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Speaker 1: Pushkin, Margot Price is no stranger to struggle. In early March,

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Speaker 1: a tornado raged through her home base of Nashville, just

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Speaker 1: as she was preparing to release her third album. A

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Speaker 1: month later, as Tennessee residents were ordered to shelter in

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Speaker 1: place to prevent the spread of COVID nineteen, Margot's husband

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Speaker 1: and longtime collaborator, Jeremy Ivey, tested positive for the coronavirus.

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Speaker 1: While taking care of her sick husband and two young kids,

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Speaker 1: Margot decided to push back the release of her new album.

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Speaker 1: It may seem like a no brainer, but for Margot

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Speaker 1: it was a really tough decision, and with her simultaneously

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Speaker 1: not being able to be on the road like she

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Speaker 1: usually is right now, things in her life just feel

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Speaker 1: a bit upside down. But Margot Price is a gifted

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Speaker 1: songwriter who always manages to turn adversity into a great song.

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Speaker 1: In the past, she's written her way through personal a

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Speaker 1: station like the loss of a family farm and the

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Speaker 1: death of an infant son. Her new album, That's How

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Speaker 1: Rumors Get Started pulls from that same well, but musically

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Speaker 1: it was a debt to more carefree rock music like

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Speaker 1: The Stones, Tom Petty and Fleetwood Mac. In this interview,

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Speaker 1: Margot tells Bruce Headlam how playing an open mic at

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Speaker 1: a Best Western hotel made her a better songwriter. She

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Speaker 1: also talks about hockey, her wedding ring to record her

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Speaker 1: first album, and how spending a weekend in jail was

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Speaker 1: all the inspiration she needed to refocus her career. This

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Speaker 1: is broken record liner notes for the digital age. I'm

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Speaker 1: justin Richmond. Here's Bruce Headlam and Margot Price, who connected

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Speaker 1: recently on zoom. So you get at home with your

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Speaker 1: two kids now for two months? Yeah, sixty six days.

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Speaker 1: I'm one of the psychopaths still keeping fresh. Who Well,

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Speaker 1: my son was asking the other day, So I sat

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Speaker 1: down and did the math and your husband got sick

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Speaker 1: in the middle of all this, didn't he he did? Yeah,

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Speaker 1: your husband who's also your co songwriter and you know, yeah,

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Speaker 1: a great musician. Yeah, partner in crime. How is he now?

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Speaker 1: He is still not fully recovered, but slowly getting better

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Speaker 1: every day. It's been a long it's been a long road,

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Speaker 1: and yeah, I'm just glad that he is not going

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Speaker 1: into the hospital and we've been able to treat it here.

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Speaker 1: He's been doing like nebulizer treatments, the breathing treatments and

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Speaker 1: sleeping twelve hours a day, taking a lot of vitamins,

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Speaker 1: drinking a lot of water. Just there's nothing you can do.

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Speaker 1: So you go into the emergency room. And then they

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Speaker 1: just were like, yep, I hope you make it. We're

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Speaker 1: just going to send you home now because you're not

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Speaker 1: bad enough to admit and we can't really give you anything.

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Speaker 1: So they gave him like an inhaler and wished him luck. Yeah,

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Speaker 1: and you've had to postpone releasing your new album, which

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Speaker 1: is what we're here to talk about. Yeah, I mean

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Speaker 1: I didn't have to. I just everything came on so quickly,

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Speaker 1: and I thought, Okay, well we'll be able to tour

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Speaker 1: this summer, so I'm just going to push it back

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Speaker 1: a little bit. And then I've finally came to the

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Speaker 1: realization that, like, no, there's not going to be tours

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Speaker 1: for probably the whole entire year, and so now I'm

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Speaker 1: just focusing on getting it out. But at the beginning

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Speaker 1: of quarantine, we could just been hit by the tornado.

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Speaker 1: Our friend John Prine died and Jeremy got sick, and

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Speaker 1: all those things combined plus having two small children at home.

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Speaker 1: I just I couldn't proper release a record. I didn't

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Speaker 1: have any like any more music videos to put out.

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Speaker 1: I didn't really have any content to work with. You

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Speaker 1: mentioned John Prine, who's you know, at the head of

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Speaker 1: the list of great musicians who've been lost to this.

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Speaker 1: You know, there's a terrific version online of you doing

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Speaker 1: Unwed Fathers with him. When did you first meet him?

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Speaker 1: I met John on his seventieth birthday at the Rhyman

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Speaker 1: and I was asked to come sing in spite of

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Speaker 1: ourselves and Unwinded Fathers with him, And it was just

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Speaker 1: really surreal because I'd been a student of his songwriting

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Speaker 1: for decades and he was so down to earth and

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Speaker 1: so nice and funny and real. I just feel like

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Speaker 1: there's very few people that remained that grounded throughout that

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Speaker 1: kind of success, and he was one of the realest

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Speaker 1: people I ever had the pleasure to. Still kind of

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Speaker 1: doesn't seem like he's gone because we're not seeing anybody,

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Speaker 1: so I just kind of feel like I'm going to

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Speaker 1: see him down the road. But every once in a

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Speaker 1: while kind of like clicks that you know and you

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Speaker 1: remember it. Yeah, just such a loss. Yeah, I mean

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Speaker 1: you guys, you have the same tendency. I think, particularly

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Speaker 1: in sad songs, you both come up with the kind

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Speaker 1: of perfect image, you know, riding high and low expectations

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Speaker 1: and why don't you do the math pay gap, ripping

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Speaker 1: my dollars in half? You know, there are things you

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Speaker 1: can't turn money back into time, which is a line.

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Speaker 1: I just love those. A line sound like John Prime

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Speaker 1: lines to me. Have you ever sat down and said, yeah,

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Speaker 1: I'm going to write a Joeing Prime song? Or is this?

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Speaker 1: Is this just? Is that just Midwestern sensibility? Well that's

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Speaker 1: very high, and I thank you for that. I don't

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Speaker 1: I don't think I've come close to his greatest works

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Speaker 1: in any capacity, but I definitely have, you know, studied

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Speaker 1: what he's done. And I just the thing that I

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Speaker 1: love about John is that he uses his entire vocabulary

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Speaker 1: and he's not afraid to use quirky, strange words that

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Speaker 1: most people would think were too ugly to put into

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Speaker 1: a song. You know. And my husband and I actually

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Speaker 1: wrote him recorded a couple of summers ago an album

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Speaker 1: that we shelved, and it was a psychedelic gospel record,

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Speaker 1: and I think on that album, I was you know,

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Speaker 1: really trying to mimic his work because we had been

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Speaker 1: on the road with him a lot. And of course

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Speaker 1: I haven't put that out yet, but there's a couple

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Speaker 1: like songs that are floating around out there on YouTube.

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Speaker 1: Once called the Devils in the Details, and I've played

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Speaker 1: that acoustic for John and he told me that he

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Speaker 1: really liked that song, and that was the highest compliment

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Speaker 1: I ever got. Really, you're so good at those kind

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Speaker 1: of lines. I'm just wondering and what I'm jumping ahead

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Speaker 1: because we'll talk about songwriting more, but do those lines

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Speaker 1: kind of emerge and then you think that's a great line,

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Speaker 1: I'm going to put that in a song at some point.

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Speaker 1: Are they just things in a notebook that find their

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Speaker 1: way in or do they emerge while you're writing the song.

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Speaker 1: Some of them just emerge as I'm writing a song.

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Speaker 1: Can't Turn Money Back to Time. That was something that

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Speaker 1: happened like while I was strumming and my husband and

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Speaker 1: I were kind of I had written most of the

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Speaker 1: song and then we talked through a little bit of

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Speaker 1: that chorus and we like it just clipped at that point.

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Speaker 1: But I do tend to find lines like that and

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Speaker 1: make a note of them, or like if somebody in

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Speaker 1: the room says something that's really witty, I'm like, Okay,

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Speaker 1: you're not going to write a song about that, and

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Speaker 1: I'll write it down. Well, yea the album title. That's

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Speaker 1: how rumors get started. That actually was something my guitar

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Speaker 1: player said in the bus when we were drunk one night,

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Speaker 1: and I just was like, I'm taking it all right. Nice,

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Speaker 1: Actually that one another I'm thinking about it. That that

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Speaker 1: line you can't you can't turn money back into time?

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Speaker 1: What's the line after that? Take it from me, Darlyn

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Speaker 1: of mine? Yeah, that's what makes that line that there's

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Speaker 1: such a shift, and to take it from me Darlin,

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Speaker 1: that to me is just you know how everybody remembers

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Speaker 1: the first line of Hallelujah that they say there was

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Speaker 1: a secret cord David played. What makes it is the

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Speaker 1: second line, which is but you don't really care about music,

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Speaker 1: do you, which I think is that people always leave

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Speaker 1: off that and that's just that's the killer. And I

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Speaker 1: when I heard that, I know, but when I heard

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Speaker 1: that song, that's what I thought of. Well, I wanted,

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Speaker 1: you know, I had written Hands of Time long ago,

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Speaker 1: and I remember this woman in North Carolina. She said

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Speaker 1: she was an old family friend and this old hippie lady,

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Speaker 1: and she was all drunk one night She's like, you

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Speaker 1: gotta write a song for your other kid, and I said, okay,

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Speaker 1: I will. And so that was me kind of writing

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Speaker 1: like a note to him, like you know, when I'm

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Speaker 1: gone on the road, but also when I die. And

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Speaker 1: I've been thinking so much of that line as I'm

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Speaker 1: home these last couple months, like Okay, well here's your time.

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Speaker 1: You know, I'm not bringing in money, but I have time,

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Speaker 1: and I'm really trying to enjoy it and savor it.

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Speaker 1: So I mentioned you and John Prime were both Midwesterners,

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Speaker 1: ended up in Nashville. Where were you born. I was

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Speaker 1: born in a town called Rock Island, but my folks

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Speaker 1: always lived in Aldo, Illinois, and it's like, you know,

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Speaker 1: west of Chicago. It's just how I explain it. And

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Speaker 1: the town had three thousand and seven hundred people in it,

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Speaker 1: and it gets smaller every year. More and more people

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Speaker 1: move away because there's less opportunity and there's a really

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Speaker 1: desolate area. I mean, after the eighties farm crisis and

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Speaker 1: how things have kind of continued to go with corporate farms,

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Speaker 1: and it's a great place, but I just I don't

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Speaker 1: think I could ever live there because it's it's a

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Speaker 1: hard way life. I think for a lot of people,

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Speaker 1: how did music start then? For you? I think because

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Speaker 1: there was nothing to do. It felt like such an

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Speaker 1: important lifeline in my life. You know, my father always

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Speaker 1: had the oldies station on, and so there was a

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Speaker 1: lot of like classic rock, and he always liked to

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Speaker 1: play the dad game in the car that was like

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Speaker 1: you know who this is, lots the Beatles, you know who?

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Speaker 1: That's Carol King, you know, and he wanted to like

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Speaker 1: school me on that's Rod Stewart. So it annoyed me

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Speaker 1: and I didn't like that music at first, but then

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Speaker 1: it really started to grow on me. There was there

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Speaker 1: a particular song or a particular moment that it really

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Speaker 1: hit you musically. I loved Tom Petty songs. I loved

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Speaker 1: like you know, American Girl and a lot of those songs.

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Speaker 1: I felt like he was talking directly to me, and

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Speaker 1: he made it seem like it was like okay to

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Speaker 1: be from Middle America, like a small town and being nobody.

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Speaker 1: He like romanticized it in a way that I really appreciated.

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Speaker 1: And in school we still had some good programs, Like

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Speaker 1: in fourth and fifth grade we did like these show

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Speaker 1: choir things, you know, singing and dancing. And in fourth

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Speaker 1: grade the theme that year was like country music, and

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Speaker 1: so I got my first a little solo to Patsy

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Speaker 1: Klein walking after Midnight, and I did, you know, kind

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Speaker 1: of start at that point to enjoy country music more.

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Speaker 1: I wasn't always sold on what was on the radio,

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Speaker 1: but my grandmother she played a lot of the old

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Speaker 1: stuff for me, Loretta and Dolly and Johnny Cash, and

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Speaker 1: that was cooler to me than even the nineties country.

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Speaker 1: There's still some nineties country that's like okay, you know,

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Speaker 1: and now it's like obviously having a big resurgence. But

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Speaker 1: my heart is in across the board, whether it's rock

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Speaker 1: and roll or country music. It's like the sixties and seventies, right, Yeah. Now,

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Speaker 1: I'm always it's always funny to me when people are like,

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Speaker 1: you know, I like the old stars like Garth Brooks,

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Speaker 1: like Rooks. You know, it's like I thought you meant, like,

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Speaker 1: you know, Ray Price or Merle Haggard or something, you

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Speaker 1: know exactly. We'll be back with Margot Price. We're back

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Speaker 1: with Margot Price. So when you decided to become a musician,

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Speaker 1: I mean, you could have gone to Los Angeles or

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Speaker 1: New York. You chose Nashville. And why was that? Well,

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Speaker 1: I wanted to go to Los Angeles and I wanted

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Speaker 1: to go to New York, and I think my parents

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Speaker 1: were just terrified to let me go that far away

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Speaker 1: from them, you know, just being nineteen years old and

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Speaker 1: fearless and you know, very trustworthy. And I came to visit.

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Speaker 1: I had a cousin living here in Nashville, and she's like,

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Speaker 1: I swear it's not all you know, cheesy country music,

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Speaker 1: because at that time, I just wasn't into any really

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Speaker 1: a lot of the music being made on you know,

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Speaker 1: top forty radio or country radio. I just I didn't

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Speaker 1: feel like I was going to fit in. But I

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Speaker 1: came on my spring break of my sophomore year of college,

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Speaker 1: and she took me down to like Rock Block, which

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Speaker 1: was like Exit in in the End and all these

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Speaker 1: cool like rock clubs, and I went to the spring

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Speaker 1: Water and just you know, lots of grungey dive bars

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Speaker 1: that kind I kind of started like go into these

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Speaker 1: open mics and go into shows at Mercy Lounge and Canary,

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Speaker 1: and I thought, okay, I can I could live here,

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Speaker 1: and I dropped out of college and moved here just

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Speaker 1: two months after I visited. How long had you been

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Speaker 1: writing songs by that point? Well, I started writing just

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Speaker 1: poems and making like acapella demos when I was I

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Speaker 1: don't even know, maybe seven years old or something. Wow.

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Speaker 1: And then around that time too, my mom put me

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Speaker 1: into piano lessons, and so I took piano for several years,

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Speaker 1: and then with my eighth grade graduation money, I bought

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Speaker 1: a Japanese guitar, about a salmon guitar. My parents were like,

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Speaker 1: we really think that you should buy a computer for

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Speaker 1: your school work, and I was like, well, I had

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Speaker 1: my eye on this guitar, and I immediately started learning

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Speaker 1: how to play chords and learning how to play songs,

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Speaker 1: just kind of self teaching. That was. That was when

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Speaker 1: I really got bit by the bug. I'd say, like

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Speaker 1: thirteen fourteen. I mean, you did have an uncle who

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Speaker 1: was a songwriter in Nashville. Yes, Bobbie Fisher who wrote

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Speaker 1: You Live for the McIntyre. He has written so many songs.

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Speaker 1: He's still writing songs and he's in his eighties and

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Speaker 1: just sharp as ever, he sent me a song last week,

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Speaker 1: and I'm going to try to put and put some

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Speaker 1: music too, if I can find five seconds to pick

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Speaker 1: up my guitar. But he I mean, he wrote for

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Speaker 1: George Jones, he wrote for Charlie Pride, Tanya Tucker's. He

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Speaker 1: was just really driven and also came from the middle

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Speaker 1: of nowhere and got a start later in life. So

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Speaker 1: it was inspiring to see that. And we'd come down

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Speaker 1: to go to Florida and we'd always stop in Nashville

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Speaker 1: and stay at his house and I'd like look at

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Speaker 1: his gold records on the wall, and you know, he

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Speaker 1: had stories about Garth Brooks and stuff then too. That's

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Speaker 1: who he was hanging out with, like Rebot and Garth

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Speaker 1: and all the top Nashville cats at the time. Right,

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Speaker 1: did you play your stuff for him? I did when

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Speaker 1: I first moved down here. I think, you know, my

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Speaker 1: mom thought it was going to be easy to like

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Speaker 1: connect the dots, like, oh, you go to your uncles

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Speaker 1: and you play him your cute songs and he's just

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Speaker 1: going to find you record label and you know, a

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Speaker 1: manager and plug you in with the right people. And

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Speaker 1: I went over to his house and we went in

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Speaker 1: his writing room and he's like, all right, well seeage

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Speaker 1: you up. He sits there and I tune up and

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Speaker 1: I play him a song that I wrote. It was

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Speaker 1: called no Love Lost, and I thought it was pretty

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Speaker 1: decent and played him to other songs and he just

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Speaker 1: sat there in complete silence, stared at me, and he's like, well,

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Speaker 1: this is what you need to do. I need to

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Speaker 1: go to your apartment. You need to get rid of

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Speaker 1: your TV, get rid of your computer, and you just

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Speaker 1: need to sit and just keep writing songs. Just write

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Speaker 1: a song every day and you'll figure it out. And

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Speaker 1: that tough love like hurt so much because I knew.

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Speaker 1: I mean, he didn't say. He didn't say it, well

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Speaker 1: I like this, but I don't like this. I mean

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Speaker 1: he basically was just like, just keep trying, and so

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Speaker 1: I would, Like I said, I was going to all

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Speaker 1: these like open mic writers nights, and one that I

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Speaker 1: was going to pretty frequently. I'd go almost every week.

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Speaker 1: It was it was the best Western and there was

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Speaker 1: a bar in there. It was called the Hall of

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Speaker 1: Fame Loud and there was never really a wait, like

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Speaker 1: to play, and there was a lot of good unknown

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Speaker 1: you know, I didn't know who a lot of these

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Speaker 1: writers were, and I assumed that, you know, not many

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Speaker 1: of them had a lot of cuts because they were

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Speaker 1: just playing in the in the hotel bar. But but

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Speaker 1: I made friends with some of the like older pickers there,

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Speaker 1: and you know, I was hanging out with like sixty

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Speaker 1: year olds as a twenty year old, and they'd buy

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Speaker 1: me drinks and kind of would sit and swap stories

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Speaker 1: and I'd get advice, and I was really just studying

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Speaker 1: the crowd's reaction to like everybody who played, like, okay,

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Speaker 1: well why did everybody laugh and like clap for this guy?

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Speaker 1: But nobody nobody reacted when you know the next person played.

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Speaker 1: And I think at that point, you know, I was

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Speaker 1: just trying to get my head around, like what is

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Speaker 1: a good song. There has to be humor and darkness,

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Speaker 1: a lesson, but not too many cliches that you know,

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Speaker 1: all these things started kind of firing off, and that

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Speaker 1: is where I really began to study, you know, what

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Speaker 1: makes a sound good. But you know, in retrospect, your

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Speaker 1: uncle gave you great advice, oh, without a doubt. But

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Speaker 1: it must have hurt at the time. I cried. I

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Speaker 1: called my mom. I was like, I don't know if

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Speaker 1: I should be here. He said my songs weren't good.

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Speaker 1: She's like, did he say that? I'm like, oh no,

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Speaker 1: But I'm reading between the lines. And he's really proud

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Speaker 1: of me now though, and he's very complimentary and he's

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Speaker 1: always sending me different articles and telling me stories. He's

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Speaker 1: got this guitar that just everybody has like tattooed this

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Speaker 1: guitar with. He has like a tattoo gun and you

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Speaker 1: at your name in it. And the day that he

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Speaker 1: asked me to sign that guitar, I really felt like

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Speaker 1: I'd accomplished something amazing. There are two things I do

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Speaker 1: want to ask you about from your early days, which is,

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Speaker 1: did you really hawk your wedding ring so you could

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Speaker 1: make your first album? I did, Wow, I got it back.

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Speaker 1: I got it back at the last minute. But yeah,

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Speaker 1: there was We sold a ton of music gear, a

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Speaker 1: lot of cool microphones and reels, real machine, and of

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Speaker 1: course my husband sold the car, which I thought he

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Speaker 1: was absolutely nuts for doing. But once he did that,

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Speaker 1: I was like, okay, well, let's just try to get

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Speaker 1: as big of a budget as we can and do

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Speaker 1: this right. Because I didn't want to do another kickstarter.

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Speaker 1: I had done that. I didn't want to ask anybody

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Speaker 1: for money. I didn't have anybody I could ask for money.

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Speaker 1: I'd already begged my way out of multiple problems at

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Speaker 1: that point, so there, Yeah, that was seemed like the

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Speaker 1: only option at the time. The other thing I wanted

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Speaker 1: to ask you about is after you did your first album,

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Speaker 1: you signed with Jack White's company. How did that come about,

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Speaker 1: because you've gone through a lot of rejection. Yeah. I

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Speaker 1: sent that album out to probably fifty record labels, but

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Speaker 1: I had this write up in Rolling Stone. We did

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Speaker 1: a video in a hotel room for Since You Put

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Speaker 1: Me Down, and Rolling Stone wrote it up and they

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Speaker 1: said sounds like Jack White produced Loretta Lynn. So I

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Speaker 1: always wonder if that's how it got on his radar.

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Speaker 1: But my Pedal Steel player, Luke Schneider, he told me

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Speaker 1: that Ben Swink was interested in hearing my record. And

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Speaker 1: Ben is, you know, Jack's right hand man, and so

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Speaker 1: I sent it to him and he was like, oh,

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Speaker 1: this is good, Okay, I'm coming to a show. And

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Speaker 1: he came out to a show at the Basement East

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Speaker 1: and I heard he was there like afterwards, and I

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Speaker 1: was like, I can't go talk to him. I'm too nervous.

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Speaker 1: I don't I don't want to go talk to him.

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Speaker 1: My friend Amanda was like, no, come on, I know

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Speaker 1: I'd be super nice. He's really down to earth. And

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Speaker 1: I went out there and he was like kind of

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Speaker 1: slur in his speech, and he was just really drunk.

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Speaker 1: He's been, he's sober now. He's one of my very

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Speaker 1: best friends, and I'm so grateful that he came out

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Speaker 1: and washed our watched us perform. Like the record was

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Speaker 1: very instrumental in everything coming together. I don't want to

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Speaker 1: talk too much about your early Nationville days because you've

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Speaker 1: written about it so beautifully. Your first album starts with

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Speaker 1: the Hands of Time, which is like a memoir that

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Speaker 1: would take somebody else three hundred pages, it takes you

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Speaker 1: six minutes. Are all your songs still that autobiographical? Um?

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Speaker 1: I think this third album that I am putting out

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Speaker 1: here is it is still autobiographical, but there's other elements

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Speaker 1: of like I don't know that really could be more

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Speaker 1: about anybody else. And some songs have you know, it's

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Speaker 1: like I I wrote them to multiple people, if that

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Speaker 1: makes sense. Like that's how rumors get started. It's not

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Speaker 1: just to like one of my friends that didn't make it.

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Speaker 1: It's to like multiple friends that are kind of struggling

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Speaker 1: and like caught in their same bad habits, and and

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Speaker 1: then there's um like I'd die for you that that's definitely,

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Speaker 1: you know, Jeremy and I's relationship based off of that

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Speaker 1: letting me Down. Jeremy and I we each wrote a

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00:23:51,280 --> 00:23:54,399
Speaker 1: verse and we wrote to both of us wrote to

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Speaker 1: different people in our past that we went to high

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Speaker 1: school with that you know, we had different experiences with

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00:24:00,800 --> 00:24:04,359
Speaker 1: both of them. But like, his friend was a burnout

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Speaker 1: drug addict who like joined the army, and he wrote

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Speaker 1: it to that friend, and I wrote it to a

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Speaker 1: friend of mine who had been raped and had a

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Speaker 1: really tough childhood. And so we we wrote them towards

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Speaker 1: different people and then worked on the chorus together. So

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Speaker 1: it's each one's different. We'll be back with more Margo Price.

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Speaker 1: We're back with the rest of Bruce's conversation with Margo Price.

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Speaker 1: So you've switched labels on this one, right, Yeah. I

394
00:24:38,560 --> 00:24:42,840
Speaker 1: had two albums with Third Man, and then for this

395
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Speaker 1: third one, they're still doing their pressing the record at

396
00:24:47,280 --> 00:24:52,160
Speaker 1: their pressing plant in Detroit, which I think is really cool. Yeah,

397
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Speaker 1: I just had the opportunity to Loma Vista was like

398
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Speaker 1: there and ready, and I wanted to get this out. Actually,

399
00:24:58,680 --> 00:25:02,960
Speaker 1: last spring within I pregnant, so it's just taken a

400
00:25:03,000 --> 00:25:06,080
Speaker 1: while to get it out. Did you make the album

401
00:25:06,080 --> 00:25:09,399
Speaker 1: while you were pregnant? Then, yeah, I started making it

402
00:25:09,440 --> 00:25:12,920
Speaker 1: in December of twenty eighteen. This is going to sound

403
00:25:12,920 --> 00:25:16,120
Speaker 1: like an odd question, but you've got such a powerful voice.

404
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Speaker 1: Does it Does being pregnant affect how you sing? Does

405
00:25:18,920 --> 00:25:22,679
Speaker 1: it affect you physically in a way? Well, you know,

406
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Speaker 1: early on, when I was in the studio, I was

407
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Speaker 1: I was wearing a baggy Fleetwood mac T shirt. You

408
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Speaker 1: couldn't even tell I was pregnant, really, But I worked

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Speaker 1: on it for months and months, and as time went on,

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Speaker 1: it didn't get harder to breathe. I mean, you've got

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Speaker 1: child pushing on your rib cage and your diaphragm. But

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Speaker 1: at the same time, I was being so good to

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Speaker 1: my body, and I was like working out and sleeping,

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Speaker 1: you know, eight nine hours every night, and I wasn't

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Speaker 1: drinking and I wasn't smoking any weed, and I felt

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Speaker 1: like I had incredible control over my voice. I was like, oh,

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Speaker 1: I think I gained a few notes up here in

418
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Speaker 1: my head voice, so I felt like it benefited me

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Speaker 1: in a way. And I was even I performed just

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Speaker 1: a few nights before I had Ramona, I sang with

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Speaker 1: Mavis Staples. I mean, I was massive and it was

422
00:26:17,720 --> 00:26:20,280
Speaker 1: harder to sing at that point. But right, well, that's

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Speaker 1: not too intimidate any being on stage with her. She's

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Speaker 1: so nice though, and she just was like, had her

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Speaker 1: hands on my stomach. She's like, I'm going to be

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Speaker 1: the godmother's She's like, I don't have babies anywhere on

427
00:26:34,880 --> 00:26:37,000
Speaker 1: my own, but I got babies all over the world.

428
00:26:37,080 --> 00:26:40,000
Speaker 1: I'm a godmother to hundreds of babies. You can name

429
00:26:40,040 --> 00:26:45,040
Speaker 1: you baby Mavis if you want. It was incredible to

430
00:26:45,119 --> 00:26:47,080
Speaker 1: be up there with her, and she was grabbing my

431
00:26:47,240 --> 00:26:50,040
Speaker 1: arm and helped lead me on stage like it was

432
00:26:50,280 --> 00:26:52,480
Speaker 1: it was something else. It was her eightieth birthday with

433
00:26:52,600 --> 00:26:55,560
Speaker 1: the Rayman and your Your daughter's middle name is Lynde,

434
00:26:55,640 --> 00:26:58,840
Speaker 1: isn't it? And that's for that's for Loretta. Yeah, yeah,

435
00:26:59,240 --> 00:27:03,240
Speaker 1: Now were you friends her? I am? I am? I am.

436
00:27:03,359 --> 00:27:06,800
Speaker 1: I was talking to her daughter. When Loretta's last album

437
00:27:06,880 --> 00:27:10,199
Speaker 1: came out, she felt ill and so they asked me

438
00:27:10,240 --> 00:27:13,159
Speaker 1: to come up to Ernest Tube record shop and do

439
00:27:13,200 --> 00:27:15,119
Speaker 1: a little interview and kind of talk about her and

440
00:27:16,400 --> 00:27:19,000
Speaker 1: sing a song for her. And I was pregnant at

441
00:27:19,000 --> 00:27:21,360
Speaker 1: the time. I had just found out. I hadn't told anybody,

442
00:27:21,400 --> 00:27:24,159
Speaker 1: and I was talking to her daughter, Patsy, and I

443
00:27:24,200 --> 00:27:26,080
Speaker 1: just started kind of picking her brain. I was like,

444
00:27:26,320 --> 00:27:28,720
Speaker 1: you did never like present your mom because she was

445
00:27:28,760 --> 00:27:31,320
Speaker 1: on the road all the time, did you? She was like,

446
00:27:31,359 --> 00:27:34,439
Speaker 1: oh no, we never knew any other way, you know.

447
00:27:34,560 --> 00:27:37,000
Speaker 1: It was just Daddy was home and he took care

448
00:27:37,040 --> 00:27:38,960
Speaker 1: of us and mommy went out and made the money.

449
00:27:38,960 --> 00:27:40,960
Speaker 1: And sometimes we go on to her and it was great.

450
00:27:41,359 --> 00:27:43,359
Speaker 1: She's like, are you thinking about having another baby? I

451
00:27:43,440 --> 00:27:48,760
Speaker 1: was like, oh, maybe, I don't know. And a couple

452
00:27:48,760 --> 00:27:54,160
Speaker 1: of weeks later, Loretta called me and I told her

453
00:27:54,240 --> 00:27:57,320
Speaker 1: at that point and she's like, well, I tell you

454
00:27:57,320 --> 00:28:00,560
Speaker 1: what you can use. Lens is a middle name, is

455
00:28:00,600 --> 00:28:02,520
Speaker 1: a boy or girl name. I give you the blessing

456
00:28:02,520 --> 00:28:04,280
Speaker 1: and I hope you have you know, I hope you

457
00:28:04,320 --> 00:28:08,720
Speaker 1: have five more. She's like, you can do it. I'm like, no,

458
00:28:09,040 --> 00:28:13,280
Speaker 1: I'm done. Uh. You know what. A lot of fans

459
00:28:13,359 --> 00:28:16,919
Speaker 1: loved your first couple of records. Um, you had like

460
00:28:16,920 --> 00:28:21,280
Speaker 1: a kind of pitch perfect seventies Nashville sound. I don't

461
00:28:21,320 --> 00:28:23,080
Speaker 1: want to confine it just to that, but you had

462
00:28:23,119 --> 00:28:26,480
Speaker 1: the kind of telecaster, the bright telecaster, that the pedal

463
00:28:26,560 --> 00:28:28,840
Speaker 1: stee You had a great band. So I was a

464
00:28:28,840 --> 00:28:31,960
Speaker 1: little unprepared for this new album, which first of all

465
00:28:31,960 --> 00:28:37,080
Speaker 1: starts with this beautiful little piano part by Tom Petty's

466
00:28:37,080 --> 00:28:41,360
Speaker 1: collaboratory Ben Montage. How did, first of all tell me

467
00:28:41,400 --> 00:28:43,240
Speaker 1: how it came about that you recorded the album the

468
00:28:43,280 --> 00:28:45,680
Speaker 1: way you did, and what you were thinking about when

469
00:28:45,720 --> 00:28:50,400
Speaker 1: you recorded this album. Well, obviously, country music, I think

470
00:28:50,400 --> 00:28:54,520
Speaker 1: it always goes through these kind of resurgencies where it

471
00:28:54,560 --> 00:28:59,120
Speaker 1: becomes really you know, popular and um like. Instead it

472
00:28:59,160 --> 00:29:03,640
Speaker 1: becomes fashionable, like both in just what people are wearing,

473
00:29:04,240 --> 00:29:08,840
Speaker 1: but also in people trying to have that more traditional sound.

474
00:29:09,560 --> 00:29:14,080
Speaker 1: And once the mainstream Nashville kind of caught onto what

475
00:29:14,080 --> 00:29:17,200
Speaker 1: the underground was doing, and once they started to mimic

476
00:29:17,240 --> 00:29:21,360
Speaker 1: that and regurgitate it, I wanted to jump ship. And

477
00:29:22,000 --> 00:29:24,560
Speaker 1: there's a lot of things about the country music industry

478
00:29:24,720 --> 00:29:27,760
Speaker 1: that I don't agree with that I've never agreed with,

479
00:29:28,360 --> 00:29:33,120
Speaker 1: and I just wanted to try to get away from that.

480
00:29:35,080 --> 00:29:40,600
Speaker 1: The sexism, the racism and just the overall bullshit politics

481
00:29:40,720 --> 00:29:43,160
Speaker 1: that comes with it. And it's like you speak out

482
00:29:43,240 --> 00:29:45,200
Speaker 1: about one thing that they don't like, and then they

483
00:29:45,240 --> 00:29:50,000
Speaker 1: blacklist you, and then you know, when you die, like

484
00:29:50,120 --> 00:29:52,080
Speaker 1: with Meral Haggard or something, they're like, oh, well, we're

485
00:29:52,120 --> 00:29:54,760
Speaker 1: going to tribute you anyway. So I wanted to get

486
00:29:54,760 --> 00:29:58,920
Speaker 1: out of that, and I wanted to make something completely

487
00:29:58,920 --> 00:30:02,120
Speaker 1: different because I just I see a lot of singer songwriters,

488
00:30:02,120 --> 00:30:05,160
Speaker 1: A lot of people get into the habit of like

489
00:30:05,280 --> 00:30:08,880
Speaker 1: making the same album with the same themes, like over

490
00:30:09,040 --> 00:30:11,600
Speaker 1: and over again, and I just didn't want to become

491
00:30:11,720 --> 00:30:15,360
Speaker 1: stale in what I was doing. And I've always loved

492
00:30:15,480 --> 00:30:18,120
Speaker 1: rock music just as much as I've loved country. And

493
00:30:18,160 --> 00:30:21,920
Speaker 1: that's why I think people like Neil Young, Linda Ronstat,

494
00:30:22,160 --> 00:30:24,920
Speaker 1: people who started the line of both and never were

495
00:30:24,960 --> 00:30:29,480
Speaker 1: confined to a genre. That's the kind of career that

496
00:30:29,520 --> 00:30:32,080
Speaker 1: I want to have something that outlasts like the fad

497
00:30:32,400 --> 00:30:37,280
Speaker 1: of just a genre. But it's one of those albums that,

498
00:30:37,760 --> 00:30:41,400
Speaker 1: like lots of people do their California album or their

499
00:30:41,440 --> 00:30:45,120
Speaker 1: different kind of album, when your album it just doesn't.

500
00:30:45,640 --> 00:30:50,360
Speaker 1: You can hear influences here there. I think particularly letting

501
00:30:50,360 --> 00:30:53,200
Speaker 1: me down. But I think the ghost of Tom Petty

502
00:30:53,280 --> 00:30:56,520
Speaker 1: kind of hovers over that one in a good way. Yeah,

503
00:30:56,640 --> 00:30:58,440
Speaker 1: thank you. But you know, there's that old line about

504
00:30:58,480 --> 00:31:01,200
Speaker 1: originality is when people can and figure out your sources

505
00:31:01,360 --> 00:31:03,880
Speaker 1: or something like that. I like that. I kept thinking,

506
00:31:03,960 --> 00:31:05,920
Speaker 1: I kept thinking, oh, I think I know what she's doing,

507
00:31:06,040 --> 00:31:09,040
Speaker 1: but this is the sound of it is really quite something,

508
00:31:09,520 --> 00:31:12,680
Speaker 1: thank you. You know, like, Hey Child, I could see

509
00:31:12,680 --> 00:31:14,160
Speaker 1: a lot of people doing it as a big kind

510
00:31:14,160 --> 00:31:17,640
Speaker 1: of gospel number and you sort of go there, but

511
00:31:17,760 --> 00:31:21,120
Speaker 1: you don't. It's just it's a really interesting combination of things.

512
00:31:21,400 --> 00:31:25,120
Speaker 1: What were you listening to? What were you thinking about? Well,

513
00:31:25,160 --> 00:31:29,560
Speaker 1: you definitely said Tom Petty and Heartbreakers, Fleetwood Mac that

514
00:31:29,680 --> 00:31:33,480
Speaker 1: was like the kind of overall thought and sprinkle in

515
00:31:33,560 --> 00:31:38,800
Speaker 1: some Bruce Springsteen, maybe the Pretenders. Hey Child. I think

516
00:31:39,440 --> 00:31:43,080
Speaker 1: it was our most Stones influenced song. And we wrote

517
00:31:43,080 --> 00:31:50,800
Speaker 1: that song almost maybe eight should nine years ago and

518
00:31:51,240 --> 00:31:55,640
Speaker 1: we were just super into the Stones and Sturgil was like,

519
00:31:55,680 --> 00:31:57,920
Speaker 1: what happened to that Hey Child song you used to play?

520
00:31:58,080 --> 00:32:00,200
Speaker 1: And I'm like, oh man, I've already recorded that. I

521
00:32:00,200 --> 00:32:02,840
Speaker 1: don't I don't want to do that song. I don't,

522
00:32:02,880 --> 00:32:04,920
Speaker 1: you know, feel connected to it. And I had sixteen

523
00:32:05,320 --> 00:32:09,680
Speaker 1: other songs, but we ended up recording sixteen songs. But

524
00:32:10,320 --> 00:32:12,320
Speaker 1: I was like, all right, you're right, no one's heard it.

525
00:32:12,560 --> 00:32:16,440
Speaker 1: Let's give it a shot. And everybody on the session

526
00:32:16,560 --> 00:32:18,960
Speaker 1: was like, this is a killer song. I really wanted,

527
00:32:19,080 --> 00:32:20,800
Speaker 1: you know, with the background vocals. I wanted to get

528
00:32:20,800 --> 00:32:24,040
Speaker 1: that like Mary Clayton give me Shelter, kind of like

529
00:32:24,200 --> 00:32:28,520
Speaker 1: vibe going at the end. Oh okay. But yeah, I

530
00:32:28,600 --> 00:32:31,600
Speaker 1: mean I think the fact that, like, maybe because I

531
00:32:31,640 --> 00:32:36,440
Speaker 1: am a woman like doing the Stones, like, people aren't like, oh,

532
00:32:36,480 --> 00:32:38,280
Speaker 1: where is this? It's not like if I was just

533
00:32:39,280 --> 00:32:41,680
Speaker 1: maybe directly pulling from Emmy Lou hair a sort of

534
00:32:41,720 --> 00:32:43,440
Speaker 1: Loretta in like I have in the past. I think

535
00:32:43,440 --> 00:32:46,960
Speaker 1: that's more easy to pinpoint. Right. Can I ask you

536
00:32:47,000 --> 00:32:49,760
Speaker 1: about a couple of the songs that I thought were

537
00:32:49,800 --> 00:32:53,640
Speaker 1: just stand outs and you just mentioned one stone me? Yeah,

538
00:32:53,640 --> 00:32:58,280
Speaker 1: where did that from? Well? My husband threw me the title.

539
00:32:58,720 --> 00:33:00,480
Speaker 1: He's like, hey, I had a song time I thought

540
00:33:00,520 --> 00:33:02,800
Speaker 1: you should write too. I was like, Okay, what is it.

541
00:33:02,800 --> 00:33:06,520
Speaker 1: He's like stoney right, It's like, okay, I know you're

542
00:33:06,520 --> 00:33:09,600
Speaker 1: coming from. And I think he wanted some kind of

543
00:33:09,640 --> 00:33:12,320
Speaker 1: like last dance with Mary Jane, or like let's get

544
00:33:12,320 --> 00:33:15,080
Speaker 1: to the point, throw another joint, you know, like just

545
00:33:15,120 --> 00:33:18,640
Speaker 1: like a stoner anthem. And I tried to write it

546
00:33:18,680 --> 00:33:22,080
Speaker 1: like that and just nothing came out. And then him

547
00:33:22,120 --> 00:33:24,440
Speaker 1: and I had an argument actually when I was on

548
00:33:24,480 --> 00:33:29,479
Speaker 1: the road and he called me a bit and so

549
00:33:29,520 --> 00:33:31,800
Speaker 1: I wrote, I wrote stone me, and I just I

550
00:33:31,880 --> 00:33:34,480
Speaker 1: typed it on my phone in my notes, and I

551
00:33:34,600 --> 00:33:36,680
Speaker 1: was like, it was just a poem, and I sent

552
00:33:36,720 --> 00:33:40,120
Speaker 1: it to him and he's like, oh, that's good, and

553
00:33:40,160 --> 00:33:43,120
Speaker 1: then he sent back like two hours later. He sent

554
00:33:43,160 --> 00:33:47,280
Speaker 1: back the melody and was singing my words in it. Wow.

555
00:33:47,440 --> 00:33:49,640
Speaker 1: And so he got a co write on a song

556
00:33:49,680 --> 00:33:53,440
Speaker 1: that was like about him. But like I said, you know,

557
00:33:53,480 --> 00:33:55,960
Speaker 1: with like some of my songs being about two different people,

558
00:33:56,000 --> 00:33:57,720
Speaker 1: it was like I started writing it about him, and

559
00:33:57,760 --> 00:34:02,000
Speaker 1: then I deflected my anger towards this like hack journalist

560
00:34:02,200 --> 00:34:06,240
Speaker 1: that writes like these smear pieces on me, and so

561
00:34:06,520 --> 00:34:09,640
Speaker 1: it kind of became about this like this blogger that

562
00:34:10,320 --> 00:34:14,560
Speaker 1: have a lot of disdain for But okay, yeah, it's

563
00:34:14,600 --> 00:34:16,560
Speaker 1: a it's a combo song. Well, I'm not going to

564
00:34:16,640 --> 00:34:18,520
Speaker 1: say anything bad about you now because I don't want to.

565
00:34:18,640 --> 00:34:21,040
Speaker 1: I don't want to show up in the next album,

566
00:34:21,080 --> 00:34:24,360
Speaker 1: and I mentioned Hey Child, which I think is just stunning,

567
00:34:24,360 --> 00:34:26,799
Speaker 1: and I keep listening to it. Tell me about that one.

568
00:34:27,120 --> 00:34:30,279
Speaker 1: Where did it come out of? I mean, around the

569
00:34:30,280 --> 00:34:33,880
Speaker 1: time that we wrote it. It was after my husband

570
00:34:33,880 --> 00:34:38,120
Speaker 1: and I had lost our son, and we were hanging

571
00:34:38,160 --> 00:34:41,800
Speaker 1: out with a couple bands and all of us would

572
00:34:41,800 --> 00:34:45,600
Speaker 1: play the five spot together in our respective rock and

573
00:34:45,680 --> 00:34:47,920
Speaker 1: roll bands. It was being called the Lonely Age that

574
00:34:48,000 --> 00:34:50,600
Speaker 1: had just moved here from Portland. They were a little

575
00:34:50,600 --> 00:34:52,960
Speaker 1: bit younger than us, and we started hanging out with

576
00:34:53,000 --> 00:34:56,600
Speaker 1: them and like partying a lot. And there's a lot

577
00:34:56,640 --> 00:35:00,160
Speaker 1: of drugs going around that scene at the time. I'm

578
00:35:01,000 --> 00:35:02,960
Speaker 1: and so a lot of those lyrics are kind of

579
00:35:03,800 --> 00:35:08,239
Speaker 1: about how everybody was more or less had like a

580
00:35:08,280 --> 00:35:12,000
Speaker 1: death wish and just but it was such a such

581
00:35:12,040 --> 00:35:14,480
Speaker 1: a different time because there was something really exciting happening.

582
00:35:14,520 --> 00:35:15,920
Speaker 1: There were a lot of really good bands, and you

583
00:35:16,000 --> 00:35:17,880
Speaker 1: knew that it wasn't going to last that way forever.

584
00:35:18,000 --> 00:35:20,480
Speaker 1: We were all partying like we had made it, you know,

585
00:35:20,640 --> 00:35:23,840
Speaker 1: like we were partying like we were the Rolling Stones,

586
00:35:24,480 --> 00:35:27,880
Speaker 1: but everybody was like broke and throwing in like four

587
00:35:27,920 --> 00:35:32,520
Speaker 1: dollars for a bottle of like Benchmark whiskey and getting

588
00:35:32,560 --> 00:35:36,600
Speaker 1: blind drunk probably four or five nights a week. Um,

589
00:35:37,600 --> 00:35:40,960
Speaker 1: that's around the time that child was written. Okay, you

590
00:35:41,000 --> 00:35:45,680
Speaker 1: know you mentioned the loss of your son Ezra, and

591
00:35:45,760 --> 00:35:47,880
Speaker 1: you know you've had other losses. A lot of your

592
00:35:47,880 --> 00:35:52,319
Speaker 1: songs are about loss. In fact, even your songs are

593
00:35:52,880 --> 00:35:56,759
Speaker 1: they're about success or about loss, like Twinkle Twinkle or

594
00:35:57,600 --> 00:36:01,520
Speaker 1: Prisoner of the Highway. Just is that kind of the

595
00:36:01,560 --> 00:36:04,320
Speaker 1: way you see the world. How m Glass happened to

596
00:36:04,719 --> 00:36:12,240
Speaker 1: a girl? I you know, I do try to find

597
00:36:12,760 --> 00:36:17,920
Speaker 1: the good in this situation. I found myself recently really

598
00:36:17,920 --> 00:36:21,839
Speaker 1: trying to keep a positive attitude about, you know, well,

599
00:36:22,440 --> 00:36:26,640
Speaker 1: something bad in my life. Every time something bad happens,

600
00:36:26,640 --> 00:36:30,080
Speaker 1: something good does always come out of it. But I

601
00:36:30,200 --> 00:36:36,120
Speaker 1: do like the the melancholy, like a sad song in

602
00:36:36,160 --> 00:36:40,840
Speaker 1: a major key, or a major key song with really

603
00:36:40,880 --> 00:36:43,680
Speaker 1: sad words like a little pain. It's like a happy song.

604
00:36:43,920 --> 00:36:46,759
Speaker 1: But I just never like songs that are like all

605
00:36:46,840 --> 00:36:50,000
Speaker 1: one way or you know, just how much is that

606
00:36:50,040 --> 00:36:54,640
Speaker 1: doggy in the window of you are My Sunshine? That's

607
00:36:54,680 --> 00:36:58,440
Speaker 1: a good song, though, that's a bittta Lynn and Merle Haggard.

608
00:36:58,480 --> 00:37:00,520
Speaker 1: That's kind of the way they did it. It can

609
00:37:00,520 --> 00:37:02,640
Speaker 1: be in there, yeah, I mean, it can be sprinkled

610
00:37:02,640 --> 00:37:06,880
Speaker 1: in there. But I I've always found myself attracted to

611
00:37:07,960 --> 00:37:12,640
Speaker 1: darker lyrics. I mean, I loved Johnny Cash growing up.

612
00:37:12,680 --> 00:37:17,600
Speaker 1: I loved his attitude. He didn't care what anybody thought,

613
00:37:17,840 --> 00:37:21,320
Speaker 1: and he had kind of this like chip on his shoulder.

614
00:37:21,520 --> 00:37:24,680
Speaker 1: And you know, even after he became successful, he was

615
00:37:24,719 --> 00:37:29,400
Speaker 1: still singing the song of the working man, and you know,

616
00:37:29,960 --> 00:37:31,880
Speaker 1: I mean the whole story of man in black and

617
00:37:32,880 --> 00:37:37,120
Speaker 1: just people who who still carry that burden. I still

618
00:37:38,120 --> 00:37:42,000
Speaker 1: feel for people that are in a bad situation right now.

619
00:37:42,080 --> 00:37:44,960
Speaker 1: You know, even though I'm very lucky, I have to

620
00:37:44,960 --> 00:37:48,239
Speaker 1: remind myself and and do what I can to help

621
00:37:48,239 --> 00:37:51,839
Speaker 1: people that are not as fortunate, because I've I've been there.

622
00:37:53,320 --> 00:37:57,479
Speaker 1: You know, Johnny Cash wasn't really in fulsome prison. When

623
00:37:57,480 --> 00:38:01,000
Speaker 1: you write your songs about your weekend in prison, that's

624
00:38:01,040 --> 00:38:06,760
Speaker 1: the real thing, unfortunately. Yeah, I feel like I learned

625
00:38:06,760 --> 00:38:10,600
Speaker 1: a lot that weekend because I was seeing women that

626
00:38:10,680 --> 00:38:15,120
Speaker 1: were in there for much longer than me. And when

627
00:38:15,120 --> 00:38:17,440
Speaker 1: I wrote the verse about the girl who was in

628
00:38:17,480 --> 00:38:20,520
Speaker 1: the cell with me, she would get up in the morning,

629
00:38:20,520 --> 00:38:22,480
Speaker 1: and I would see all the women line up and

630
00:38:22,520 --> 00:38:25,400
Speaker 1: get their paper cups and swallow their pills, and you know,

631
00:38:25,440 --> 00:38:27,560
Speaker 1: basically she's like, oh, you just should tell them that

632
00:38:27,600 --> 00:38:29,719
Speaker 1: you were, like are coming off of heroin because then

633
00:38:29,760 --> 00:38:31,720
Speaker 1: they'll give you pills and you can sleep all the time.

634
00:38:31,800 --> 00:38:36,800
Speaker 1: And I just had so much compassion for what I saw,

635
00:38:37,000 --> 00:38:40,319
Speaker 1: and you know, like thought to myself, I can never

636
00:38:40,440 --> 00:38:43,640
Speaker 1: come back here. I'm I'm not going to find myself

637
00:38:43,640 --> 00:38:46,680
Speaker 1: back in this position. And so I really did get

638
00:38:46,719 --> 00:38:50,600
Speaker 1: sober and pull my life back together because I was

639
00:38:51,320 --> 00:38:57,160
Speaker 1: in a really dark mental space, like just you know,

640
00:38:57,400 --> 00:39:01,880
Speaker 1: I really debated checking myself into a mental institution. I

641
00:39:01,920 --> 00:39:04,480
Speaker 1: called a friend of mine who had been through AA.

642
00:39:04,640 --> 00:39:06,960
Speaker 1: She was much older than me. Your name was roy Anne.

643
00:39:07,560 --> 00:39:10,640
Speaker 1: She used to hang out with Towns Vand's aunt and

644
00:39:11,040 --> 00:39:12,840
Speaker 1: sing with him back in the day. And she was

645
00:39:12,840 --> 00:39:16,279
Speaker 1: sober and she's like, whenever you're ready to quit your

646
00:39:16,360 --> 00:39:18,680
Speaker 1: rowdy ways, you give me a call and I'll get

647
00:39:18,680 --> 00:39:20,200
Speaker 1: I got a chip for you, you know. And I

648
00:39:20,239 --> 00:39:21,480
Speaker 1: called her and I was like, I think I'm going

649
00:39:21,560 --> 00:39:24,879
Speaker 1: to check myself into a mental institution. She's like, don't

650
00:39:24,920 --> 00:39:27,399
Speaker 1: do it. She's like, we'll have your name forever. It'll

651
00:39:27,440 --> 00:39:30,680
Speaker 1: be a mark on your on your record, and you

652
00:39:30,760 --> 00:39:33,640
Speaker 1: just if you can work through it, you should. But then,

653
00:39:33,719 --> 00:39:37,919
Speaker 1: of course I went out and I drank and drove

654
00:39:38,000 --> 00:39:40,240
Speaker 1: my car stupidly. I did try to call a cab,

655
00:39:40,280 --> 00:39:43,799
Speaker 1: but they never came, and I hit a telephone pole

656
00:39:44,400 --> 00:39:48,440
Speaker 1: in East Nashville, less than a mile from my house,

657
00:39:49,239 --> 00:39:51,799
Speaker 1: right in front of two police officers and about two

658
00:39:51,800 --> 00:39:55,280
Speaker 1: in the morning, and I tried to outrun the cops

659
00:39:55,360 --> 00:39:58,000
Speaker 1: because I had weed on me, I had a pipe,

660
00:39:58,440 --> 00:40:02,240
Speaker 1: I had was in the car, and I'd been drinking

661
00:40:02,320 --> 00:40:09,240
Speaker 1: for like six hours. And I did not obviously outrun them.

662
00:40:09,320 --> 00:40:12,719
Speaker 1: I've eventually pulled over. I thought maybe I could pull

663
00:40:12,760 --> 00:40:14,560
Speaker 1: into a driveway and turn my lights off, like maybe

664
00:40:14,560 --> 00:40:16,759
Speaker 1: I can get all the way home. But they got

665
00:40:16,840 --> 00:40:18,719
Speaker 1: right up on my ass and I pulled over in

666
00:40:18,760 --> 00:40:21,520
Speaker 1: front of a Baptist church and walked the line in

667
00:40:21,560 --> 00:40:25,000
Speaker 1: the rain and failed. And it was humiliating. I mean,

668
00:40:25,040 --> 00:40:29,719
Speaker 1: I had a young son at home, and at that

669
00:40:29,800 --> 00:40:33,239
Speaker 1: point I just knew I had to quit being a

670
00:40:33,320 --> 00:40:39,160
Speaker 1: deadbeat and and focus on my goal again. So is

671
00:40:39,800 --> 00:40:45,759
Speaker 1: music still important to kind of keeping you centered and focused? Oh,

672
00:40:45,760 --> 00:40:50,560
Speaker 1: without a doubt, I've been feeling more depressed in the

673
00:40:50,600 --> 00:40:54,160
Speaker 1: past two months, as I'm sure everybody in the entire

674
00:40:54,200 --> 00:40:59,839
Speaker 1: world is feeling. And I've even before the Pandemic hit,

675
00:41:00,520 --> 00:41:03,759
Speaker 1: I was just kind of feeling like some postpartum depression,

676
00:41:04,360 --> 00:41:06,640
Speaker 1: and I was really looking forward to getting back out

677
00:41:06,680 --> 00:41:08,600
Speaker 1: on tour. I thought, you know what, I just need

678
00:41:08,600 --> 00:41:12,840
Speaker 1: to get back to myself and get back to my work,

679
00:41:13,480 --> 00:41:16,000
Speaker 1: and this album is going to come out. Everything's gonna

680
00:41:16,000 --> 00:41:19,400
Speaker 1: be fine. And then when this hit, I just started

681
00:41:19,440 --> 00:41:23,319
Speaker 1: feeling really hopeless. But I, you know, I have two

682
00:41:23,400 --> 00:41:25,960
Speaker 1: kids to take care of, and I get up in

683
00:41:26,000 --> 00:41:29,120
Speaker 1: the morning and I brush my hair and I fixed

684
00:41:29,200 --> 00:41:32,680
Speaker 1: myself some eggs, and I do typically put a record

685
00:41:32,719 --> 00:41:36,920
Speaker 1: on because whether it's a sad song that I'm listening

686
00:41:36,920 --> 00:41:39,799
Speaker 1: to or a happy song, it's just good to have

687
00:41:39,840 --> 00:41:42,719
Speaker 1: those feelings with music kind of playing in the background.

688
00:41:42,880 --> 00:41:45,840
Speaker 1: And I feel like I've kind of fallen back in

689
00:41:45,920 --> 00:41:48,960
Speaker 1: love as a listener, you know, because there's not a

690
00:41:49,000 --> 00:41:51,960
Speaker 1: lot to do. It's like, oh, I can really fully

691
00:41:52,000 --> 00:41:55,759
Speaker 1: immerse myself into where this song wants to take me.

692
00:41:56,320 --> 00:41:59,279
Speaker 1: And what have you been listening to in particular, Well,

693
00:41:59,280 --> 00:42:02,080
Speaker 1: I've been listening to every Bob Dylan song that he's

694
00:42:02,080 --> 00:42:05,320
Speaker 1: been putting out. I've been listening to the new Lucinda

695
00:42:05,400 --> 00:42:10,839
Speaker 1: Williams a lot. I adore her, so as far as

696
00:42:10,920 --> 00:42:12,759
Speaker 1: you know new music that's being released. Oh and Fetch

697
00:42:12,800 --> 00:42:16,719
Speaker 1: the Bolt Cutters by Fiona Apple. I've been a huge

698
00:42:16,719 --> 00:42:19,799
Speaker 1: fan of hers for a long time. Every day, every

699
00:42:19,880 --> 00:42:22,360
Speaker 1: day is something different. I'm just trying to, you know,

700
00:42:22,520 --> 00:42:26,200
Speaker 1: think about starting to write again myself, and I'm going

701
00:42:26,239 --> 00:42:30,399
Speaker 1: to really throw myself into recording a lot of music

702
00:42:30,440 --> 00:42:33,520
Speaker 1: because I can't travel and I can't play songs. And

703
00:42:33,600 --> 00:42:36,360
Speaker 1: I think what's really inspiring about the Fiona album, the

704
00:42:36,360 --> 00:42:40,279
Speaker 1: Fiona Apple record, is just that how long she was

705
00:42:40,320 --> 00:42:44,440
Speaker 1: making that and how you know, she just focused all

706
00:42:44,480 --> 00:42:47,440
Speaker 1: of her energy into that. And I think that there's

707
00:42:47,480 --> 00:42:52,680
Speaker 1: a lot of people that are hopefully writing their true

708
00:42:52,760 --> 00:42:56,480
Speaker 1: feelings and you know, getting back to the core of

709
00:42:56,520 --> 00:43:00,319
Speaker 1: who we are as people. So what's it like to

710
00:43:00,360 --> 00:43:03,239
Speaker 1: think that there are many many people out there who

711
00:43:03,280 --> 00:43:06,560
Speaker 1: are getting through this listening to your music. That's that's

712
00:43:06,560 --> 00:43:10,280
Speaker 1: a good that's a good feeling. I think I've still

713
00:43:10,680 --> 00:43:14,759
Speaker 1: I don't really see myself as that successful. I don't know,

714
00:43:14,960 --> 00:43:17,799
Speaker 1: I don't know why, but I feel like I spent

715
00:43:17,920 --> 00:43:21,719
Speaker 1: so much time like playing dive bars and clubs, and

716
00:43:21,880 --> 00:43:24,359
Speaker 1: I even wrote about it and stone me, you know,

717
00:43:25,239 --> 00:43:27,200
Speaker 1: I won't forget what it's like to be poor. I

718
00:43:27,239 --> 00:43:29,399
Speaker 1: could be there again, that's for sure. And then here

719
00:43:29,400 --> 00:43:33,160
Speaker 1: I am like, Okay, there goes my main source of income, touring,

720
00:43:33,239 --> 00:43:35,319
Speaker 1: and not like, you know, I'm trying to say any

721
00:43:35,360 --> 00:43:39,200
Speaker 1: poor me thing, because I'm doing fine. But I never

722
00:43:39,280 --> 00:43:44,120
Speaker 1: wanted success to change who I am at the core,

723
00:43:44,480 --> 00:43:47,040
Speaker 1: and so it is nice, you know. And my husband

724
00:43:47,040 --> 00:43:48,840
Speaker 1: like reminds me, He's like, you got a lot of

725
00:43:48,840 --> 00:43:51,880
Speaker 1: people out there that enjoy your gift, and it's a

726
00:43:51,920 --> 00:43:55,239
Speaker 1: gift to both you and them. And you know, he

727
00:43:55,320 --> 00:43:59,520
Speaker 1: tries to both, you know, keep me grounded, but also

728
00:44:00,160 --> 00:44:03,560
Speaker 1: make me realize what I have. And I am grateful

729
00:44:03,600 --> 00:44:06,759
Speaker 1: that people are listening. And I just can't wait to

730
00:44:06,760 --> 00:44:10,200
Speaker 1: get this new record out. I just can't wait. You

731
00:44:10,239 --> 00:44:12,080
Speaker 1: really are from the You really are from the mid

732
00:44:12,160 --> 00:44:21,840
Speaker 1: quest Yeah, I can't enjoy this, It's true. Well listen,

733
00:44:21,880 --> 00:44:24,240
Speaker 1: thank you so much for doing this. It's been great.

734
00:44:24,880 --> 00:44:28,720
Speaker 1: Thank you for asking great questions that doesn't always happen.

735
00:44:30,239 --> 00:44:32,279
Speaker 1: And before we go, we wanted to share a quick

736
00:44:32,320 --> 00:44:35,760
Speaker 1: interview Bruce did with the uncle Margot mentioned here's legendary

737
00:44:35,760 --> 00:44:40,279
Speaker 1: country songwriter Bobby Fisher. So what was it like in

738
00:44:40,320 --> 00:44:42,680
Speaker 1: the set when you would when you would go plug songs?

739
00:44:42,719 --> 00:44:45,600
Speaker 1: What were you doing? You're going around to different labels, Yeah,

740
00:44:45,600 --> 00:44:49,440
Speaker 1: wherever you could, you know, I found out just how

741
00:44:49,640 --> 00:44:53,359
Speaker 1: how could you do it? Like? You know, I used

742
00:44:53,360 --> 00:44:55,719
Speaker 1: to drink beer with a guy to his wife was

743
00:44:55,800 --> 00:44:58,640
Speaker 1: kin which what he's made? And I'd give him something

744
00:44:58,640 --> 00:45:01,000
Speaker 1: my rote. You know, he'd take a and she didn't.

745
00:45:01,080 --> 00:45:03,640
Speaker 1: Maybe the Conway would be doing breakfast and if it

746
00:45:03,920 --> 00:45:08,359
Speaker 1: felt right, she would show him, showing the song that's

747
00:45:08,480 --> 00:45:11,319
Speaker 1: terrible or whatever. You know. I ended up with two

748
00:45:11,360 --> 00:45:16,040
Speaker 1: Conway cuts, you know, just somewhere down the line. And yeah,

749
00:45:16,080 --> 00:45:18,920
Speaker 1: I mean when Conway breeds life into a lyric, you

750
00:45:19,000 --> 00:45:23,000
Speaker 1: really got to sell, you know. Yeah. I had these

751
00:45:23,000 --> 00:45:26,719
Speaker 1: two guys, great writers, Charlie Black and Austin Roberts, were

752
00:45:26,760 --> 00:45:30,279
Speaker 1: playing playing poker one night and they said, uh, you know,

753
00:45:30,280 --> 00:45:32,399
Speaker 1: we ought to work together. We laughed and have such

754
00:45:32,400 --> 00:45:35,680
Speaker 1: a great time. We're all writers. So they said, you

755
00:45:35,800 --> 00:45:40,279
Speaker 1: find an artist and we'll produce some free write all

756
00:45:40,320 --> 00:45:42,439
Speaker 1: the songs, and then you take over because we don't

757
00:45:42,440 --> 00:45:44,799
Speaker 1: want none of the business part. So I said, oh

758
00:45:44,840 --> 00:45:47,799
Speaker 1: that's great. So we found this artist and I named

759
00:45:47,800 --> 00:45:51,880
Speaker 1: her CC Chapman. It's a great singer, and uh so

760
00:45:52,000 --> 00:45:54,719
Speaker 1: then we uh wrote all ten songs. I got her

761
00:45:54,719 --> 00:45:57,719
Speaker 1: on Curb Records. We put out a couple of you know,

762
00:45:57,800 --> 00:46:00,480
Speaker 1: Mike Kurb had like very tight fishing. He didn't put

763
00:46:00,480 --> 00:46:04,920
Speaker 1: out much for promotion. And so they called me one

764
00:46:05,000 --> 00:46:07,479
Speaker 1: day and said, you don't have anything strong enough left

765
00:46:07,520 --> 00:46:09,319
Speaker 1: in there. You know, we had these singles out and

766
00:46:09,320 --> 00:46:12,319
Speaker 1: they're not going anywhere. And I said, oh, man, you

767
00:46:12,320 --> 00:46:16,120
Speaker 1: should listen to them, and they said no, no, let's

768
00:46:16,160 --> 00:46:19,439
Speaker 1: move on. So anyhow, I was sitting there, I took

769
00:46:19,520 --> 00:46:22,239
Speaker 1: three of them out and I went out to a

770
00:46:22,280 --> 00:46:25,960
Speaker 1: Reba McIntire's office. Never had met her, but as it

771
00:46:25,960 --> 00:46:28,040
Speaker 1: turned out, this is how to me things happened. Did

772
00:46:28,040 --> 00:46:30,319
Speaker 1: you turn the writer or left? That day, I come

773
00:46:30,360 --> 00:46:31,799
Speaker 1: in the lobby. I was going to give them to

774
00:46:31,960 --> 00:46:35,920
Speaker 1: the secretary. But this kid that I just met at

775
00:46:35,920 --> 00:46:38,480
Speaker 1: a little party, he was walking through the lobby. I said,

776
00:46:38,520 --> 00:46:41,520
Speaker 1: would you hand these right to read? He said yeah, yeah,

777
00:46:41,560 --> 00:46:44,360
Speaker 1: it looked good on him. You know. So about a

778
00:46:44,360 --> 00:46:46,640
Speaker 1: week later she put two of them on hold, and

779
00:46:46,680 --> 00:46:50,960
Speaker 1: she cut two of the three, you know, yeah and

780
00:46:51,200 --> 00:46:53,600
Speaker 1: down the line because one of them was you live

781
00:46:53,800 --> 00:46:57,879
Speaker 1: that we had written each happening, you know. And so

782
00:46:58,000 --> 00:47:01,360
Speaker 1: then somewhere time when we went number one, Curb Records

783
00:47:01,400 --> 00:47:03,440
Speaker 1: called me and said, I didn't think it was a

784
00:47:03,520 --> 00:47:10,120
Speaker 1: hit until I seen him selling uly T shirts. So anyway,

785
00:47:10,200 --> 00:47:12,640
Speaker 1: that was just pitching. But I mean, if I wouldn't

786
00:47:12,640 --> 00:47:15,439
Speaker 1: have walked over there and that guy was walking through,

787
00:47:15,920 --> 00:47:19,520
Speaker 1: you don't have that, dude. Yeah. Yeah, so so far,

788
00:47:19,560 --> 00:47:21,759
Speaker 1: the secret your success is you drink beer, you go

789
00:47:21,800 --> 00:47:26,280
Speaker 1: to parties, and you play poker. That's pretty well it. Yeah. Yeah,

790
00:47:26,440 --> 00:47:29,560
Speaker 1: the world has changed, you know. I know, I hate

791
00:47:29,560 --> 00:47:34,440
Speaker 1: that for people. You know. I've had seven hundred and

792
00:47:34,440 --> 00:47:38,520
Speaker 1: two cuts on my songs. Yeah, so I just most

793
00:47:38,520 --> 00:47:41,440
Speaker 1: of them never come out, you know, it's just just

794
00:47:41,920 --> 00:47:44,640
Speaker 1: shotgun and a lot of them maybe they get a

795
00:47:44,680 --> 00:47:46,279
Speaker 1: cut and they turn out to be something. You know.

796
00:47:47,080 --> 00:47:49,799
Speaker 1: I'm still righting. I got a living song. It's going

797
00:47:50,200 --> 00:47:53,000
Speaker 1: right now that I've writing, so I'm still getting something

798
00:47:53,719 --> 00:47:58,120
Speaker 1: and it's really fun doing it. Somebody likes your lyric enough,

799
00:47:58,160 --> 00:48:02,160
Speaker 1: you know, to work with it. And Margot uh Laurie,

800
00:48:02,200 --> 00:48:06,120
Speaker 1: and I wrote with her husband and her way back

801
00:48:06,280 --> 00:48:08,879
Speaker 1: and right now I've got one with her center a lyric,

802
00:48:09,160 --> 00:48:11,440
Speaker 1: and she e mailed me back and she liked it

803
00:48:11,480 --> 00:48:14,640
Speaker 1: and she's going to work on it. He's a very

804
00:48:14,640 --> 00:48:17,239
Speaker 1: good talent. To hope she broably come up with him. Now.

805
00:48:17,400 --> 00:48:19,439
Speaker 1: She told us the story of when she first went

806
00:48:19,440 --> 00:48:23,160
Speaker 1: there and played you some songs. Huh, Now, what's what

807
00:48:23,239 --> 00:48:26,640
Speaker 1: do you remember of that meeting? I remember you knew,

808
00:48:26,840 --> 00:48:30,719
Speaker 1: you knew that she was talented. I didn't hear her

809
00:48:30,920 --> 00:48:36,040
Speaker 1: really good songs for what they were. My thought always was,

810
00:48:36,120 --> 00:48:38,239
Speaker 1: can can we get something in the charts to make

811
00:48:38,600 --> 00:48:41,239
Speaker 1: some money, you know, because the charts is what it's

812
00:48:41,239 --> 00:48:44,520
Speaker 1: all about. I didn't. I didn't hear that, but I

813
00:48:44,560 --> 00:48:48,960
Speaker 1: heard really great writing and it sounded like a from

814
00:48:49,120 --> 00:48:52,000
Speaker 1: years ago, with the kind of music that I really liked.

815
00:48:53,000 --> 00:48:55,520
Speaker 1: But I thought, you know, you can always grow from that.

816
00:48:55,719 --> 00:48:58,800
Speaker 1: I mean, she's that good and uh, you could always

817
00:48:58,800 --> 00:49:00,560
Speaker 1: tell there was something there, but there wasn't a lot

818
00:49:00,640 --> 00:49:03,120
Speaker 1: I could do. Said. I tried to win to write

819
00:49:03,120 --> 00:49:06,080
Speaker 1: with her, and we were with different new toss stuff

820
00:49:06,080 --> 00:49:10,200
Speaker 1: back and forth. You know what she's doing right now? Yeah? Yeah, oh, man,

821
00:49:10,320 --> 00:49:13,279
Speaker 1: she tuning wonderful. Yeah. Well, and then later on I

822
00:49:13,280 --> 00:49:16,360
Speaker 1: didn't realize how much other talents she had. She uh,

823
00:49:16,640 --> 00:49:19,799
Speaker 1: you know, she did the operator here quite a while back,

824
00:49:19,840 --> 00:49:22,280
Speaker 1: and I mean she goes over and plays the drums

825
00:49:22,280 --> 00:49:26,120
Speaker 1: and the piano and everything go. Well. Yeah, I took

826
00:49:26,160 --> 00:49:29,799
Speaker 1: another pitch, another pitch story. Uh. My wife and I

827
00:49:29,840 --> 00:49:34,120
Speaker 1: went to a cracker barrel one morning, and so after

828
00:49:34,160 --> 00:49:35,920
Speaker 1: we got done and we come out, and she stayed

829
00:49:35,920 --> 00:49:39,480
Speaker 1: in looking at the knickknacks, and I went out on

830
00:49:39,120 --> 00:49:43,200
Speaker 1: the deck there and this sports headline said this team

831
00:49:43,280 --> 00:49:45,719
Speaker 1: had they got deep, but it said they hit the

832
00:49:45,719 --> 00:49:48,640
Speaker 1: ground running. And my head said, hit the ground running

833
00:49:48,640 --> 00:49:51,120
Speaker 1: when your heart gets hurt. And so in about an hour,

834
00:49:51,200 --> 00:49:53,040
Speaker 1: I wrote hit the ground Running and when your Heart

835
00:49:53,080 --> 00:49:56,719
Speaker 1: gets hurt and corny little song, you know, And I

836
00:49:56,719 --> 00:49:59,239
Speaker 1: got with us Rick Giles, he's a great writer, and

837
00:49:59,280 --> 00:50:02,080
Speaker 1: he cleaned it. He added a Cajun yodo to it,

838
00:50:02,719 --> 00:50:06,520
Speaker 1: and then he was the main thing. But us. He

839
00:50:06,560 --> 00:50:09,359
Speaker 1: was able to do a demo, didn't costlessness. He could

840
00:50:09,400 --> 00:50:12,160
Speaker 1: put that picking on here and everything, and so then

841
00:50:12,200 --> 00:50:14,200
Speaker 1: I would have the demost. My job then to go

842
00:50:14,480 --> 00:50:16,439
Speaker 1: try to get it cut for us, you know, yeah.

843
00:50:16,840 --> 00:50:19,400
Speaker 1: So I was down on music row there and I

844
00:50:19,520 --> 00:50:24,400
Speaker 1: ran into Budd Logan. It's a great producer, musician, and

845
00:50:24,560 --> 00:50:28,520
Speaker 1: he was producing John Connelly and he'd read where he

846
00:50:28,680 --> 00:50:30,879
Speaker 1: was going to be a project for the new upper

847
00:50:31,000 --> 00:50:34,239
Speaker 1: Land Records. I ran into Budd Logan. I know he's

848
00:50:34,239 --> 00:50:36,279
Speaker 1: a real cut and drag. I don't want to hear

849
00:50:36,520 --> 00:50:40,600
Speaker 1: anything that's a wasting time. Now. I ran into him

850
00:50:40,600 --> 00:50:44,239
Speaker 1: and I was pitching cassettes, you know, And I said, Budd,

851
00:50:44,239 --> 00:50:47,239
Speaker 1: to hear you doing John Connolly for Operland and he said, yes,

852
00:50:47,239 --> 00:50:49,759
Speaker 1: I am, And I said I got four songs. I'd

853
00:50:49,800 --> 00:50:52,359
Speaker 1: like to see it. He said, come over to you know,

854
00:50:52,440 --> 00:50:56,200
Speaker 1: like so too. I grow with my four songs, just

855
00:50:56,280 --> 00:50:57,719
Speaker 1: him and I in the office and now hand in

856
00:50:57,760 --> 00:51:00,799
Speaker 1: the first one he listened all the way through. I

857
00:51:00,800 --> 00:51:03,640
Speaker 1: thought he must like it, you know, he said a

858
00:51:03,640 --> 00:51:06,919
Speaker 1: lot of talk about nothing. So I hand him the next.

859
00:51:07,160 --> 00:51:10,879
Speaker 1: He said next, and he listened to he said yeah, yeah,

860
00:51:11,000 --> 00:51:13,759
Speaker 1: like enough for John. And in the third one he

861
00:51:13,800 --> 00:51:18,600
Speaker 1: said yeah, I like it. Yeah, yeah not. And so

862
00:51:18,680 --> 00:51:21,200
Speaker 1: I had him hit the ground running the demo that

863
00:51:21,280 --> 00:51:23,719
Speaker 1: I've gotten and halfway through he said that would be

864
00:51:23,760 --> 00:51:27,799
Speaker 1: John's new single on opery Land Records. Wow, that's just

865
00:51:27,960 --> 00:51:31,480
Speaker 1: how he did. Yeah, how was first of all, how

866
00:51:31,480 --> 00:51:33,400
Speaker 1: did you find Garth Brooks to do your demos? Or

867
00:51:33,440 --> 00:51:37,040
Speaker 1: how did he find you? I was writing with another guy,

868
00:51:37,840 --> 00:51:40,320
Speaker 1: let's see, there was three of us were writing, and

869
00:51:40,360 --> 00:51:42,480
Speaker 1: he said, next time you do some demos, you ought

870
00:51:42,520 --> 00:51:44,480
Speaker 1: to use this guy that I'm writing with and and

871
00:51:45,160 --> 00:51:47,640
Speaker 1: maybe use him on a demo. Sometimes his name is

872
00:51:47,680 --> 00:51:50,200
Speaker 1: Garth Brooks, and so I said I to try to

873
00:51:50,200 --> 00:51:52,040
Speaker 1: line up with him. Well I never did line up

874
00:51:52,040 --> 00:51:55,640
Speaker 1: with him to write. But anyhow, then another guy named

875
00:51:55,719 --> 00:51:58,200
Speaker 1: Charlie Quill and I wrote a couple of songs. So

876
00:51:58,840 --> 00:52:02,160
Speaker 1: we just hired him to because as Kem Kent Blazie

877
00:52:02,160 --> 00:52:05,799
Speaker 1: had told us to try it. Yeah, and he come

878
00:52:05,840 --> 00:52:07,440
Speaker 1: in and you know what I remember about him, and

879
00:52:07,560 --> 00:52:10,080
Speaker 1: he was in recording in the booth with that big

880
00:52:10,160 --> 00:52:13,880
Speaker 1: cowboy I had on. And so we're just in the

881
00:52:13,920 --> 00:52:17,439
Speaker 1: control room, just me and him and the engineer. He's

882
00:52:17,520 --> 00:52:20,600
Speaker 1: in there singing and we stopped everything and we're talking

883
00:52:20,920 --> 00:52:23,880
Speaker 1: something over. He's looking like worried in there, and he

884
00:52:23,960 --> 00:52:27,359
Speaker 1: comes in. He took his hat off and stood in

885
00:52:27,400 --> 00:52:29,239
Speaker 1: front of us. He said, I'll sing this over as

886
00:52:29,280 --> 00:52:33,560
Speaker 1: many times, as you guys want me to, and I said, no,

887
00:52:33,840 --> 00:52:35,920
Speaker 1: it's not, you know, we're just getting study in it.

888
00:52:36,560 --> 00:52:39,400
Speaker 1: And so yeah, but that's how he is still I think,

889
00:52:39,480 --> 00:52:42,360
Speaker 1: you know, can you could you tell he was going

890
00:52:42,400 --> 00:52:44,680
Speaker 1: to be a star or did you did he impress you? Then?

891
00:52:46,239 --> 00:52:49,200
Speaker 1: I don't think exactly. I mean, because when you're done here,

892
00:52:49,239 --> 00:52:51,839
Speaker 1: you hear so many great talents they're all they could

893
00:52:51,840 --> 00:52:54,520
Speaker 1: all make it, you know, Yeah, you look at the

894
00:52:54,520 --> 00:52:56,879
Speaker 1: ones that are never good that have me. It's just

895
00:52:57,120 --> 00:52:59,399
Speaker 1: you know, there's lots so many more that a great

896
00:52:59,400 --> 00:53:02,680
Speaker 1: talent that didn't make it. What's that? Then? What do

897
00:53:02,680 --> 00:53:04,800
Speaker 1: you think separates is it? Is it as you said,

898
00:53:04,840 --> 00:53:09,080
Speaker 1: just luck didn't make it? People who don't luck? Yeah,

899
00:53:09,120 --> 00:53:11,480
Speaker 1: and you know, and then it gets down to maybe

900
00:53:11,480 --> 00:53:14,120
Speaker 1: it's a great voice, but did you get the rats home?

901
00:53:14,239 --> 00:53:16,520
Speaker 1: Did you get you know, did Kenny Roger get the

902
00:53:16,520 --> 00:53:19,000
Speaker 1: Gambler right at the right time or you know the

903
00:53:19,040 --> 00:53:21,760
Speaker 1: Gambler that had been cut like a couple of times

904
00:53:21,760 --> 00:53:24,400
Speaker 1: before Kenny ever got it right. But it was that

905
00:53:24,560 --> 00:53:27,359
Speaker 1: productions and there that ended into it was the right

906
00:53:27,520 --> 00:53:30,920
Speaker 1: production that he had around it. You know, Larry Butler

907
00:53:31,040 --> 00:53:36,320
Speaker 1: produced those I don't know how people plug songs like, Yeah,

908
00:53:36,520 --> 00:53:39,239
Speaker 1: you must have been very sure of yourself and very

909
00:53:39,280 --> 00:53:42,360
Speaker 1: optimistic that you could do that. I was sure of

910
00:53:42,360 --> 00:53:46,400
Speaker 1: the songs. You know. I don't know how many names

911
00:53:46,760 --> 00:53:50,040
Speaker 1: you're familiar with in country music, but you know, I've

912
00:53:50,080 --> 00:53:54,840
Speaker 1: had maybe four Roy Clark scuts and Roy Clark, Julie

913
00:53:54,920 --> 00:54:01,520
Speaker 1: Greenwood's two ReBs, two Charlotte Rides. I mean, just names.

914
00:54:01,520 --> 00:54:04,440
Speaker 1: Do you think I would have sit back and think, oh, man,

915
00:54:04,480 --> 00:54:07,279
Speaker 1: if they just say hello to me. You know you

916
00:54:07,360 --> 00:54:09,200
Speaker 1: were fair and young, didn't you. You've had a lot

917
00:54:09,239 --> 00:54:11,120
Speaker 1: of I had a couple of fair and youngs and

918
00:54:11,200 --> 00:54:15,239
Speaker 1: one a nut. He was that yeah, oh my god. Yeah,

919
00:54:15,239 --> 00:54:18,840
Speaker 1: egotistical but fun. Him and I got throwed out of

920
00:54:18,880 --> 00:54:23,040
Speaker 1: place one time, which was our own fault, but yeah,

921
00:54:23,120 --> 00:54:26,360
Speaker 1: he was always getting in trouble. Yeah. And here's another

922
00:54:26,400 --> 00:54:29,359
Speaker 1: thing I got. I guess you can't see it this year.

923
00:54:29,600 --> 00:54:35,799
Speaker 1: I pull up. Is this the guitar? Yeah? Wow? Yeah?

924
00:54:35,960 --> 00:54:39,279
Speaker 1: And then there's the back so this is all what

925
00:54:39,360 --> 00:54:41,480
Speaker 1: do you you use like an etching tool and put

926
00:54:41,480 --> 00:54:43,960
Speaker 1: their names in it? Yeah, it's like one of them,

927
00:54:44,080 --> 00:54:47,560
Speaker 1: like a Dennis thing, you know. Yeah. I started out

928
00:54:47,600 --> 00:54:51,360
Speaker 1: with an ice pick where you had to try to

929
00:54:51,360 --> 00:54:53,640
Speaker 1: scratch in your hand, just killed your hand finally, but

930
00:54:53,840 --> 00:54:55,719
Speaker 1: trying to get it in there, you know. And so

931
00:54:55,800 --> 00:54:59,000
Speaker 1: I bought one of those little engravers, so now everybody

932
00:54:59,160 --> 00:55:02,160
Speaker 1: put him in any house. So let's see. I was

933
00:55:02,200 --> 00:55:05,760
Speaker 1: gonna tell you two hundred and sixty names on the guitar,

934
00:55:06,880 --> 00:55:09,200
Speaker 1: and I mean it's names that are just you know,

935
00:55:09,320 --> 00:55:13,239
Speaker 1: Chit Acting is on there. Yeah, Garth brook got God

936
00:55:13,239 --> 00:55:15,719
Speaker 1: bless you, Bobby on there and just on and on.

937
00:55:15,840 --> 00:55:18,920
Speaker 1: Just wow, great name and a lot of people you'll

938
00:55:18,960 --> 00:55:22,359
Speaker 1: never hear of, you know. I heard Margot Prices on there,

939
00:55:22,760 --> 00:55:25,080
Speaker 1: Bargo is on there. Jeremy her husband, is on there.

940
00:55:25,400 --> 00:55:29,880
Speaker 1: Ye man. Yeah, well this has been fantastic. Thank you

941
00:55:29,920 --> 00:55:33,520
Speaker 1: so much. Yeah, well great talk to you. I just

942
00:55:33,560 --> 00:55:39,680
Speaker 1: appreciate you guys so much doing that. Thanks to Margot

943
00:55:39,680 --> 00:55:42,200
Speaker 1: Price for taking a time to check. Make sure to

944
00:55:42,200 --> 00:55:44,080
Speaker 1: look for her new album when it drops, and you

945
00:55:44,080 --> 00:55:46,400
Speaker 1: can check out all of our favorite Margot Price songs

946
00:55:46,600 --> 00:55:49,719
Speaker 1: but heading to Broken Record podcast dot com. Also be

947
00:55:49,760 --> 00:55:52,440
Speaker 1: sure to check out our YouTube channel. You can subscribe

948
00:55:52,480 --> 00:55:56,360
Speaker 1: at YouTube dot com slash broken Record Podcast. Broken Record

949
00:55:56,440 --> 00:55:59,680
Speaker 1: is producing help from Jason Gambrell, Mila Bell Leo Rose

950
00:56:00,000 --> 00:56:03,319
Speaker 1: and Martin Gonzalez for Pushkin Industries. Our theme musics by

951
00:56:03,400 --> 00:56:06,080
Speaker 1: Kenny Beats. I'm justin Richmond. Thanks for listening.