1:18:31.080
<v Speaker 1>it usually doesn't work out. You've got to have some

1:18:31.200 --> 1:18:34.240
<v Speaker 1>collective of both, and they can be different levels. But

1:18:34.400 --> 1:18:36.800
<v Speaker 1>you and your brother both where why where did that

1:18:36.880 --> 1:18:41.320
<v Speaker 1>come from? I don't know. That's that's so, but it

1:18:41.400 --> 1:18:45.520
<v Speaker 1>was part of our our are raising like we were raised. Um,

1:18:45.840 --> 1:18:49.839
<v Speaker 1>we both got signed up for the same Japanese experimental program.

1:18:50.000 --> 1:18:52.439
<v Speaker 1>We were. We were kind of guinea pigs at the

1:18:52.520 --> 1:18:54.680
<v Speaker 1>University of Tennessee. You're not making a joke. I'm not

1:18:54.720 --> 1:18:57.840
<v Speaker 1>making a joke. Um. There is a program called the

1:18:57.840 --> 1:19:01.120
<v Speaker 1>Suzuki method, which was this Japanese idea that if children

1:19:01.240 --> 1:19:03.960
<v Speaker 1>learned music at the time their brains learned language, they

1:19:04.000 --> 1:19:06.360
<v Speaker 1>would learn it as a language. And at the time,

1:19:06.360 --> 1:19:08.760
<v Speaker 1>in the early seventies, it was just a theory that

1:19:08.880 --> 1:19:12.040
<v Speaker 1>nobody had proved it, but they were running pilot programs

1:19:12.080 --> 1:19:15.200
<v Speaker 1>around America, and the University of Tennessee Knoxville was one

1:19:15.240 --> 1:19:17.240
<v Speaker 1>of the pilot programs. And my mother signed me up

1:19:17.280 --> 1:19:21.559
<v Speaker 1>when I was three, and so I played violin and

1:19:21.600 --> 1:19:24.160
<v Speaker 1>I was from not Knoxville. I was from the mountains

1:19:24.160 --> 1:19:28.960
<v Speaker 1>outside of Knoxville. So they called them fiddles, but I

1:19:29.080 --> 1:19:33.160
<v Speaker 1>was playing like Bach and Vivaldi and stuff by ear.

1:19:34.320 --> 1:19:38.360
<v Speaker 1>And as soon as my brother was three years old,

1:19:38.400 --> 1:19:42.040
<v Speaker 1>he did the same thing, and within a couple of

1:19:42.120 --> 1:19:44.479
<v Speaker 1>years he was like, can I not play violin? Can

1:19:44.560 --> 1:19:48.479
<v Speaker 1>I play piano? And that happened so that by the

1:19:48.520 --> 1:19:52.479
<v Speaker 1>time I was in middle school, I was really being

1:19:52.520 --> 1:19:57.599
<v Speaker 1>made fun of for moving a violin case around because

1:19:57.600 --> 1:19:59.960
<v Speaker 1>I was being kind of shipped into the Knoxville for school.

1:20:00.760 --> 1:20:03.479
<v Speaker 1>My parents like, we're trying to get me into a

1:20:03.479 --> 1:20:08.080
<v Speaker 1>private school. And I begged my mother to let me

1:20:08.120 --> 1:20:11.559
<v Speaker 1>play guitar. I just begged her, and she said, you know,

1:20:11.640 --> 1:20:16.120
<v Speaker 1>if you can play one season in the youth Symphony,

1:20:16.200 --> 1:20:17.920
<v Speaker 1>I'll let you do it. She knew I couldn't read music,

1:20:18.560 --> 1:20:21.760
<v Speaker 1>so I I went the long way. I took my

1:20:21.800 --> 1:20:24.080
<v Speaker 1>little walkman that should have just been invented at the time,

1:20:24.600 --> 1:20:27.080
<v Speaker 1>and I've recorded the person next to me on Wednesdays

1:20:27.680 --> 1:20:29.800
<v Speaker 1>and I would learn it on Thursday and Friday, and

1:20:29.840 --> 1:20:33.439
<v Speaker 1>I would perform it on Saturday to it and then

1:20:33.479 --> 1:20:35.559
<v Speaker 1>play it back. I played my ear and that's how

1:20:35.600 --> 1:20:37.400
<v Speaker 1>I survived, and I got to learn to play guitar

1:20:37.520 --> 1:20:39.560
<v Speaker 1>because once I got through that season, she gave me

1:20:39.600 --> 1:20:43.880
<v Speaker 1>a guitar, and within a year I had said, Brandon,

1:20:43.920 --> 1:20:45.439
<v Speaker 1>we need to make a record and I don't know

1:20:45.479 --> 1:20:49.360
<v Speaker 1>how to do that. Let's figure it out. Do you

1:20:49.400 --> 1:20:52.120
<v Speaker 1>believe in the Suzuki method. Oh yeah, I think it's

1:20:52.120 --> 1:20:55.800
<v Speaker 1>pretty cool. It's changed a lot. That's my blood. And

1:20:56.160 --> 1:20:59.200
<v Speaker 1>Brandon learned how to read music because they had incorporated

1:20:59.240 --> 1:21:02.360
<v Speaker 1>it earlier than they did with me. I was so

1:21:02.439 --> 1:21:07.480
<v Speaker 1>early in the program um and he is U an orchestrator.

1:21:07.520 --> 1:21:09.400
<v Speaker 1>Now you know when I did the musical last year

1:21:09.400 --> 1:21:12.840
<v Speaker 1>and Atlanta, he was the music director. He's he and

1:21:12.880 --> 1:21:16.439
<v Speaker 1>I have scored things for turn of Classic movies like

1:21:16.640 --> 1:21:20.280
<v Speaker 1>we we do things anytime. Sugarland has a string section

1:21:20.320 --> 1:21:22.760
<v Speaker 1>like still the same, the end of that has this

1:21:22.880 --> 1:21:27.200
<v Speaker 1>giant string orchestra, and Brandon's scoring all of that. I mean,

1:21:27.240 --> 1:21:32.960
<v Speaker 1>you got he did a musical, your solo records, sugar Land.

1:21:33.200 --> 1:21:36.599
<v Speaker 1>You had a wedding song on the on the flupping

1:21:36.640 --> 1:21:38.760
<v Speaker 1>Duke channels at one in the morning, and it's like

1:21:39.200 --> 1:21:42.960
<v Speaker 1>Christian Buss sing about a dress on That's that's pretty

1:21:43.040 --> 1:21:47.360
<v Speaker 1>nutty as Nutty goes that that is almost full Amon

1:21:47.439 --> 1:21:50.639
<v Speaker 1>Joy crazy. I want to talk about your podcast because

1:21:50.760 --> 1:21:53.920
<v Speaker 1>let's talk about a podcast. It's called Geeking Out with

1:21:54.000 --> 1:21:57.960
<v Speaker 1>Christian Bush, and it's about people that geek out about,

1:21:58.000 --> 1:22:00.479
<v Speaker 1>not just music. No, it doesn't have to be you

1:22:00.520 --> 1:22:02.360
<v Speaker 1>told me it didn't have to be done. And it's

1:22:02.360 --> 1:22:05.200
<v Speaker 1>the best because in Granger you're talking to grand Smith

1:22:05.240 --> 1:22:07.519
<v Speaker 1>in the first episode about bee hives. I'm gonna tell

1:22:07.560 --> 1:22:09.680
<v Speaker 1>you I learned so much on this podcast. Have a

1:22:09.720 --> 1:22:11.280
<v Speaker 1>friend that has be hives. But when you guys were

1:22:11.280 --> 1:22:15.519
<v Speaker 1>sitting you're you're like talking and eating or after. But

1:22:15.600 --> 1:22:18.200
<v Speaker 1>he's taught Granger Smith is so into beehives. And oh

1:22:18.240 --> 1:22:20.720
<v Speaker 1>my god. First of all, I was a Grander. I

1:22:20.760 --> 1:22:22.960
<v Speaker 1>know Grandjer well grandj and I Granja lives in north

1:22:23.000 --> 1:22:24.760
<v Speaker 1>of Boston. I lived on in the the fourteen years that

1:22:24.800 --> 1:22:27.400
<v Speaker 1>we have. You know each other, yes, And I was thinking,

1:22:27.439 --> 1:22:29.160
<v Speaker 1>I did not know you was to nerd about beehives.

1:22:29.160 --> 1:22:31.280
<v Speaker 1>Then I thought, I didn't know behaves is so interesting.

1:22:31.560 --> 1:22:34.120
<v Speaker 1>I had no idea. I had no idea. And that's

1:22:34.160 --> 1:22:36.559
<v Speaker 1>what I love about this podcast. You know that when

1:22:36.560 --> 1:22:39.799
<v Speaker 1>the when you had come to me and said, Christian,

1:22:40.120 --> 1:22:42.439
<v Speaker 1>I'm interested in what you would be interested in. And

1:22:42.479 --> 1:22:43.800
<v Speaker 1>I thought about it for a while and I think

1:22:43.840 --> 1:22:48.720
<v Speaker 1>I sent you two or three ideas. And this has

1:22:48.760 --> 1:22:52.200
<v Speaker 1>really stood the test of time of this concept that

1:22:52.720 --> 1:22:56.280
<v Speaker 1>a podcast is good when you have rules, right, because

1:22:56.280 --> 1:22:58.840
<v Speaker 1>they're boundaries that you can stay keep your conversations within.

1:22:59.040 --> 1:23:01.400
<v Speaker 1>And so the rule for the podcast is, I want

1:23:01.439 --> 1:23:03.760
<v Speaker 1>to talk to you about what you are completely into,

1:23:03.800 --> 1:23:06.920
<v Speaker 1>what you are geeking out on that has nothing to

1:23:06.960 --> 1:23:11.240
<v Speaker 1>do with your job. So people introduce themselves, they tell

1:23:11.240 --> 1:23:13.320
<v Speaker 1>me what their job is, and then we stopped talking

1:23:13.400 --> 1:23:17.559
<v Speaker 1>about their job, and they have to know what it

1:23:17.640 --> 1:23:21.280
<v Speaker 1>is that you're interested in. And I learned so much.

1:23:22.360 --> 1:23:24.839
<v Speaker 1>You will not believe some of the things people say.

1:23:25.160 --> 1:23:29.720
<v Speaker 1>I mean what Granger started talking about bees. I had

1:23:29.800 --> 1:23:33.040
<v Speaker 1>so many questions and he had so many answers and

1:23:33.160 --> 1:23:34.800
<v Speaker 1>all the answers, and I was also blown away at

1:23:34.800 --> 1:23:38.680
<v Speaker 1>how much you knew about freaking bee hives. Huh. But

1:23:38.840 --> 1:23:41.719
<v Speaker 1>so I was this so on multi levels. I thought, Wow,

1:23:41.720 --> 1:23:43.960
<v Speaker 1>that's weird Granger, Wow, bees do that. Wow, it's what

1:23:44.040 --> 1:23:46.360
<v Speaker 1>Granger and bees do that. Christian, well you Christian just

1:23:46.400 --> 1:23:48.800
<v Speaker 1>asked what I was thinking the whole thing. I was

1:23:48.840 --> 1:23:51.360
<v Speaker 1>like you, I'm interested if you like I told him.

1:23:51.360 --> 1:23:53.760
<v Speaker 1>At some point, have you put a GoPro camera at

1:23:53.800 --> 1:23:56.040
<v Speaker 1>the beginning at the opening of your beehive covers. I

1:23:56.080 --> 1:23:58.920
<v Speaker 1>want to see the bouncers, you know that the bees

1:23:59.000 --> 1:24:00.960
<v Speaker 1>that fight the other beasts you can't come in here,

1:24:01.040 --> 1:24:04.040
<v Speaker 1>and who slips through and who doesn't. I mean, it's

1:24:04.320 --> 1:24:07.680
<v Speaker 1>fascinating to me. And then the middle part of it,

1:24:07.960 --> 1:24:10.040
<v Speaker 1>um I then we kind of take the same idea,

1:24:10.080 --> 1:24:12.719
<v Speaker 1>but we do something really quick, like I trade you something,

1:24:12.760 --> 1:24:14.400
<v Speaker 1>like I give, I turn you onto something, and then

1:24:14.400 --> 1:24:16.960
<v Speaker 1>you turned me onto something. And he was talking about

1:24:18.560 --> 1:24:22.599
<v Speaker 1>it's crazy cold water therapy where you dunk yourself into

1:24:22.640 --> 1:24:25.360
<v Speaker 1>like fifty or forty degree water for a certain amount

1:24:25.360 --> 1:24:27.400
<v Speaker 1>of time until all the blood rushes to your core

1:24:27.960 --> 1:24:29.439
<v Speaker 1>and then you get out of the water and the

1:24:29.439 --> 1:24:33.240
<v Speaker 1>blood all rushes back to your you know, extremities, and

1:24:33.280 --> 1:24:38.080
<v Speaker 1>that somehow this cleanses your body, like your bone marrow

1:24:38.160 --> 1:24:43.320
<v Speaker 1>starts to make more blood fresh blood, right, And I

1:24:43.360 --> 1:24:45.920
<v Speaker 1>was just kind of looking at him like this is

1:24:46.120 --> 1:24:48.040
<v Speaker 1>I had not was all I could see when I

1:24:48.080 --> 1:24:50.040
<v Speaker 1>look at you as Earl Dibbeles Jr. And then like

1:24:50.600 --> 1:24:54.439
<v Speaker 1>Granger Smith and I just didn't expect naked Earl Dibbeles Jr.

1:24:54.800 --> 1:24:58.599
<v Speaker 1>In a pool talking about bees, you know, like that

1:24:58.800 --> 1:25:02.160
<v Speaker 1>is cool? To me and is the most interesting part

1:25:02.160 --> 1:25:05.000
<v Speaker 1>about people. And I love that this podcast is happening

1:25:05.000 --> 1:25:08.160
<v Speaker 1>because I can't wait for other people to go through

1:25:08.160 --> 1:25:11.240
<v Speaker 1>this process. Yeah, I went through and think my grander

1:25:11.280 --> 1:25:13.040
<v Speaker 1>two is he he's really ripped, like you wouldn't know

1:25:13.080 --> 1:25:15.200
<v Speaker 1>it because he can you just see Earl Oh. Yeah, man,

1:25:15.400 --> 1:25:19.400
<v Speaker 1>he's and and you know, he doesn't seem like a

1:25:19.439 --> 1:25:23.120
<v Speaker 1>guy that would tear his shirt off, right, But he's

1:25:23.200 --> 1:25:27.320
<v Speaker 1>totally a guy who I can tell after meeting him

1:25:27.600 --> 1:25:30.320
<v Speaker 1>and spending time with him. You know a lot of

1:25:30.320 --> 1:25:32.040
<v Speaker 1>people when you feel like your life is out of control,

1:25:32.080 --> 1:25:34.519
<v Speaker 1>you control the one thing you can your body, your haircut,

1:25:34.560 --> 1:25:38.639
<v Speaker 1>your whatever. You control one thing that is completely within

1:25:38.680 --> 1:25:42.880
<v Speaker 1>your control. And it seems like his life has brought

1:25:43.000 --> 1:25:47.720
<v Speaker 1>him into a place of real joy controlling his body.

1:25:47.920 --> 1:25:52.960
<v Speaker 1>And that's cool. I really enjoyed that guy. He's good.

1:25:53.120 --> 1:25:56.559
<v Speaker 1>It's good guy, dude. And I gotta tell you. When

1:25:56.600 --> 1:25:58.240
<v Speaker 1>I was on the record label and they told me

1:25:58.280 --> 1:26:00.280
<v Speaker 1>they were signing him and I went in research him,

1:26:00.320 --> 1:26:02.560
<v Speaker 1>I was like, I think this is a terrible idea.

1:26:03.000 --> 1:26:06.439
<v Speaker 1>You know. I was really concerned about the message that

1:26:06.439 --> 1:26:08.600
<v Speaker 1>the Earl Dibel's piece was doing. I was like, I

1:26:08.640 --> 1:26:10.759
<v Speaker 1>don't think a lot of the fans know that he's kidding.

1:26:11.000 --> 1:26:14.080
<v Speaker 1>So I'm talking with you. I was like, I think, what,

1:26:14.520 --> 1:26:16.920
<v Speaker 1>I don't want white supremacists on my label, you know,

1:26:17.120 --> 1:26:19.439
<v Speaker 1>like forget that. I don't think they understand that this

1:26:19.520 --> 1:26:24.519
<v Speaker 1>is a farce. And uh. It made me very nervous.

1:26:24.600 --> 1:26:28.840
<v Speaker 1>And so I feel even doubly interested in him being

1:26:28.840 --> 1:26:33.840
<v Speaker 1>a first guest because I believe that um, in our

1:26:33.880 --> 1:26:38.400
<v Speaker 1>time of bouncing through information so quickly, that someone would

1:26:38.439 --> 1:26:41.080
<v Speaker 1>miss what a great guy he is. I think they can,

1:26:41.200 --> 1:26:43.720
<v Speaker 1>and I think some do and some don't care. And

1:26:44.040 --> 1:26:46.200
<v Speaker 1>you look at his accounts. I think Earl Doubels has

1:26:46.400 --> 1:26:48.680
<v Speaker 1>a couple million followers, and Green Dress a couple tho.

1:26:49.360 --> 1:26:51.719
<v Speaker 1>You know what, I'd be happy to provide a rabbit

1:26:51.720 --> 1:26:54.400
<v Speaker 1>hole for people to go dive into to find out more.

1:26:55.600 --> 1:26:58.360
<v Speaker 1>Geeking out Christian Bush, I think it's fantastic. I just

1:26:58.520 --> 1:27:00.240
<v Speaker 1>I feel like we could sit here for three hours

1:27:00.280 --> 1:27:04.559
<v Speaker 1>and just talk and then we have and I'll tell you,

1:27:05.200 --> 1:27:07.240
<v Speaker 1>just because I got so close to the Lindsay project

1:27:07.720 --> 1:27:10.519
<v Speaker 1>that I would hear the songs early and then I

1:27:10.560 --> 1:27:13.200
<v Speaker 1>would hear them when they were done. What what you

1:27:13.280 --> 1:27:15.840
<v Speaker 1>and Lindsay did with this song. Here you make me

1:27:16.040 --> 1:27:22.280
<v Speaker 1>feel Champagne the band, you know what's cool about us.

1:27:22.280 --> 1:27:25.160
<v Speaker 1>So the backbeat is me playing acoustic guitar with my

1:27:25.280 --> 1:27:31.479
<v Speaker 1>hand without any cord, so like muted, muted natural day,

1:27:32.160 --> 1:27:40.280
<v Speaker 1>just call me rain until So the rhythm is you

1:27:40.360 --> 1:27:47.840
<v Speaker 1>holding a mutic chord. I can open my own door.

1:27:47.960 --> 1:27:56.559
<v Speaker 1>I think music is beautiful when it's really simple. That's funny.

1:27:56.600 --> 1:27:58.479
<v Speaker 1>You can hear that. I mean, you're so. I would

1:27:58.479 --> 1:28:00.360
<v Speaker 1>have never heard that. And it happened in the right

1:28:00.360 --> 1:28:04.160
<v Speaker 1>here in your left here went yeah, man here that.

1:28:04.200 --> 1:28:06.560
<v Speaker 1>I'll be honest with you. Yeah, at different level, I

1:28:06.600 --> 1:28:11.360
<v Speaker 1>didn't do it. I didn't do the old yamahal Suzuki. Yeah.

1:28:11.400 --> 1:28:14.840
<v Speaker 1>You know. I learned to make records by listening in headphones.

1:28:15.600 --> 1:28:18.600
<v Speaker 1>So it's a good rule that if you see my

1:28:18.720 --> 1:28:21.360
<v Speaker 1>name on an album, either as an artist or as

1:28:21.360 --> 1:28:24.040
<v Speaker 1>a producer or writer, even but mostly as an artist

1:28:24.080 --> 1:28:26.960
<v Speaker 1>or profuser, you should take the minute to put on

1:28:27.080 --> 1:28:31.559
<v Speaker 1>the big headphones, the big Princess Leah ones and listen.

1:28:31.920 --> 1:28:36.840
<v Speaker 1>Because I left you secrets law east Reg's yeah and

1:28:36.920 --> 1:28:38.560
<v Speaker 1>so depending when you hear this, and people listen to

1:28:38.560 --> 1:28:41.599
<v Speaker 1>podcasts for years after But as we do, the sugar

1:28:41.640 --> 1:28:43.639
<v Speaker 1>Land is about to go out on the big tour

1:28:44.680 --> 1:28:49.240
<v Speaker 1>and I'll be coming for sure. I'll be coming sugar Land.

1:28:49.360 --> 1:28:53.000
<v Speaker 1>And you have Frankie Ballard and Claire Bowen out, and

1:28:53.080 --> 1:28:57.320
<v Speaker 1>you have Lindsay l and you have Brandy Clark, who

1:28:57.360 --> 1:29:01.200
<v Speaker 1>is one of my absolute favorite. I love Brandy boss

1:29:01.400 --> 1:29:06.400
<v Speaker 1>Lindsay's but raisons again. But Brandy Clark, I don't know,

1:29:06.560 --> 1:29:10.360
<v Speaker 1>man that she is good people, but Brandy's great. Man.

1:29:10.800 --> 1:29:12.800
<v Speaker 1>I'm excited about our openers, you know, a little big

1:29:12.840 --> 1:29:15.439
<v Speaker 1>town with our openers. For about three years, we just

1:29:15.560 --> 1:29:19.360
<v Speaker 1>never gave up on them. I just kept thinking, these

1:29:19.400 --> 1:29:23.360
<v Speaker 1>guys are so good and it's just not falling. The

1:29:23.439 --> 1:29:26.720
<v Speaker 1>cards aren't falling for him, and they just put their

1:29:26.760 --> 1:29:29.400
<v Speaker 1>head down and they just kept working and kept working.

1:29:30.720 --> 1:29:33.479
<v Speaker 1>So I love the idea that people can come to

1:29:33.600 --> 1:29:37.360
<v Speaker 1>a Shutland show and discover music they've never thought that

1:29:37.479 --> 1:29:40.519
<v Speaker 1>they would be madly in love with. And if you

1:29:40.600 --> 1:29:43.000
<v Speaker 1>can trust us for that, much like people trust you

1:29:43.120 --> 1:29:46.000
<v Speaker 1>on your radio show for music. When you turn people

1:29:46.040 --> 1:29:48.519
<v Speaker 1>onto something, I think it's the I think it's a

1:29:48.640 --> 1:29:51.040
<v Speaker 1>trust that you earn and you got to do everything

1:29:51.120 --> 1:29:54.599
<v Speaker 1>you can to keep it look at you, sugar Lands back,

1:29:54.720 --> 1:29:59.320
<v Speaker 1>you gotta secret album, The Troubadour is gonna go and

1:29:59.479 --> 1:30:07.439
<v Speaker 1>Sarah So it's it's being stages in Florida. You gotta podcast, Yes,

1:30:07.840 --> 1:30:12.240
<v Speaker 1>you got, you got a lot. Oh yeah, you're writing.

1:30:12.479 --> 1:30:13.920
<v Speaker 1>You have a song on the radio that you wrote.

1:30:14.280 --> 1:30:16.800
<v Speaker 1>You didn't even produce. You're seeing it. You wrote it.

1:30:17.040 --> 1:30:19.920
<v Speaker 1>I mean, this has been a dry number of years.

1:30:20.240 --> 1:30:22.640
<v Speaker 1>You're like Jennifer Lopez. Man, the desert has been a

1:30:22.720 --> 1:30:26.280
<v Speaker 1>long desert. It's great to see water. Thank you for

1:30:26.360 --> 1:30:28.679
<v Speaker 1>coming over to the house. I really appreciate you coming over.

1:30:29.240 --> 1:30:31.320
<v Speaker 1>You know, I'm a huge fan. I'm a I'm a

1:30:31.400 --> 1:30:34.160
<v Speaker 1>big fan of yours man. Christian Book, Episode one hundred

1:30:34.200 --> 1:30:37.200
<v Speaker 1>and it's been a special episode one. Check out geeking

1:30:37.240 --> 1:30:38.920
<v Speaker 1>out with Christian Bush. Go out and see sugar Land

1:30:38.960 --> 1:30:41.120
<v Speaker 1>on the road. Give him culled bluck. See I'm walking

1:30:41.120 --> 1:30:43.240
<v Speaker 1>down the road. Like you said, it doesn't been dry

1:30:44.000 --> 1:30:52.920
<v Speaker 1>Box one hundred, one hundred and we cast it's episode hundred,

1:30:54.200 --> 1:31:02.439
<v Speaker 1>Cast one hundred one hundred. Thank one zero zero. Appreciate you,

1:31:02.520 --> 1:31:04.640
<v Speaker 1>my friend. Appreciate you. All right, thank you very much.

1:31:04.680 --> 1:31:05.439
<v Speaker 1>You next time about you