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Speaker 1: Pushkin. Tanya Tucker was only fourteen in the spring of

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Speaker 1: nineteen seventy two when she released Delta Down. It was

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Speaker 1: a first crack at recording a single, and while she

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Speaker 1: was still in school, the song became a country radio hit,

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Speaker 1: her first of dozens over the years. Even at that

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Speaker 1: young age and despite being a woman, she was lumped

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Speaker 1: in with the crop of country singers known affectionately as

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Speaker 1: outlaws Johnny Cash, Willie Nelson, Chris Christofferson, Waylon Jennings. She

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Speaker 1: took a little break from the music business in the

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Speaker 1: early eighties and then came roaring back in the nineties

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Speaker 1: during another classic period of country music. By her own admission,

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Speaker 1: she was just unmotivated record music over the last couple

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Speaker 1: of decades and just sort of fell off, But that

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Speaker 1: all changed when she met Brandy Carlyle. Brandy, a singer

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Speaker 1: songwriter from outside Seattle with the country flair, has been

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Speaker 1: killing it since twenty eighteen, when her breakout album By

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Speaker 1: the Way I Forgive You was released. She wrote the

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Speaker 1: Wheels of Laredo and several others on Tanya's album While

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Speaker 1: I'm Living and co produced the record with Whalen's son,

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Speaker 1: Shooter Jennings. It's Tanya's first album of new material in

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Speaker 1: sixteen years, and she almost didn't make it after bailing

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Speaker 1: a few times on the recording sessions, thinking the songs

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Speaker 1: just weren't good enough. Though eventually she released and made

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Speaker 1: what others in her now considered to be her comeback record,

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Speaker 1: and as you'll hear, our own Rick Rubin had something

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Speaker 1: to do with it. This is broken record liner notes

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Speaker 1: for the digital age. I'm justin Richmond. Just a quick

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Speaker 1: note here. You can listen to all of the music

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Speaker 1: mentioned in this episode on our playlist, which you can

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Speaker 1: find a link to in the show notes. For licensing reasons,

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Speaker 1: each time a song is referenced in this episode, you'll

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Speaker 1: hear this sound effect all right. Enjoy the episode. Rick

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Speaker 1: sat with Brandy and Tanye at Shangrilo on Malibu to

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Speaker 1: talk about the album and what it means after so

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Speaker 1: much time away to make vibrant music again at sixty

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Speaker 1: Hello missus Ribbon, How were you to see you? I

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Speaker 1: never have never have no. I sent my my nephew

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Speaker 1: out the parking lot to give him a message. I remember,

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Speaker 1: I'm scared to go talk to you. I didn't know

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Speaker 1: that you I didn't know you were there. Yeah, well

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Speaker 1: I lived up Ontador, but he didn't say that you

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Speaker 1: were there. Oh he didn't know. She loves Yeah, that's recruitment.

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Speaker 1: Go get my phone number. I like your makeup today.

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Speaker 1: My makeup hardly have any own, girl. Maybe that's why

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Speaker 1: I like it. Did my brandy look today? I like it?

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Speaker 1: I like it. I like it. I was busting as

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Speaker 1: trying to get here. It was a great day, though,

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Speaker 1: beautiful day for convertible. You're top down today? Yeah, isn't

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Speaker 1: that nice? Yeah? Boy, it really is a lot of

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Speaker 1: traffic though where you come from. Uh, we came from

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Speaker 1: Oklahoma City. We did a show there on the thirteenth.

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Speaker 1: And then he pointed, pointed to bus this way. Are

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Speaker 1: you Are you on tourn most of the time? Yeah,

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Speaker 1: lifetime beautiful. It don't stop. And they're both on their

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Speaker 1: cycles some bulldogs and I just talked him by the way,

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Speaker 1: and he wants me to mention to you so I

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Speaker 1: can have this done. Felice. Did I mention to you

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Speaker 1: about Felicia? Felicia and Boodlow Bryant about they had five

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Speaker 1: They wrote five thousand songs, but only sixteen hundred have

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Speaker 1: been cut like Rocky tub you very famous stuo and writing,

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Speaker 1: and he is getting all the I guess he's been

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Speaker 1: the same thing like with Cawboy Cowboy Jack getting all

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Speaker 1: the catalog. And they really his family, Their family wants you,

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Speaker 1: of course, I said, people, everyone wants that you just

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Speaker 1: cut one of their songs. And I said, well, I'll

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Speaker 1: tell her. I'll tell her. And they want me to

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Speaker 1: cut one of their songs and pick one that maybe

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Speaker 1: hadn't been recorded yet. So I said, well, I'll tell

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Speaker 1: her and then you I could give her the details later.

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Speaker 1: Well you know by now, but sure you tell Brandy

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Speaker 1: that there's no road. I won't follow you down, I said,

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Speaker 1: I swear. I mean, I I'm sure they've got some

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Speaker 1: great songs. You know. I don't know if I can

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Speaker 1: wear that or not. I'm hot, was tripping it off. Yeah,

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Speaker 1: it was so cool, Rick. When we came in here,

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Speaker 1: I've never been here before, yea. And we recorded Christopherson

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Speaker 1: in here a beautiful song of Dennis's. He's a great writer.

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Speaker 1: And we call a song called on My Way to

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Speaker 1: Heaven and so we recorded it here. Everybody here, Uh

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Speaker 1: was so nice. Really, really, it's a good crew it's

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Speaker 1: a nice place to come. Really really got and they

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Speaker 1: were so sweet. It was just really really monumental for

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Speaker 1: me to have Chris come in and and he did

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Speaker 1: such a good job. I'm so proud of it. He's

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Speaker 1: one of the real great writers. Like yeah, well, yeah,

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Speaker 1: as good as it gets. Yeah yeah. And then Billy

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Speaker 1: Joe Shaber called me on the way over here. I

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Speaker 1: guess Dennis is trying to help him get his catalog

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Speaker 1: and all that together, so all over the place, and

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Speaker 1: he's had some health trouble. So no, he's always there

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Speaker 1: a quay and he's always right there, and n he's

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Speaker 1: putting all my stuff together, you know, old videos and

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Speaker 1: things that home movies and things that just are It's

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Speaker 1: really precious to me. But it couldn't get anybody to

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Speaker 1: when you when you start looking for stuff like that, Yeah,

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Speaker 1: where is it? You know? Oh, where's it? My? Wherehouse

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Speaker 1: is it? Who's got it? What was your first experience

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Speaker 1: of going on the road. My first experience of going

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Speaker 1: on the road. I guess probably that would have to

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Speaker 1: be uh, you know, I I was still going to school.

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Speaker 1: I had like three number one records out, still going

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Speaker 1: to school, trying to trying to stay in school and

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Speaker 1: how old are you at the time. I was fifteen, okay,

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Speaker 1: uh and fort Is turned fifteen, didn't have my own

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Speaker 1: band yet, and uh, I had Belt of course I

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Speaker 1: had Delta don Jamestown Blood Red, and I think it

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Speaker 1: might have been would You Lay with Me in a

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Speaker 1: Field of Stone? But David Allan co song it went

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Speaker 1: number one, you know. So we got we were living

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Speaker 1: in right outside of Las Vegas, and we got a

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Speaker 1: Texas tour with Johnny Rodriguez. Johnny Rodriguez had out passing

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Speaker 1: by of course, like Delta down. So he was He's

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Speaker 1: like twenty and I was fourteen. And we had two

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Speaker 1: brown Lincoln Continentals and he had one and I had

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Speaker 1: the other. And I think we probably played every juice

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Speaker 1: joint in Texas, you know, with the with the chicken

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Speaker 1: wire and all, you know, and uh, you know he

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Speaker 1: was at that time, he was like Elvis. I mean,

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Speaker 1: the girls would just go crazy over him, and then

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Speaker 1: I'd get up there, and then you know, the guys

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Speaker 1: were afraid to you know, holler for me. The girl.

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Speaker 1: Their girlfriends get mad. You know. I always used to

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Speaker 1: be so mad about that. God, dang it. Why don't

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Speaker 1: they do me like that? You know. Now I get

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Speaker 1: up there and they're like, you know, it's quiet. And

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Speaker 1: we had this band called the Cowtowners working for both

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Speaker 1: of us, who you know, was not what I would

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Speaker 1: think the greatest band in the world. But we did it,

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Speaker 1: we did, but we did. I bet three months, three

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Speaker 1: or four months, and then we were last show was

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Speaker 1: in Lubbock, Texas, and and we had to go back

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Speaker 1: to San Antono, which is where our hub was. And

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Speaker 1: my mother, my my dad, me and this little kid

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Speaker 1: my dad was managing, decided instead of flying back, my

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Speaker 1: dad thought we'd saved some money and drive back to

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Speaker 1: San antone, one hundred and sixty miles with this fan

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Speaker 1: that followed me everywhere. He had a FOURD LTD. And

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Speaker 1: here we go. And in Brady, Texas, we had a

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Speaker 1: head on collision, and you know, a little bit small hospital.

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Speaker 1: Seven minutes after we had the head on collision, a

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Speaker 1: bunch of young cowboys, like seventeen eighteen, about seven of

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Speaker 1: them got in a wreck. So that hospital was one

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Speaker 1: little doctor there. And my mother was the worst. She

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Speaker 1: really got the bunt, the brunt of all of it,

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Speaker 1: and broke both of my dad's arms. I had a

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Speaker 1: concussion and uh so we you know, they kept my

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Speaker 1: mother for about three months in the hospital and they

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Speaker 1: would just turn her, you know, she was in a

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Speaker 1: contraption where What was so wild about it, though, is

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Speaker 1: they did they did u X rays and they did

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Speaker 1: X rays on my mother on her neck on her

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Speaker 1: back was both broken. And then we get to San

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Speaker 1: Antone and they rushed to sin and they they did

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Speaker 1: the of course, all the way there, Jeff Allen, the

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Speaker 1: little kid that my dad was managing, he prayed all

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Speaker 1: the way. I've never heard anybody pray like that in

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Speaker 1: my life. And fast de little, you know, and he was, yeah,

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Speaker 1: be quiet, you know, and he prayed all the way

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Speaker 1: to San Antonio about from my mother, and they took

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Speaker 1: X rays of her, and the doctor came out and

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Speaker 1: tell my dad her neck's not broken, and he goes,

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Speaker 1: the hell it ain't. And he gave him the other

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Speaker 1: uh X rays, put him side by side, and he said,

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Speaker 1: I don't know what to say. He said, it's just

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Speaker 1: a miracle. So I always always I felt very, very

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Speaker 1: connected to Jeff after that, so, you know, he he

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Speaker 1: I felt like it was he was the reason beautiful

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Speaker 1: but that was about It was just a really hard time,

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Speaker 1: you know that first sure, What was it like being

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Speaker 1: in school with other kids and you have hit records

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Speaker 1: on the radio. Well, man, I had a lot of problems.

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Speaker 1: I mean, I had just moved to My dad pulled

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Speaker 1: up at him a trailer it's called trailer estates had

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Speaker 1: for sales sign out in front of it, and my

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Speaker 1: dad says, we'll be right back. He said, your mother

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Speaker 1: waiting a car. So about ten minutes later he and

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Speaker 1: he waved us in. We walked in and that there

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Speaker 1: was a lady in there that on the trailer. He said,

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Speaker 1: sing this lady's song, and I just read back and

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Speaker 1: did h you're cheating heart, you know. And when I

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Speaker 1: got done singing Swilight Crazy People, she she said, I'm

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Speaker 1: going to Missouri. I'll see y'all later, and she left.

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Speaker 1: So we moved in to this trailer amazing. And I

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Speaker 1: don't know what my dad said to her, but I

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Speaker 1: guess she put two and four together and looked pretty good.

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Speaker 1: And so we lived there and I was going to

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Speaker 1: school and my dad was working, my mother was working

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Speaker 1: it safeway, and I was looking for change in the

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Speaker 1: sofa every morning. I don't remember it being hard for me,

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Speaker 1: but it was. He went to school. Oh yeah. Finally

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Speaker 1: my dad started letting me drop the car and I

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Speaker 1: drive my car to too. I was in high school.

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Speaker 1: I was first first year of high school. My freshman year.

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Speaker 1: When I was riding the bus, I'd get off the

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Speaker 1: bus and they'd be girls, you know, dell to see

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Speaker 1: what's that poo? I smell on. You couldn't be you

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Speaker 1: need a bathroom shower two, you know, and they were

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Speaker 1: just they'd make fun of me. So my dad had

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Speaker 1: he started teaching me how to fight and how to box.

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Speaker 1: You know, he said, them girls, he said, they can't

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Speaker 1: take it on the nose. He said, you get it

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Speaker 1: one time on the nose or out. You know, them

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Speaker 1: boys he said it can take it. But the girls

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Speaker 1: one time boom gone. And he said just give him

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Speaker 1: one of them, you know, from bring one from the floor.

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Speaker 1: So I would be in boxing lessons from my dad

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Speaker 1: at night. And then there was one time when I

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Speaker 1: looked and I looked and I found those those yellow boxes.

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Speaker 1: You know. He didn't want me to see that, those

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Speaker 1: yellow boxes, I guess, or food stamps or whatever. Okay,

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Speaker 1: you know, yeah, but I found him, and my mother said,

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Speaker 1: don't you tell your dad you you found those, because

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Speaker 1: he was very you know, proud man. And you know

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Speaker 1: when we went out of the road, it was we

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Speaker 1: learned together. You know, you're not getting paid for for

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Speaker 1: those the music, like you you had songs on the radio,

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Speaker 1: Well we did if you were on food stamps. Yeah,

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Speaker 1: oh yeah, yeah, we didn't. We didn't really know what

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Speaker 1: the next move was. My dad was shooting from the hip,

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Speaker 1: you know, he didn't know. But everything we did do

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Speaker 1: was because of him, and uh uh kind of learned together.

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Speaker 1: And I remember one time we had that old station away.

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Speaker 1: It was going somewhere. He's trying to get me to

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Speaker 1: meet with somebody. You know, this was before I got

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Speaker 1: started or before I had the record, first record, and

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Speaker 1: uh he pulled into a gas station and said, listen, son,

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Speaker 1: He said, I got a brand new jack. Now back

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Speaker 1: in my car. He said, if you'll feel my tank

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Speaker 1: full of gas, you have that jack, and that guy

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Speaker 1: just hell hell sure, because he would He was trying

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Speaker 1: to get me somewhere you know that would hopefully somebody

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Speaker 1: would do something for me. And the guy, of course

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Speaker 1: kind of it was a it was a bum bumm deal.

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Speaker 1: But at least we tried. He tried, and then that's

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Speaker 1: that's where my dad was. But I didn't. I didn't.

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Speaker 1: We didn't I have. He finally got me my first

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Speaker 1: second man, actually second manager was John Kelly and in

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Speaker 1: Las Vegas, and he ended up having to buy him

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Speaker 1: out because he knew he wouldn't take me where I

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Speaker 1: needed to go. And I toured with his wife for

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Speaker 1: a while, g d Lynn and I was playing the lounges,

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Speaker 1: you know, three shows a night, the Flamingo Hotel at fourteen,

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Speaker 1: you know, so it's pretty wild. I want you think

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Speaker 1: about it much. Does start talking about you know, well

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Speaker 1: you tell Rick about how you're how your dad used

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Speaker 1: to sleep. Yeah, well, me and my dad would tour

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Speaker 1: a lot. Yeah, missed, me and him when he had

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Speaker 1: a house ban. So he'd be driving trying to get

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Speaker 1: to the next gig, and I just slide over. He'd

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Speaker 1: be like, baby, I need a nap. Yeah, he's I

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Speaker 1: got I gotta sleep, and he and uh, he'd slide

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Speaker 1: over and I would drive for a lot and he

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Speaker 1: wake up a couple of hours later and go, oh

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Speaker 1: my god. You know. And I was fourteen, fourteen and

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Speaker 1: It was one time I was sitting on the back

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Speaker 1: of the toilet and the girls locker room and we

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Speaker 1: was playing somewhere up north in Wisconsin. The place was

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Speaker 1: packed a little, uh you know, high school gym, and

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Speaker 1: I'm sitting on the back of the toilet with my

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Speaker 1: feet on the toilet seat in the girl's locker room

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Speaker 1: when you in a stall. So my dad, would you know,

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Speaker 1: just claim he's pacing. I'm going I can't talk. I

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Speaker 1: can't even sing. I can't talk. What are you gonna

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Speaker 1: do now? I had learnet is so bad and he

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Speaker 1: I watched it. He can come in and I see

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Speaker 1: him go buy pacing and he find it. He's stopped

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Speaker 1: and said, I got it, I got it, I got it.

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Speaker 1: He goes that contract said one hour show. Didn't say

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Speaker 1: a damn thing about singing. He said you just get

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Speaker 1: up there, and he said, you tell them people that

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Speaker 1: you can't sing tonight. But you got your man is

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Speaker 1: gonna play all your songs, which wasn't my band, and

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Speaker 1: you're gonna sign autographs and shake everybody's hands, and let's

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Speaker 1: get our money going down the road. And I think

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Speaker 1: it was like six hundred bucks. And nobody left he said.

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Speaker 1: They didn't come to see it to hear you. They

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Speaker 1: can't hear you on the radio and hear you get

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Speaker 1: home on a record player, he said, they come to

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Speaker 1: see you. And if you look at him once, he said,

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Speaker 1: and he also says something I remember, pick out the

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Speaker 1: ugliest boy on the front road, he said, because them

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Speaker 1: boys don't get no attention, he said, And they'll buy

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Speaker 1: records till the day you die. But they're pretty boys.

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Speaker 1: They get all the attention all the time. And so

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Speaker 1: I learned a lot from him. I showed up talk

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Speaker 1: about him. I showed up. We showed it one time

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Speaker 1: and the outside bleachers were full. And in those days,

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Speaker 1: country promoters were just the worst there, really the worst.

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Speaker 1: Oh yeah, yeah, well not much has changed. But I

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Speaker 1: got there and they didn't. The promoter didn't have any speakers,

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Speaker 1: no speakers. So I said, my dadd okay, now what

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Speaker 1: are we gonna do? Ya mister brilliant you know, he said, Hey,

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Speaker 1: just sing real loud, And that's what I did. I

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Speaker 1: did the whole show with no speakers, and I was

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Speaker 1: so hoarse from how many people were there, I'd say,

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Speaker 1: probably wow, it was a big It was on one

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Speaker 1: of them race tracks, you know, Oh my gosh, yeah, outdoors, outdoors. Yeah.

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Speaker 1: My dad was a he was a warrior. Very uh.

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Speaker 1: I've never met anybody like him. Yeah. You know, everybody

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Speaker 1: always talks about their mom and dad, and I got

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Speaker 1: the best and you know, I had the best parents

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Speaker 1: for me. Yeah, in the whole world. And I'm so

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Speaker 1: glad that I was blessed with both of them. Beautiful,

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Speaker 1: you know. And they were married sixty seven years. When

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Speaker 1: my dad passed an oh six on Thanksgiving morning, he

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Speaker 1: got his wings and so that was a man. You know,

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Speaker 1: it was a real tough time for me after that.

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Speaker 1: I was living out here actually Malibu and kind of

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Speaker 1: lost my mojo after that. And then my mother passed

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Speaker 1: in twenty twelve, and that was like what am I

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Speaker 1: doing this for? You know? I lost the people that

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Speaker 1: really I just felt like there was less love in

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Speaker 1: the future than they had been in the past. Yes,

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Speaker 1: and I didn't want to accept that. But then I thought,

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Speaker 1: I think, well, I got my kids, and you know,

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Speaker 1: that's that's a future that's going to be there, that

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Speaker 1: they're always gonna love me. And but I felt like

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Speaker 1: I'd lost the ones that were gonna love me the most,

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Speaker 1: and that was in the past, and the future wasn't

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Speaker 1: wasn't bright enough. And then here comes Brandy, Well, I

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Speaker 1: love you. I love you with all my damn art.

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Speaker 1: And that's the great thing about it is I know

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Speaker 1: she's telling me the truth. How did you guys meet?

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Speaker 1: I we met on face time. I met Tanye before

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Speaker 1: she met me because I started singing tan years music

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Speaker 1: as an eight year old on stage at the Northwest

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Speaker 1: Grand Ole Opry outside of Seattle, where I'm from. Northerners feel,

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Speaker 1: I think more passionate about country music than Southerners do

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Speaker 1: sometimes because we don't have proximity on our side, so

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Speaker 1: we defensively say, you know, country isn't southern, it's country

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Speaker 1: and western. Yeah, and uh so I loved country music,

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Speaker 1: but I had to a sense of gender dysphoria, and

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Speaker 1: I didn't understand what my place was as a singer

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Speaker 1: because I wanted to sound tough and I heard Delta

335
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Speaker 1: Don and I was like, that woman sounds tough and

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Speaker 1: they're like, well, that's not a woman. That's a little

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Speaker 1: little girl. And she's thirteen, you know, And I was eight,

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00:19:18,640 --> 00:19:21,080
Speaker 1: and I was like, well, hell, like this is this

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Speaker 1: is me? This is what I want to do. I

340
00:19:22,359 --> 00:19:25,159
Speaker 1: want to sound just like that, like that girl. And

341
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Speaker 1: then I started doing San Antonio Stroll and What's your

342
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Speaker 1: Mama's Name? And Ride Up through Trouble and ride up

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Speaker 1: through strong Enough to Bend and all the way to

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Speaker 1: two Sparrows and a Hurricane. I became such a Tanya

345
00:19:35,240 --> 00:19:38,600
Speaker 1: Tucker fanatic as a child. So I've been in love

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Speaker 1: with ten years music and didn't see any difference between

347
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Speaker 1: Tanya and Cash, or Tanya and Dolly, or Tanya and Loretta,

348
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Speaker 1: because she's such a part of that landscape, even though

349
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Speaker 1: she was so much younger than all of them. She

350
00:19:50,960 --> 00:19:53,399
Speaker 1: was right there alongside him at the opry and and

351
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Speaker 1: so it just passed, you know, as I kind of

352
00:19:57,160 --> 00:20:01,600
Speaker 1: dove into britpop and started to kind of have these

353
00:20:01,600 --> 00:20:04,920
Speaker 1: crushes on flamboyant gay British men. But it all came

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Speaker 1: back to me when I kind of found my roots again,

355
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Speaker 1: and I wondered, like, where the Hell's Tanya Tucker, you know?

356
00:20:11,160 --> 00:20:15,280
Speaker 1: And I was on, Yeah, where the Hell's Danny Zucker?

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00:20:15,720 --> 00:20:17,920
Speaker 1: And Shooter Jennings says to me when we were making

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Speaker 1: the album, he goes, I think I just heard some

359
00:20:19,359 --> 00:20:21,800
Speaker 1: Tanya Tucker in your voice and I was like, oh, yeah,

360
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Speaker 1: you did, you really did. And I was like, God,

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Speaker 1: why why isn't Tany Zucker making any music anymore? She

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Speaker 1: not well? Like what's going on? He's like, actually, she's

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Speaker 1: really well and she can sing her ass off and

364
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Speaker 1: I'm gonna make a record with her. You want to

365
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Speaker 1: write some songs. And I was like, please, please introduce

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Speaker 1: me to Tanny Tucker. And he did. He introduced me

367
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Speaker 1: to Tanya. He got me involved in the album, and

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Speaker 1: now Tanya has become one of my best friends and

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Speaker 1: she's my hero and mentor. Oh it's totally so it's

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Speaker 1: like to be almost like a yeah, it's almost like

371
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Speaker 1: it was written. Yeah, we're just living it out. But

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Speaker 1: I was playing Vegas actually, and the Brandy's nominations came out.

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Speaker 1: Of course, Brandy was up for six and I was

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Speaker 1: so sick in Vegas and I didn't think I was

375
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Speaker 1: I thought, this is really where I'm gonna die. The

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Speaker 1: Golden Nugget and oh, I mean I just knew there

377
00:21:14,720 --> 00:21:18,800
Speaker 1: was going to be a bit dead. And they finally

378
00:21:18,840 --> 00:21:20,439
Speaker 1: got in the hotel room and I was having an

379
00:21:20,440 --> 00:21:23,680
Speaker 1: IV trying to you know, buy him an IV and

380
00:21:23,800 --> 00:21:27,639
Speaker 1: get better, and the FaceTime call came in and it

381
00:21:27,720 --> 00:21:32,800
Speaker 1: was Brandy. So I'm slum laying there like and just

382
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Speaker 1: letting her talk. And that's kind of how we first

383
00:21:36,359 --> 00:21:39,560
Speaker 1: first met. But I mean as far as you know,

384
00:21:39,640 --> 00:21:42,359
Speaker 1: looking at each other. But the real first time I

385
00:21:42,400 --> 00:21:45,040
Speaker 1: met her was the day we walked into the studio,

386
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Speaker 1: the first day we worked, and I had never really

387
00:21:47,760 --> 00:21:50,119
Speaker 1: heard of her. I was out of the loop. My

388
00:21:50,280 --> 00:21:52,880
Speaker 1: kids did my kids, mom, you know Brandy Carl, Oh

389
00:21:52,960 --> 00:21:56,440
Speaker 1: my god, like al king, you know, she wanted to

390
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Speaker 1: do something with me, and I didn't know. I wasn't aware,

391
00:22:00,040 --> 00:22:01,840
Speaker 1: and my kids were like, oh my god, I can't believe.

392
00:22:03,320 --> 00:22:05,520
Speaker 1: So they really were informed me a little bit a

393
00:22:05,560 --> 00:22:08,520
Speaker 1: lot actually about what's going on, and they were very

394
00:22:08,520 --> 00:22:11,600
Speaker 1: aware of Brandy and I, but I had never and

395
00:22:11,640 --> 00:22:15,119
Speaker 1: so I had never really heard her sing any of

396
00:22:15,119 --> 00:22:17,919
Speaker 1: her her songs or the joke and what was the

397
00:22:17,920 --> 00:22:19,879
Speaker 1: other one you did? Did you get a joke on

398
00:22:19,920 --> 00:22:24,160
Speaker 1: the Grammys? Yeah? And the story it was close two

399
00:22:24,200 --> 00:22:26,639
Speaker 1: But I saw on the Grammys and that's after we

400
00:22:26,920 --> 00:22:28,439
Speaker 1: that's the first time you ever saying even though we

401
00:22:28,440 --> 00:22:30,600
Speaker 1: had made a record, we'd been in the studio for

402
00:22:30,640 --> 00:22:34,200
Speaker 1: three weeks, and I happened to watch the Grammys and

403
00:22:33,680 --> 00:22:36,240
Speaker 1: and I saw her and I thought, Wow, this girl's

404
00:22:37,119 --> 00:22:39,920
Speaker 1: blowing me away. And then the other day we were

405
00:22:40,000 --> 00:22:46,000
Speaker 1: in New York City. She was playing Philly and Lucas

406
00:22:46,080 --> 00:22:48,919
Speaker 1: was playing or. No, you were in New Jersey something

407
00:22:48,960 --> 00:22:53,960
Speaker 1: like that. Lucas was close. Yeah, And of course we'd

408
00:22:54,000 --> 00:22:58,240
Speaker 1: just played Farmmaide and or we getting ready to play Farmmaide. Yeah,

409
00:22:58,440 --> 00:23:03,920
Speaker 1: and uh so I took the train to Philly from me. Yeah,

410
00:23:04,040 --> 00:23:11,640
Speaker 1: and I've never seen her, and it was Lucas and Luke.

411
00:23:11,760 --> 00:23:15,560
Speaker 1: Lucas came over and joined us, and but I, you know,

412
00:23:15,760 --> 00:23:18,200
Speaker 1: she said something. Of course, I went to Lucas's bust

413
00:23:18,240 --> 00:23:20,360
Speaker 1: and after that, I was going, like god, and they said,

414
00:23:20,400 --> 00:23:22,960
Speaker 1: Brandy's gonna want you to sing, and I went, oh, no, old, nold, No,

415
00:23:23,240 --> 00:23:26,200
Speaker 1: how long is this last? Lucas, how long he was

416
00:23:26,200 --> 00:23:31,720
Speaker 1: gonna last? He's laugh for a long time. But why yeah,

417
00:23:31,760 --> 00:23:36,160
Speaker 1: And I'm like, that's what happened. I'm going I can't talk.

418
00:23:36,200 --> 00:23:37,840
Speaker 1: I don't know how these guys sing when they do

419
00:23:37,920 --> 00:23:41,679
Speaker 1: that stuff. So we went over and I get this

420
00:23:41,760 --> 00:23:47,280
Speaker 1: bright idea, you know, to come from the audience which

421
00:23:47,320 --> 00:23:50,040
Speaker 1: she introduced me. Yeah, so I forgot to tell her.

422
00:23:52,160 --> 00:23:55,000
Speaker 1: I forgot to tell anybody because she was on the

423
00:23:55,040 --> 00:23:56,959
Speaker 1: board of it. Yeah. So I thought it'd be so

424
00:23:57,000 --> 00:23:59,680
Speaker 1: cool to come from the audience when she So I'm

425
00:23:59,760 --> 00:24:01,720
Speaker 1: what kind of the back And because I don't like

426
00:24:01,880 --> 00:24:05,840
Speaker 1: to be in the audience, I never never have liked it. So, uh,

427
00:24:05,960 --> 00:24:08,399
Speaker 1: I see I coming on stage and whispered something to

428
00:24:08,480 --> 00:24:12,080
Speaker 1: Brandy's here and we can't find her. We can't find

429
00:24:12,119 --> 00:24:15,000
Speaker 1: her anywhere. And I was surprised. I was not surprised.

430
00:24:15,000 --> 00:24:17,080
Speaker 1: I was like, well, if she's meant to be up here,

431
00:24:17,080 --> 00:24:20,120
Speaker 1: she's gonna get up here. Yeah. And so here comes

432
00:24:20,160 --> 00:24:22,640
Speaker 1: Tandy Zucker walking down the middle of it. I solve

433
00:24:22,680 --> 00:24:26,640
Speaker 1: the problem, and I went, oh shit. So I hustled

434
00:24:26,640 --> 00:24:29,760
Speaker 1: down to the front row and I looked and there

435
00:24:29,840 --> 00:24:33,359
Speaker 1: was one seat in the very middle. Yeah, And so

436
00:24:33,480 --> 00:24:35,960
Speaker 1: I went. I grat I went and I sat down,

437
00:24:36,000 --> 00:24:38,600
Speaker 1: And of course it kind of backfired because all her

438
00:24:39,240 --> 00:24:43,440
Speaker 1: fans on the front row recognize me, and then they didn't.

439
00:24:43,560 --> 00:24:45,760
Speaker 1: You know, the twins and her are singing this song

440
00:24:46,000 --> 00:24:48,399
Speaker 1: and and I was really wanting to get into it,

441
00:24:48,440 --> 00:24:50,360
Speaker 1: and they were I gotta tell you this story. I'm

442
00:24:51,280 --> 00:24:53,119
Speaker 1: I want to watch, you know, just give me a

443
00:24:53,119 --> 00:24:56,720
Speaker 1: little time, and they were taking pictures and shit, and I, oh,

444
00:24:56,720 --> 00:24:58,879
Speaker 1: I'm sorry, Brandy, I just kind of backfired on me.

445
00:24:59,400 --> 00:25:01,439
Speaker 1: But then she introduced me and I crawled up on

446
00:25:01,480 --> 00:25:04,600
Speaker 1: the stage. And but the thing is, I just heard

447
00:25:04,600 --> 00:25:07,760
Speaker 1: her sing at Joni Mitchell's song The Case of You.

448
00:25:09,200 --> 00:25:12,360
Speaker 1: I've never heard the song when she I videoed it

449
00:25:12,560 --> 00:25:16,160
Speaker 1: and and I watch it from time to time because

450
00:25:16,800 --> 00:25:21,119
Speaker 1: I don't watch it a lot because it's very intimidating

451
00:25:21,200 --> 00:25:25,240
Speaker 1: to me. And I watched her sing that song and

452
00:25:25,520 --> 00:25:28,760
Speaker 1: I went, oh my god, I've never heard anything like

453
00:25:28,880 --> 00:25:32,159
Speaker 1: it before in my life, and never in the feeding.

454
00:25:32,240 --> 00:25:36,800
Speaker 1: Its just everything, the presence, the her vocal ability, of course,

455
00:25:37,320 --> 00:25:39,800
Speaker 1: and I just she wanted me, you wanted to sing

456
00:25:39,800 --> 00:25:41,320
Speaker 1: a song when I got up there, and I'm going, like,

457
00:25:42,520 --> 00:25:45,639
Speaker 1: all I want to do is go home? After after

458
00:25:45,680 --> 00:25:48,080
Speaker 1: I heard have I heard you saying, Oh, I really

459
00:25:48,080 --> 00:25:50,800
Speaker 1: want to do is just go home? Well, because there

460
00:25:50,840 --> 00:25:53,920
Speaker 1: ain't no there is nothing that can be better than that.

461
00:25:55,000 --> 00:25:58,440
Speaker 1: The good news is it's not a competition. That's kind

462
00:25:58,440 --> 00:26:02,119
Speaker 1: of like you. She's got a sing like her. Everybody's happening,

463
00:26:02,119 --> 00:26:03,840
Speaker 1: you know, it's true. And you know, sometimes I sing

464
00:26:03,920 --> 00:26:06,800
Speaker 1: like you and there is no competition. That was. But

465
00:26:06,840 --> 00:26:09,119
Speaker 1: it's like when the redd Lynn won Female Vocals of

466
00:26:09,160 --> 00:26:11,399
Speaker 1: the Year. I was fourteen. First time I was up.

467
00:26:12,320 --> 00:26:17,360
Speaker 1: It was in nineteen seventy three and she won Lauretta

468
00:26:17,440 --> 00:26:20,240
Speaker 1: did Yeah for female vocals. I was up. Yeah, I

469
00:26:20,280 --> 00:26:22,240
Speaker 1: saw I was when she went up on the stage.

470
00:26:22,280 --> 00:26:25,560
Speaker 1: I was like, yes, you know, because she was my

471
00:26:25,560 --> 00:26:29,720
Speaker 1: my hero. Yeah, and uh, And there was no And

472
00:26:29,760 --> 00:26:32,359
Speaker 1: I've often said there's not a jealous bone in my body.

473
00:26:32,920 --> 00:26:35,400
Speaker 1: I just don't have a that that kind of makeup.

474
00:26:35,480 --> 00:26:39,160
Speaker 1: It's not my constitution. And you know, though I thought

475
00:26:39,160 --> 00:26:41,360
Speaker 1: about it, just fleeting land. Yeah, it's kind of weird.

476
00:26:41,400 --> 00:26:44,000
Speaker 1: There's no cure. Might have been a little when I

477
00:26:43,720 --> 00:26:50,600
Speaker 1: sort of sing that song just a second maybe, but no,

478
00:26:50,640 --> 00:26:54,040
Speaker 1: there's no really competition. It's like a we're very I

479
00:26:54,080 --> 00:26:56,680
Speaker 1: am and I know she is very supportive of each

480
00:26:56,680 --> 00:27:00,600
Speaker 1: other when there is just nothing there but love. And

481
00:27:00,840 --> 00:27:05,600
Speaker 1: and you know, I told Brandy, I said, I think

482
00:27:05,880 --> 00:27:08,400
Speaker 1: God kicked her off a cloud or something. I said,

483
00:27:08,480 --> 00:27:11,560
Speaker 1: go down there and take care of this someone that

484
00:27:12,000 --> 00:27:14,920
Speaker 1: fell right in my lap. And and I thank him

485
00:27:14,960 --> 00:27:19,400
Speaker 1: for that for sure. Because it was almost it's like

486
00:27:19,440 --> 00:27:23,159
Speaker 1: an enigma. Is that the right word. It's unexplainable. And

487
00:27:23,240 --> 00:27:25,239
Speaker 1: I choose to call it a god thing. That's just

488
00:27:25,280 --> 00:27:27,919
Speaker 1: what I that's my higher power. That's what. That's what.

489
00:27:28,160 --> 00:27:31,120
Speaker 1: That's the name of my higher power is God. And

490
00:27:31,720 --> 00:27:35,720
Speaker 1: I just think that when you can't understand something or

491
00:27:35,720 --> 00:27:40,520
Speaker 1: why it happened, or the reason it happened, and what

492
00:27:40,640 --> 00:27:43,720
Speaker 1: have I done to maybe deserve it have to happen,

493
00:27:43,800 --> 00:27:47,119
Speaker 1: And I just think that's probably what it was beautiful. Well,

494
00:27:47,119 --> 00:27:50,280
Speaker 1: it took a lot more than God. Actually, Rick helped

495
00:27:50,640 --> 00:27:53,119
Speaker 1: make it happen, probably in a way he's not going

496
00:27:53,160 --> 00:27:55,440
Speaker 1: to bring up on this own. How did I help?

497
00:27:57,440 --> 00:27:59,240
Speaker 1: Can I say? So? What? Well? You know you well

498
00:27:59,320 --> 00:28:02,240
Speaker 1: he was always producer. I know, I know he is.

499
00:28:03,000 --> 00:28:05,360
Speaker 1: And I had heard that and I think I had

500
00:28:05,400 --> 00:28:07,639
Speaker 1: my manager's call you and then he told him how

501
00:28:07,720 --> 00:28:13,439
Speaker 1: much he's gonna call it? Scared me? Well, I scared me.

502
00:28:13,800 --> 00:28:20,439
Speaker 1: But what happened was that the process was worrying to Tanya.

503
00:28:20,560 --> 00:28:23,399
Speaker 1: It was stressing her out. And we had written these

504
00:28:23,400 --> 00:28:25,040
Speaker 1: songs and we were sending them to her and she

505
00:28:25,160 --> 00:28:28,960
Speaker 1: was struggling to hear herself in them. And I think

506
00:28:29,000 --> 00:28:32,320
Speaker 1: she was also struggling with the possibilities of what how

507
00:28:32,359 --> 00:28:34,520
Speaker 1: her life could change if she recorded the songs as well,

508
00:28:34,560 --> 00:28:37,760
Speaker 1: even if she didn't really know it, And she kept

509
00:28:37,800 --> 00:28:41,160
Speaker 1: canceling the album like her bus was pointed towards la

510
00:28:41,320 --> 00:28:44,440
Speaker 1: and it was in Austin. Got as far as Austin. Yeah,

511
00:28:44,520 --> 00:28:46,360
Speaker 1: and the and the final time she canceled it was

512
00:28:46,520 --> 00:28:50,320
Speaker 1: Christmas Day and I was I was so disheartened because

513
00:28:50,360 --> 00:28:52,640
Speaker 1: I just love her so much and I knew it

514
00:28:52,680 --> 00:28:54,320
Speaker 1: was the right thing, and the songs were about her.

515
00:28:54,360 --> 00:28:59,400
Speaker 1: It was a musical biography. And shoot, her and me

516
00:28:59,440 --> 00:29:02,680
Speaker 1: were on the when I was pacing in my garage.

517
00:29:02,920 --> 00:29:05,280
Speaker 1: We were all doing a lot of pacing, and he goes,

518
00:29:05,320 --> 00:29:07,920
Speaker 1: you know, you know, Rick, why don't you call Rick

519
00:29:08,000 --> 00:29:10,800
Speaker 1: Rubin and ask him about this, because it couldn't have

520
00:29:10,800 --> 00:29:13,800
Speaker 1: been easy for him to give Vince Johnny Cash's U

521
00:29:13,880 --> 00:29:16,560
Speaker 1: nine Inch Nails songs and music that he didn't necessarily

522
00:29:16,640 --> 00:29:21,160
Speaker 1: understand at that time. But he had a vision about

523
00:29:21,200 --> 00:29:24,000
Speaker 1: the fact that the young people, that people needed to

524
00:29:24,040 --> 00:29:27,000
Speaker 1: know where their punk rock country music came from. And

525
00:29:27,240 --> 00:29:29,640
Speaker 1: this is how you feel about what women need to

526
00:29:29,640 --> 00:29:32,960
Speaker 1: know and that so many of us need to know

527
00:29:33,000 --> 00:29:35,640
Speaker 1: that this is a country music matriarch that's still out

528
00:29:35,640 --> 00:29:37,560
Speaker 1: there was so much to offer and still doing such

529
00:29:37,560 --> 00:29:39,560
Speaker 1: great things. Why don't you see if you can get

530
00:29:39,640 --> 00:29:42,080
Speaker 1: Rick on the phone. And it didn't even take me

531
00:29:42,120 --> 00:29:45,960
Speaker 1: but an hour before you drove to a place you

532
00:29:45,960 --> 00:29:47,800
Speaker 1: could get cell service and called me and gave me

533
00:29:47,840 --> 00:29:49,760
Speaker 1: some of the greatest advice about Tanie. So I'm not

534
00:29:49,800 --> 00:29:52,080
Speaker 1: trying to interview you, but why don't you talk about No,

535
00:29:52,200 --> 00:29:55,400
Speaker 1: tell me what I said. I remember we spoke, but

536
00:29:55,440 --> 00:29:58,120
Speaker 1: I have no idea about the specifics of the conversation.

537
00:29:58,440 --> 00:30:00,959
Speaker 1: I've told you it's written now. The first thing you

538
00:30:01,040 --> 00:30:05,080
Speaker 1: asked was about my intentions, why I wanted to do it. Yes,

539
00:30:05,680 --> 00:30:08,160
Speaker 1: And I told you what I just told you that

540
00:30:08,240 --> 00:30:11,040
Speaker 1: I was feeling like we were at a I don't

541
00:30:11,040 --> 00:30:13,600
Speaker 1: remember this at all as fascinating. If that would be

542
00:30:13,680 --> 00:30:16,840
Speaker 1: the first question. Yeah, yeah, because he wanted to make

543
00:30:16,880 --> 00:30:18,560
Speaker 1: sure that it was for the right reasons before he

544
00:30:18,600 --> 00:30:21,520
Speaker 1: gave me his extremely valuable advice. That's not a normal

545
00:30:21,560 --> 00:30:26,200
Speaker 1: first question. Well, he's not normal that far from it.

546
00:30:27,520 --> 00:30:29,240
Speaker 1: That's very interest. I told you that I felt like

547
00:30:29,240 --> 00:30:32,360
Speaker 1: we were at a cultural moment when what happened with

548
00:30:32,600 --> 00:30:37,600
Speaker 1: Cash and you could and maybe should happen again within

549
00:30:37,720 --> 00:30:40,920
Speaker 1: regard to the way women have impacted country music culture,

550
00:30:41,440 --> 00:30:45,440
Speaker 1: and while while the one we're discussing is still so

551
00:30:45,600 --> 00:30:49,520
Speaker 1: vibrant and talented, willing to be out there and and

552
00:30:49,720 --> 00:30:53,160
Speaker 1: making beautiful art. And you were like, Okay, great, this

553
00:30:53,200 --> 00:30:56,120
Speaker 1: is the right thing to do. Then basically you told

554
00:30:56,120 --> 00:30:58,800
Speaker 1: me to persevere. And I told you that that the

555
00:30:58,840 --> 00:31:01,520
Speaker 1: album kept getting canceled and that there was a lot

556
00:31:01,560 --> 00:31:04,200
Speaker 1: of apprehension, and you said it was totally normal and

557
00:31:04,200 --> 00:31:06,600
Speaker 1: to be expected. And you gave me a lot of

558
00:31:06,640 --> 00:31:12,240
Speaker 1: really good advice around putting all of my focus about

559
00:31:12,240 --> 00:31:13,800
Speaker 1: whether or not they were the right songs, because I

560
00:31:13,840 --> 00:31:15,960
Speaker 1: was questioning it too, because Tanya does have a knack

561
00:31:16,040 --> 00:31:18,840
Speaker 1: for for hearing great songs. You told me to put

562
00:31:18,960 --> 00:31:21,200
Speaker 1: all of my faith and whether or not the lyrics

563
00:31:21,200 --> 00:31:25,240
Speaker 1: were right for the moment. Yes, and I did. I

564
00:31:25,320 --> 00:31:28,160
Speaker 1: re examined them. I pulled a few and dropped him,

565
00:31:28,400 --> 00:31:33,880
Speaker 1: and I wrote a few and the album was. It

566
00:31:33,920 --> 00:31:37,200
Speaker 1: came together much more authentically after I talked to you,

567
00:31:37,840 --> 00:31:43,040
Speaker 1: and it was spiritually really empowering and enlightening thing. It

568
00:31:43,080 --> 00:31:48,200
Speaker 1: was a total spiritual experience, incredible, you know, it wasn't normal.

569
00:31:48,680 --> 00:31:53,680
Speaker 1: It wasn't one thing normal about it. You're sprints were

570
00:31:53,720 --> 00:31:56,840
Speaker 1: all over it. And I and I called Shooter because

571
00:31:56,840 --> 00:31:58,840
Speaker 1: I'd always wanted you yet, and I sat the band

572
00:31:58,920 --> 00:32:02,640
Speaker 1: down and we really talked about it. Yeah, I love

573
00:32:02,720 --> 00:32:05,840
Speaker 1: it what you did. And I couldn't. I couldn't really

574
00:32:07,800 --> 00:32:12,160
Speaker 1: see the connection, you know so much with the Johnny Cash.

575
00:32:12,200 --> 00:32:15,360
Speaker 1: I mean, I love that whole thing. I mean, well

576
00:32:15,400 --> 00:32:20,520
Speaker 1: you did, but I couldn't see me being anywhere in

577
00:32:20,640 --> 00:32:25,840
Speaker 1: that realm. And she did. Her and Shooter both were

578
00:32:25,960 --> 00:32:29,760
Speaker 1: discussed it a few times. And of course I've never

579
00:32:29,880 --> 00:32:34,400
Speaker 1: really compared myself to to anybody, usually female, No females anyway,

580
00:32:34,840 --> 00:32:38,960
Speaker 1: it's always been two men. Yes, yeah, you do that bitually. Oh,

581
00:32:39,840 --> 00:32:42,120
Speaker 1: we'll be back with more Tanya Tucker and Brandy Carlisle

582
00:32:42,240 --> 00:32:48,680
Speaker 1: after the break, we're back with more of Rick's conversation

583
00:32:48,800 --> 00:32:52,560
Speaker 1: with Tanya Tucker and Brandy Carlyle. I think sometimes it's

584
00:32:52,640 --> 00:32:56,240
Speaker 1: hardest for us to see ourselves. Oh, you know, to

585
00:32:56,320 --> 00:33:00,160
Speaker 1: have someone outside who you know loves you, loves you

586
00:33:00,800 --> 00:33:04,120
Speaker 1: and cares about it. And a stranger, Yeah, who's whose

587
00:33:04,640 --> 00:33:11,080
Speaker 1: only interest is something that's good for you. It's you

588
00:33:11,200 --> 00:33:13,480
Speaker 1: said that too. On the phone side, you said that

589
00:33:13,600 --> 00:33:16,440
Speaker 1: exact thing. Yeah, that's so consistent, you know, because she

590
00:33:16,640 --> 00:33:19,080
Speaker 1: had to make the decision whether to trust it or not. Yes,

591
00:33:19,440 --> 00:33:22,200
Speaker 1: And that was really the only wild card because the

592
00:33:22,280 --> 00:33:25,200
Speaker 1: intentions were there, the music was there. Is she going

593
00:33:25,280 --> 00:33:27,200
Speaker 1: to decide to trust us that we love her and

594
00:33:27,320 --> 00:33:31,440
Speaker 1: that we only have her best interest at heart, or

595
00:33:31,600 --> 00:33:34,520
Speaker 1: is she not? And that was the question that day. Yeah,

596
00:33:34,560 --> 00:33:37,200
Speaker 1: because I did. I told Brandy, I said, I I

597
00:33:37,360 --> 00:33:41,680
Speaker 1: probably shot those songs off to my old producer crutch Field.

598
00:33:42,280 --> 00:33:44,600
Speaker 1: You know a few of my people that I sounding

599
00:33:44,640 --> 00:33:48,840
Speaker 1: bored people you would hey, And I was really kind

600
00:33:48,880 --> 00:33:52,200
Speaker 1: of wanting anybody to say, no, these songs aren't strong

601
00:33:52,320 --> 00:33:54,400
Speaker 1: enough for you. They're not They're not what you need.

602
00:33:54,800 --> 00:33:59,000
Speaker 1: But nobody did. Wow. Not one person, not one person

603
00:33:59,080 --> 00:34:03,800
Speaker 1: that I respect their opinion on, said anything and said,

604
00:34:03,840 --> 00:34:06,960
Speaker 1: you'll just go out and see what. You can't hurt nothing,

605
00:34:07,200 --> 00:34:09,040
Speaker 1: you know. And that's the other the other part of

606
00:34:09,120 --> 00:34:11,640
Speaker 1: it is, And I can kind of have as you're

607
00:34:11,640 --> 00:34:13,680
Speaker 1: saying that I have a vague recollection of something I said,

608
00:34:13,719 --> 00:34:17,640
Speaker 1: which is, there's no reason not to try it. If

609
00:34:17,680 --> 00:34:19,520
Speaker 1: you don't like it, you don't put it out. But

610
00:34:19,680 --> 00:34:23,800
Speaker 1: at least, but at least see what it is before

611
00:34:23,840 --> 00:34:25,440
Speaker 1: you say you don't like it. Well, you know what.

612
00:34:25,600 --> 00:34:28,040
Speaker 1: That's what Shooter told me. And I was standing on

613
00:34:28,120 --> 00:34:31,680
Speaker 1: top of a tree trunk down in our Texas South

614
00:34:32,120 --> 00:34:34,600
Speaker 1: Trant and he cut the tree and it was about

615
00:34:34,640 --> 00:34:36,440
Speaker 1: that and I got up on top of it to

616
00:34:36,640 --> 00:34:38,920
Speaker 1: get sales service. How do you get here? Because it

617
00:34:39,080 --> 00:34:43,439
Speaker 1: is and Shooter. Shooter said to me that exact thing. Yeah,

618
00:34:43,440 --> 00:34:45,640
Speaker 1: if you don't like it, it's fine, just he said.

619
00:34:45,680 --> 00:34:47,560
Speaker 1: He said, let's just point the bus this way. We'll

620
00:34:47,560 --> 00:34:49,319
Speaker 1: get in a room, you and me and Brandy. Yeah,

621
00:34:49,520 --> 00:34:51,200
Speaker 1: we'll go over the songs. He said, don't even listen

622
00:34:51,239 --> 00:34:53,839
Speaker 1: to him anymore. Yeah, just come to La. We'll get

623
00:34:53,880 --> 00:34:56,960
Speaker 1: in a room and we'll try a few things. And

624
00:34:57,000 --> 00:34:59,719
Speaker 1: if you don't like it, I adn't point back to

625
00:35:00,000 --> 00:35:03,439
Speaker 1: I feel go back home, you know. And he said,

626
00:35:03,480 --> 00:35:05,360
Speaker 1: but I just want you to trust me on this,

627
00:35:05,640 --> 00:35:09,480
Speaker 1: me and Brandy. I'm asking you to trust us. And

628
00:35:11,239 --> 00:35:12,919
Speaker 1: he said, you said you'd do anything in the world

629
00:35:12,960 --> 00:35:14,560
Speaker 1: for me, And I went, oh, you're gonna use that

630
00:35:14,680 --> 00:35:18,680
Speaker 1: car so early in our life. Okay, okay, okay. So

631
00:35:18,840 --> 00:35:21,480
Speaker 1: I got back to Austin, I paced a little while longer.

632
00:35:21,800 --> 00:35:23,840
Speaker 1: She calls him a little whalen. You're awful young to

633
00:35:23,960 --> 00:35:26,840
Speaker 1: use that. And then the really the thing was was

634
00:35:27,080 --> 00:35:30,320
Speaker 1: the ninth I had It was we started the studio

635
00:35:30,360 --> 00:35:32,520
Speaker 1: on the seventh of January. But that's right, the ninth

636
00:35:32,600 --> 00:35:38,080
Speaker 1: I had some time here with Chris. Yes, so, yeah,

637
00:35:38,239 --> 00:35:43,000
Speaker 1: so I I think that was a if I'm gonna

638
00:35:43,040 --> 00:35:47,200
Speaker 1: be uh talking from my gut. I think that was

639
00:35:47,320 --> 00:35:48,920
Speaker 1: a lot to do with it too. Knowing that I

640
00:35:49,040 --> 00:35:52,160
Speaker 1: was going to be getting him on this song was

641
00:35:52,320 --> 00:35:55,480
Speaker 1: really important to me. But it was important too that

642
00:35:55,600 --> 00:35:59,560
Speaker 1: I did what Shooter asked me to do. God, I

643
00:35:59,600 --> 00:36:01,960
Speaker 1: love him. Did you ever sing or perform with Chris

644
00:36:02,120 --> 00:36:06,680
Speaker 1: ever before in the past? Have I sung with him before? Yeah? No,

645
00:36:07,880 --> 00:36:10,880
Speaker 1: it's odd that you paths never crossed, didn't you something

646
00:36:11,080 --> 00:36:14,920
Speaker 1: that we've met? But still in terms of performance, seems no,

647
00:36:15,640 --> 00:36:18,000
Speaker 1: I know, it seemed like it would be a shoe

648
00:36:18,120 --> 00:36:22,160
Speaker 1: in Uh. No, I hadn't and I hadn't seen him

649
00:36:22,200 --> 00:36:26,279
Speaker 1: in probably twenty twenty five years. And gorgeous, Yeah he is,

650
00:36:26,400 --> 00:36:32,480
Speaker 1: And he's just a hunk. He's still can't you can't

651
00:36:32,600 --> 00:36:34,520
Speaker 1: hardly look him in the ice. I just text him

652
00:36:34,760 --> 00:36:37,400
Speaker 1: and they're in New Zealand, so are you guys in Malibu?

653
00:36:38,400 --> 00:36:40,880
Speaker 1: And it was so sweet because the last line I

654
00:36:41,000 --> 00:36:44,640
Speaker 1: needed five of him to say five words at the

655
00:36:44,800 --> 00:36:48,680
Speaker 1: end of the song, amen to that brother and sister,

656
00:36:49,440 --> 00:36:53,400
Speaker 1: just like that. And so I called her Eric and uh,

657
00:36:54,480 --> 00:36:58,160
Speaker 1: Christopherson when they were driving up north. Yeah, and and

658
00:36:58,239 --> 00:37:00,120
Speaker 1: he said, just tell him to pull down below that

659
00:37:00,239 --> 00:37:02,759
Speaker 1: little studio nambulo. And when I said, when you get

660
00:37:02,800 --> 00:37:05,200
Speaker 1: even from the mic, call me, and I was in

661
00:37:05,480 --> 00:37:08,640
Speaker 1: Marina del Rey and he said, he said, what do

662
00:37:08,680 --> 00:37:10,440
Speaker 1: you Christmas listening? What do you want him to do?

663
00:37:11,360 --> 00:37:14,120
Speaker 1: And he did it exactly one day, you know it

664
00:37:14,200 --> 00:37:17,160
Speaker 1: perfect day. It was just again like it was already

665
00:37:17,280 --> 00:37:20,200
Speaker 1: because the reason here, here's the reason why that worked out,

666
00:37:21,000 --> 00:37:26,120
Speaker 1: because you were hearing him actually say those lines because

667
00:37:26,239 --> 00:37:28,960
Speaker 1: that's what he would naturally do. So you knew as

668
00:37:29,000 --> 00:37:30,160
Speaker 1: soon as he told him what to do that he

669
00:37:30,200 --> 00:37:32,200
Speaker 1: was going to be christ Chris Offerson and do it. Yes,

670
00:37:32,480 --> 00:37:35,520
Speaker 1: that's what I felt like when we were writing these songs,

671
00:37:36,280 --> 00:37:38,880
Speaker 1: like I knew exactly how you would sing them. I

672
00:37:38,920 --> 00:37:40,759
Speaker 1: knew where your voice would crack. I knew, and you

673
00:37:40,960 --> 00:37:43,320
Speaker 1: decide to have a little rasp and sing like Elvis,

674
00:37:43,640 --> 00:37:47,000
Speaker 1: I knew everything you'd do before you did it, because

675
00:37:48,239 --> 00:37:52,680
Speaker 1: we were writing them not just for you, but from

676
00:37:52,760 --> 00:37:57,480
Speaker 1: you in this weird way. You know. I can't imagine

677
00:37:57,920 --> 00:38:00,880
Speaker 1: you just just going into a row and going, Okay,

678
00:38:01,440 --> 00:38:03,719
Speaker 1: let's write an album for a person that we don't

679
00:38:03,760 --> 00:38:06,239
Speaker 1: even know, I've never even met with. Because it's a

680
00:38:06,280 --> 00:38:09,919
Speaker 1: person that you love and you look up to. It's

681
00:38:10,040 --> 00:38:14,360
Speaker 1: almost like it's a it's a it's a fantasy version

682
00:38:14,760 --> 00:38:17,680
Speaker 1: of you that they're writing for. It's like, it's true,

683
00:38:17,760 --> 00:38:22,840
Speaker 1: it's a it's an elevated mythological version wow of you.

684
00:38:23,160 --> 00:38:26,960
Speaker 1: You're so right. Yeah, you're so right. I've learned that

685
00:38:27,040 --> 00:38:30,239
Speaker 1: in retrospect in a big way, like, well, yeah, maybe

686
00:38:30,280 --> 00:38:32,240
Speaker 1: she didn't identify with some of these in the beginning

687
00:38:32,360 --> 00:38:36,080
Speaker 1: because I'm projecting. Yeah, because she's a she's a human

688
00:38:36,160 --> 00:38:39,200
Speaker 1: being and you're writing for a myth Yeah oh yeah, yeah,

689
00:38:39,640 --> 00:38:43,399
Speaker 1: a hero superhero. Yeah. Wow. Did you feel that way

690
00:38:43,440 --> 00:38:48,279
Speaker 1: while you were selecting songs for Johnny Cash? Absolutely, it was.

691
00:38:48,719 --> 00:38:52,040
Speaker 1: It was to some degree. It didn't matter. It was

692
00:38:52,239 --> 00:38:55,800
Speaker 1: more that the songs had to fit the myth of

693
00:38:55,880 --> 00:39:00,440
Speaker 1: Johnny Cash than the real person. Yes, exactly. Wow. So

694
00:39:00,520 --> 00:39:03,719
Speaker 1: it's a good thing or a bad thing. It's great. No,

695
00:39:03,880 --> 00:39:07,719
Speaker 1: for the fans, it's great. Yeah, yeah, it's great. It's art.

696
00:39:07,760 --> 00:39:09,799
Speaker 1: We're making art. Yeah, and maybe it's the only way

697
00:39:09,800 --> 00:39:14,000
Speaker 1: you could do it. Yeah yeah. Like a Mustang Ridge,

698
00:39:14,880 --> 00:39:18,000
Speaker 1: it's about first of all, it's there's grains of truth

699
00:39:18,040 --> 00:39:19,719
Speaker 1: in it because there are all places that she's lived.

700
00:39:20,040 --> 00:39:22,120
Speaker 1: There's not a single place that's made up. Whether it's

701
00:39:22,280 --> 00:39:25,480
Speaker 1: Wild Bros Pass or the Hay Street Bridge, they're all

702
00:39:25,560 --> 00:39:28,800
Speaker 1: real places. But like Mustang Ridge is about a woman

703
00:39:29,120 --> 00:39:33,120
Speaker 1: who escapes from you know, prison and steals a car

704
00:39:33,600 --> 00:39:36,680
Speaker 1: and then disappears, and nobody knows whether she killed herself

705
00:39:36,800 --> 00:39:39,160
Speaker 1: or whether she just made it made it out. But

706
00:39:39,280 --> 00:39:42,319
Speaker 1: it's Tanya, and she's Tanya in the song and she's

707
00:39:42,360 --> 00:39:44,640
Speaker 1: breaking out of prison. It's a metaphor. But it's like,

708
00:39:45,239 --> 00:39:47,200
Speaker 1: of course that's not the real Tan yet she's not

709
00:39:47,360 --> 00:39:49,560
Speaker 1: really you know, she's not really gonna film on Louise

710
00:39:49,640 --> 00:39:52,360
Speaker 1: it by herself. But for some reason, like that's just

711
00:39:52,440 --> 00:39:55,560
Speaker 1: the way I'm do you want you want to play

712
00:39:55,600 --> 00:39:57,839
Speaker 1: that song now? Sure, Keiley, there's a guitar right there.

713
00:39:57,880 --> 00:39:59,800
Speaker 1: Oh I don't know how to play it? Actually, not

714
00:40:00,040 --> 00:40:03,160
Speaker 1: not to physically play at ten plays it Wow, but

715
00:40:03,280 --> 00:40:06,759
Speaker 1: we can. Yeah, yeah, sure. We wrote the lad right

716
00:40:07,440 --> 00:40:13,799
Speaker 1: we had learned to play guitar. I learned. Yeah, uh

717
00:40:16,200 --> 00:40:20,800
Speaker 1: be fun to listen to. So this is what you

718
00:40:20,880 --> 00:40:23,040
Speaker 1: call a podcast. I didn't know what a podcast was.

719
00:40:23,280 --> 00:40:28,000
Speaker 1: Oh yeah, they're amazing. Everybody loves him now. It's like

720
00:40:28,160 --> 00:40:30,800
Speaker 1: the new It's just not just a radio interview. No

721
00:40:30,960 --> 00:40:34,759
Speaker 1: it's not. It's different. It's not much different, but it's

722
00:40:34,760 --> 00:40:37,920
Speaker 1: just for the Internet. It's a radio interview people actually

723
00:40:37,960 --> 00:40:42,680
Speaker 1: listened to. Oh okay, here we go. At the end

724
00:40:42,760 --> 00:40:44,640
Speaker 1: of all this song, she'd finish it and she'd say

725
00:40:44,680 --> 00:40:47,799
Speaker 1: something like, hey, I'm gonna add liver from way back.

726
00:40:47,920 --> 00:40:51,120
Speaker 1: I don't know, I don't know, you know, it's just

727
00:40:51,239 --> 00:40:54,719
Speaker 1: like stuffs. I guess what was wild too about it too,

728
00:40:54,920 --> 00:40:59,919
Speaker 1: is this experience in the studio because everything was done

729
00:41:00,080 --> 00:41:04,520
Speaker 1: there when we went before we left the vocals Sunset sound. Yeah,

730
00:41:04,560 --> 00:41:07,320
Speaker 1: it was great, great studio. It's awesome. I think I

731
00:41:07,440 --> 00:41:09,560
Speaker 1: did something with a little Richard there years ago. I'm

732
00:41:09,560 --> 00:41:11,880
Speaker 1: not sure, but I think so with Don Walt. But

733
00:41:12,440 --> 00:41:15,400
Speaker 1: it was a lot. It was mostly live. I mean,

734
00:41:15,680 --> 00:41:18,479
Speaker 1: everything was recorded like me and like me and Billy

735
00:41:18,680 --> 00:41:22,239
Speaker 1: recorded back in the first songs I ever did with

736
00:41:22,360 --> 00:41:25,880
Speaker 1: Delta Don all those all those songs that were the

737
00:41:25,960 --> 00:41:28,440
Speaker 1: first ones with Billy Sheryl we I did live. I mean,

738
00:41:28,920 --> 00:41:31,520
Speaker 1: if somebody messed up, we had to start over, you know.

739
00:41:32,120 --> 00:41:34,480
Speaker 1: And I never did get a set of headphones. He

740
00:41:34,520 --> 00:41:38,240
Speaker 1: wouldn't let me have him. I had some kind of monitor,

741
00:41:38,800 --> 00:41:41,120
Speaker 1: thin monitor on both sides of my head, which I

742
00:41:41,680 --> 00:41:44,759
Speaker 1: can't understand how it didn't leak. You just didn't care

743
00:41:44,800 --> 00:41:48,120
Speaker 1: if it did. But I mean, it was just Some

744
00:41:48,239 --> 00:41:51,520
Speaker 1: of those records are still my favorite records. And of

745
00:41:51,600 --> 00:41:53,480
Speaker 1: course I've never had anybody in the vocal booth with

746
00:41:53,560 --> 00:41:59,840
Speaker 1: me the whole time, either the whole time, every every no,

747
00:42:00,160 --> 00:42:02,600
Speaker 1: and you know, and a couple of things. I mean

748
00:42:02,680 --> 00:42:07,560
Speaker 1: I I ripped off from her, Yeah, like and the

749
00:42:07,640 --> 00:42:14,480
Speaker 1: palm trees are reaching reaching I read that off from you, yeah,

750
00:42:15,280 --> 00:42:19,480
Speaker 1: thirty years ago. Yeah, that's funny. So we just keep

751
00:42:20,480 --> 00:42:22,680
Speaker 1: keep the circle going, never going back to Mustang Ridge

752
00:42:22,800 --> 00:42:25,640
Speaker 1: is a great phrase. It just has a musical sound

753
00:42:25,719 --> 00:42:28,200
Speaker 1: to it, and and it sounds like, you know, I

754
00:42:28,280 --> 00:42:30,759
Speaker 1: want to learn more about it. Yeah, It's like it

755
00:42:30,840 --> 00:42:34,160
Speaker 1: paints a picture but leaves enough mystery that you want

756
00:42:34,160 --> 00:42:38,960
Speaker 1: to feeling. Yeah, you go like writing good writing. Yes,

757
00:42:39,200 --> 00:42:43,160
Speaker 1: I gotta credit the twins. Oh ye, So my boys

758
00:42:43,239 --> 00:42:46,560
Speaker 1: were all these years, they really dove into this with me,

759
00:42:47,000 --> 00:42:50,319
Speaker 1: and we all fell so deeply in love with Tanya. Well,

760
00:42:50,360 --> 00:42:52,600
Speaker 1: I asked him. I text him, this is the way

761
00:42:52,600 --> 00:42:57,880
Speaker 1: after the record? What's a hob nail? What's a jam boozy?

762
00:42:59,320 --> 00:43:02,920
Speaker 1: And how how do you write songs about someone you

763
00:43:03,000 --> 00:43:06,120
Speaker 1: don't even know? He goes, well, they him. Both of

764
00:43:06,120 --> 00:43:08,200
Speaker 1: them said they just drove around their cars listening to

765
00:43:08,320 --> 00:43:11,480
Speaker 1: my music, and I guess googled me a lot and

766
00:43:13,120 --> 00:43:15,719
Speaker 1: fell in love. They said, So I mean, I mean,

767
00:43:15,880 --> 00:43:17,400
Speaker 1: I mean, I wonder why I was doing it at

768
00:43:17,400 --> 00:43:19,239
Speaker 1: the time. You know, well, I was probably There's a

769
00:43:19,400 --> 00:43:24,200
Speaker 1: landscape landscape of Tanya Tucker too. There's like a you

770
00:43:24,280 --> 00:43:29,880
Speaker 1: know this exactly like this projected fantasy of poverty and

771
00:43:31,560 --> 00:43:36,640
Speaker 1: a track from Texas through Arizona and Las Vegas and

772
00:43:36,960 --> 00:43:41,600
Speaker 1: this this migration to Nashville that happened in a series

773
00:43:41,680 --> 00:43:45,400
Speaker 1: of cars and trailers and eventually busses, And yeah, it

774
00:43:45,520 --> 00:43:47,560
Speaker 1: paints quite the picture. You could. I could make ten

775
00:43:47,600 --> 00:43:51,680
Speaker 1: albums about ten years life. You know, it's amazing to

776
00:43:51,760 --> 00:43:54,279
Speaker 1: me when you think when I think about it, And

777
00:43:54,520 --> 00:43:56,600
Speaker 1: I guess I didn't really think about it until someone

778
00:43:56,680 --> 00:44:00,920
Speaker 1: brought it up recently and said that, you know how

779
00:44:01,120 --> 00:44:06,680
Speaker 1: very major this is of you at sixty one, kind

780
00:44:06,719 --> 00:44:10,759
Speaker 1: of having a research in my career, you know. And

781
00:44:10,880 --> 00:44:13,080
Speaker 1: they said it was a guy. He said, can you

782
00:44:13,160 --> 00:44:16,360
Speaker 1: imagine how much hope that's giving so many people that

783
00:44:16,719 --> 00:44:19,719
Speaker 1: you know think because you're not twenty five, you can't

784
00:44:19,760 --> 00:44:25,319
Speaker 1: have a hit record or be palatable to the music

785
00:44:25,440 --> 00:44:28,440
Speaker 1: buyer or the music lover, And I go, wow, you

786
00:44:28,520 --> 00:44:31,200
Speaker 1: know it kind of true. One of the greatest things

787
00:44:31,239 --> 00:44:35,080
Speaker 1: about it was that she spent half the time singing,

788
00:44:35,239 --> 00:44:38,680
Speaker 1: working so hard, harder than anybody my age, anybody I know,

789
00:44:39,320 --> 00:44:43,520
Speaker 1: working so hard, never once getting irritable or frustrated or

790
00:44:43,640 --> 00:44:46,640
Speaker 1: upset with herself or anyone else. And then the rest

791
00:44:46,640 --> 00:44:48,560
Speaker 1: of the time sitting in a control room share just

792
00:44:48,640 --> 00:44:53,400
Speaker 1: like that man, spreading and telling the most incredible stories

793
00:44:53,600 --> 00:44:56,840
Speaker 1: about country music and the road and her dad and

794
00:44:57,920 --> 00:45:00,120
Speaker 1: just I don't know, you just really carry yourself with

795
00:45:00,200 --> 00:45:02,680
Speaker 1: a lot of dignity. And I was really proud to

796
00:45:02,719 --> 00:45:04,760
Speaker 1: be in there with you. Well was she so interested?

797
00:45:04,840 --> 00:45:07,800
Speaker 1: You know? It wasn't like it was an interview, but

798
00:45:08,480 --> 00:45:11,719
Speaker 1: it was so interested. Now you're you're fascinating words and

799
00:45:11,880 --> 00:45:15,400
Speaker 1: to listen to. Well, you won't get that from me

800
00:45:15,600 --> 00:45:17,719
Speaker 1: because I mean, I can't. I can't agree with that

801
00:45:17,880 --> 00:45:21,160
Speaker 1: because I'm me. But once you once you were in

802
00:45:21,239 --> 00:45:24,880
Speaker 1: the studio, did it feel better? Oh? It come more

803
00:45:24,920 --> 00:45:27,880
Speaker 1: comfortable with me? You had anxiety before, thinking this might

804
00:45:27,920 --> 00:45:30,200
Speaker 1: not be for me, But then when you actually heard

805
00:45:30,200 --> 00:45:31,640
Speaker 1: the music and you're in the room with the people,

806
00:45:31,719 --> 00:45:34,040
Speaker 1: did it feel like, oh, this is a good experience. Absolutely.

807
00:45:34,239 --> 00:45:37,160
Speaker 1: I mean from the moment I walked into the studio.

808
00:45:37,160 --> 00:45:39,000
Speaker 1: Of course, I had two mics on at all times,

809
00:45:39,280 --> 00:45:42,160
Speaker 1: you know, because we're documenting in that name, which I

810
00:45:43,320 --> 00:45:45,640
Speaker 1: think it's the only way to documentary. You have to

811
00:45:45,760 --> 00:45:47,960
Speaker 1: document can't wait for your fantastic can't wait see it?

812
00:45:48,480 --> 00:45:50,160
Speaker 1: And I don't know why we haven't done that in

813
00:45:50,160 --> 00:45:54,120
Speaker 1: the past. It's I thought, film everything everything whose idea

814
00:45:54,239 --> 00:45:56,040
Speaker 1: was that? That was all that was? Probably it was

815
00:45:56,080 --> 00:45:58,160
Speaker 1: over there, but I set it up ten hours before

816
00:45:58,200 --> 00:46:01,239
Speaker 1: the sessions. I called it. The best filmmaker that I

817
00:46:01,400 --> 00:46:05,600
Speaker 1: know called Kaplan and tin Fish Productions, and I was like,

818
00:46:06,040 --> 00:46:09,000
Speaker 1: I think something's gonna happen tomorrow. Tanny Tucker's coming to

819
00:46:09,040 --> 00:46:10,759
Speaker 1: the studio. She might turn around and leave. I don't

820
00:46:10,760 --> 00:46:12,480
Speaker 1: know what's going to happen, but can you just be

821
00:46:12,560 --> 00:46:14,160
Speaker 1: there to capture it? Because it might be crazy, it

822
00:46:14,239 --> 00:46:16,560
Speaker 1: might be amazing. And she's like, I'm supposed to be

823
00:46:16,600 --> 00:46:19,360
Speaker 1: in the UK, but I'm canceling it. And she showed

824
00:46:19,440 --> 00:46:21,640
Speaker 1: up with a real film crew, real out of Mike's,

825
00:46:21,680 --> 00:46:24,239
Speaker 1: real sound crew and everything, and then she never left

826
00:46:24,280 --> 00:46:26,560
Speaker 1: and she felt a cutt and they love you. We

827
00:46:26,600 --> 00:46:30,280
Speaker 1: haven't made a documentary that's extended beyond the studio into

828
00:46:30,680 --> 00:46:35,840
Speaker 1: her first shows. Beautiful's Birthday, we first walking onto it

829
00:46:35,960 --> 00:46:41,879
Speaker 1: arena stage and over a decade or two and it's

830
00:46:43,000 --> 00:46:47,000
Speaker 1: it's incredible. Wait to see it when I'm and I'm

831
00:46:47,080 --> 00:46:51,160
Speaker 1: used to be in Yeah, I had a reality show

832
00:46:51,680 --> 00:46:54,719
Speaker 1: for a couple of years on TLC Tucker Chucker Bill,

833
00:46:55,160 --> 00:46:58,520
Speaker 1: but I'm just I'm used to it, so that was

834
00:46:58,600 --> 00:47:01,239
Speaker 1: not a problem for me. In fact, I most time

835
00:47:01,320 --> 00:47:06,360
Speaker 1: forgot that they were even there. But it really felt comfortable.

836
00:47:06,600 --> 00:47:08,920
Speaker 1: I think, and I've always said that I think the

837
00:47:09,440 --> 00:47:12,359
Speaker 1: best way, my best feeling of all that I could ever.

838
00:47:12,560 --> 00:47:15,000
Speaker 1: If I had to pick one word that I would

839
00:47:16,640 --> 00:47:20,560
Speaker 1: that I want to be even over pretty, overwhel and

840
00:47:20,640 --> 00:47:23,600
Speaker 1: all that stuff. I just want to be comfortable. It's

841
00:47:23,640 --> 00:47:27,480
Speaker 1: my favorite feeling. And when I'm comfortable, I can do

842
00:47:27,680 --> 00:47:30,399
Speaker 1: my best. It's when I'm not comfortable that I can't

843
00:47:30,760 --> 00:47:35,200
Speaker 1: perform my best. And so that was that was laid out.

844
00:47:35,320 --> 00:47:37,640
Speaker 1: That was that was something and I look back on

845
00:47:37,760 --> 00:47:42,080
Speaker 1: and I when people are asking me since we've done

846
00:47:42,120 --> 00:47:45,319
Speaker 1: the record, I look back on that and think, wow, yeah,

847
00:47:45,320 --> 00:47:47,440
Speaker 1: I remember that. When Sheeeter came out and you came out,

848
00:47:47,480 --> 00:47:50,279
Speaker 1: we met outside the studio, and then when I walked in,

849
00:47:51,239 --> 00:47:55,400
Speaker 1: it was like it was a feeling of a comfort

850
00:47:55,480 --> 00:47:58,880
Speaker 1: that I hadn't felt in a while, beautiful, and it

851
00:47:59,000 --> 00:48:03,400
Speaker 1: was a really comfortable How has uh, how do you

852
00:48:03,480 --> 00:48:06,799
Speaker 1: say your relationship to music has changed from the early

853
00:48:06,920 --> 00:48:10,440
Speaker 1: days to now. I don't know if it's changed or

854
00:48:10,640 --> 00:48:13,040
Speaker 1: just kind of grown it just kind of did it

855
00:48:13,160 --> 00:48:16,359
Speaker 1: start for you more as work or more as love

856
00:48:17,760 --> 00:48:21,319
Speaker 1: in the studio? No period in your in music your

857
00:48:21,400 --> 00:48:27,600
Speaker 1: relationship to music in life. Wow, that's a good question.

858
00:48:30,560 --> 00:48:35,040
Speaker 1: I don't know. I'm a little torn on that because,

859
00:48:35,800 --> 00:48:39,719
Speaker 1: you know, being from a you know, I mean, we

860
00:48:39,760 --> 00:48:42,440
Speaker 1: were poor, but I didn't really pay much. I mean,

861
00:48:42,520 --> 00:48:44,560
Speaker 1: it wasn't something you know, you're only poor if you

862
00:48:44,680 --> 00:48:46,560
Speaker 1: choose to be, you know that kind of that Dolly

863
00:48:46,640 --> 00:48:50,560
Speaker 1: said in that one line. I love uh, But it

864
00:48:50,760 --> 00:48:52,880
Speaker 1: was more I think when I if I really want to,

865
00:48:53,440 --> 00:48:57,080
Speaker 1: if I think about it hard, I think it was

866
00:48:57,200 --> 00:49:00,680
Speaker 1: something that made my dad happy. Yeah, and he enjoyed

867
00:49:01,000 --> 00:49:04,440
Speaker 1: when I would sing, And I knew that, and I

868
00:49:04,560 --> 00:49:06,920
Speaker 1: think that he saw a way out of to get

869
00:49:06,960 --> 00:49:10,560
Speaker 1: his family out ahead and have a career and a

870
00:49:10,600 --> 00:49:13,400
Speaker 1: few So it was always based on money, trying to

871
00:49:13,440 --> 00:49:18,120
Speaker 1: get ahead, trying to get something that I could buy,

872
00:49:18,560 --> 00:49:20,719
Speaker 1: buy my parents a new house, you know, of living

873
00:49:20,760 --> 00:49:23,160
Speaker 1: in a trailer house and new car my mother, and

874
00:49:23,520 --> 00:49:26,719
Speaker 1: you know, it was always money. Was motivated. It was

875
00:49:26,800 --> 00:49:31,640
Speaker 1: motivating me. I think that's what started it out. But

876
00:49:32,280 --> 00:49:35,600
Speaker 1: then I think as I've moved on and went through

877
00:49:35,640 --> 00:49:39,120
Speaker 1: different stages of my musical career and my life, it's

878
00:49:39,360 --> 00:49:43,360
Speaker 1: developed into more of a love. I mean, I know,

879
00:49:43,440 --> 00:49:46,200
Speaker 1: one got to you know, pay the bills. It makes

880
00:49:46,239 --> 00:49:49,040
Speaker 1: sense what you said about when your dad passed, Yes,

881
00:49:49,200 --> 00:49:50,800
Speaker 1: and then your mom passed, It's like, why am I

882
00:49:50,880 --> 00:49:52,880
Speaker 1: doing this anymore? Because they're the ones I did it

883
00:49:52,960 --> 00:49:55,200
Speaker 1: for him. Yeah, it does make that was the whole reason.

884
00:49:55,640 --> 00:49:59,600
Speaker 1: Can I make an observation? Actually, it's it's very interesting

885
00:50:00,080 --> 00:50:05,960
Speaker 1: and you're poor and you're talented, because it's like what

886
00:50:06,200 --> 00:50:10,399
Speaker 1: happens is ambition. Yeah, ambition and love and money get

887
00:50:10,680 --> 00:50:14,680
Speaker 1: really distorted. You can't you can't untie them, and then

888
00:50:14,719 --> 00:50:16,560
Speaker 1: you get this thing I like to call poor kid

889
00:50:16,680 --> 00:50:19,680
Speaker 1: work ethic, where yeah, you love it, but you're willing

890
00:50:19,760 --> 00:50:24,120
Speaker 1: to work hard, so incredibly hard to prosper and provide

891
00:50:24,200 --> 00:50:26,520
Speaker 1: for your family whoever that is. That's what if you're

892
00:50:26,560 --> 00:50:30,800
Speaker 1: the kid, even if you're the kid, because your ambition

893
00:50:30,960 --> 00:50:33,800
Speaker 1: and your love for music is tied up in the

894
00:50:33,960 --> 00:50:38,879
Speaker 1: need for means and it's actually kind of okay, yeah,

895
00:50:39,000 --> 00:50:42,960
Speaker 1: like why shouldn't be Cluse my dad was so involved?

896
00:50:43,040 --> 00:50:46,719
Speaker 1: I mean yeah, he I mean I always say if

897
00:50:46,719 --> 00:50:50,080
Speaker 1: it wasn't for my dad and Billy Sheryl, they never

898
00:50:50,200 --> 00:50:54,000
Speaker 1: would they never ghawd you know they never were. In fact,

899
00:50:54,000 --> 00:50:55,560
Speaker 1: they I don't think it had more than five words

900
00:50:55,600 --> 00:50:58,280
Speaker 1: to each other. But they're very different kind of people,

901
00:50:58,800 --> 00:51:02,640
Speaker 1: very different kind of uh just totally different kind of men,

902
00:51:03,360 --> 00:51:07,400
Speaker 1: and both of them were very powerful and I couldn't

903
00:51:07,440 --> 00:51:10,960
Speaker 1: have done it. I can't imagine who've done it about

904
00:51:11,000 --> 00:51:14,480
Speaker 1: They recognized that they were in proximity to absolutely once

905
00:51:14,600 --> 00:51:17,359
Speaker 1: in a lifetime voice that's never been replicated and never

906
00:51:17,440 --> 00:51:21,040
Speaker 1: could be replicated to, which was also you well and

907
00:51:21,160 --> 00:51:22,920
Speaker 1: you know what. And I think another thing is too

908
00:51:23,040 --> 00:51:28,400
Speaker 1: that Billy Cheryl listened to me. Yeah, yeah, talk about it,

909
00:51:28,480 --> 00:51:31,719
Speaker 1: listened everything, respected you. He I don't know how many

910
00:51:31,760 --> 00:51:34,120
Speaker 1: I was when they come in and Al Gallico, you

911
00:51:34,200 --> 00:51:37,759
Speaker 1: know remember Al Gallico, he's a well he's a he

912
00:51:37,960 --> 00:51:42,080
Speaker 1: was a big publisher and he had the publishing. I'm

913
00:51:42,080 --> 00:51:44,200
Speaker 1: the happiest girl in the whole us say that Donna

914
00:51:44,239 --> 00:51:47,680
Speaker 1: Fargo first song she came out with and it wasn't

915
00:51:47,680 --> 00:51:51,160
Speaker 1: out yet. So he had those single and he had

916
00:51:51,239 --> 00:51:54,560
Speaker 1: had control of it because he was the publisher, and

917
00:51:54,680 --> 00:51:58,839
Speaker 1: he played it by a big cigar hang out of Hey,

918
00:51:59,080 --> 00:52:02,360
Speaker 1: hey he's tall you and he said, I get a monster.

919
00:52:02,719 --> 00:52:06,320
Speaker 1: I guy brought you a monster. So all of Billy's cronies,

920
00:52:06,400 --> 00:52:09,439
Speaker 1: you know, uh, Narl Wilson, George Richie, all those guys,

921
00:52:09,520 --> 00:52:11,239
Speaker 1: they're about five or six of them come in there

922
00:52:11,520 --> 00:52:14,960
Speaker 1: to see his reaction because they felt like, wow, we've

923
00:52:15,040 --> 00:52:16,919
Speaker 1: we've got the red, we've got the hit and they're

924
00:52:16,960 --> 00:52:19,360
Speaker 1: looking back onto retrospect. They were. They were playing it

925
00:52:19,440 --> 00:52:21,279
Speaker 1: for Billy Sheryl to get him to ask you to

926
00:52:21,360 --> 00:52:23,400
Speaker 1: do it. Yes, okay. So I'm sitting over in the

927
00:52:23,440 --> 00:52:27,000
Speaker 1: alcove kind of right there, and I remember exactly what

928
00:52:27,080 --> 00:52:30,840
Speaker 1: I had on, and I got my legs crossed, and

929
00:52:31,840 --> 00:52:36,160
Speaker 1: they played the song and Billy looks over at me

930
00:52:36,680 --> 00:52:39,200
Speaker 1: and he says, what do you think about that song? Kid?

931
00:52:40,520 --> 00:52:43,319
Speaker 1: And I I, you know, I didn't hesitate. I said,

932
00:52:43,320 --> 00:52:46,200
Speaker 1: I think this song was really a good song, but

933
00:52:46,360 --> 00:52:49,520
Speaker 1: it's not my song. Yeah, and that's in my exact words.

934
00:52:49,920 --> 00:52:53,080
Speaker 1: And he said, you heard her boys, and they they're

935
00:52:53,080 --> 00:52:56,160
Speaker 1: going up because Billy wasn't a little left to center,

936
00:52:56,280 --> 00:53:00,239
Speaker 1: you know. Uh and uh. They were scratching their heads

937
00:53:00,239 --> 00:53:02,520
Speaker 1: when they walked out, including now Gallico. They were going like,

938
00:53:02,920 --> 00:53:05,680
Speaker 1: he's lost it. He is listening to a kid, you know.

939
00:53:06,320 --> 00:53:10,000
Speaker 1: And so when they all left, he put, you know,

940
00:53:10,000 --> 00:53:12,600
Speaker 1: I've seen him thread that thing that really real and

941
00:53:12,719 --> 00:53:14,800
Speaker 1: Megan times and he said, you know, he said, I

942
00:53:14,920 --> 00:53:19,640
Speaker 1: heard it check on the Tonight Show last night, and

943
00:53:19,800 --> 00:53:21,880
Speaker 1: I didn't never know who that was. He said, but

944
00:53:22,080 --> 00:53:24,759
Speaker 1: she sang a song I think he might like. Let

945
00:53:24,800 --> 00:53:27,360
Speaker 1: me let me play it for you, but he played

946
00:53:27,440 --> 00:53:33,960
Speaker 1: me a guitar vocal of Alex Harvey singing She's forty

947
00:53:34,040 --> 00:53:37,560
Speaker 1: one started out, She's forty one didn't start out because

948
00:53:37,840 --> 00:53:40,480
Speaker 1: and when he got done playing that song, I looked

949
00:53:40,520 --> 00:53:42,919
Speaker 1: at him and I said, now that is my song,

950
00:53:44,360 --> 00:53:47,520
Speaker 1: and see if we can find that version seventy two.

951
00:53:47,880 --> 00:53:50,439
Speaker 1: Let's see it is your song. And we didn't live

952
00:53:50,760 --> 00:53:53,520
Speaker 1: and many people have done it. But and I never

953
00:53:53,680 --> 00:53:56,440
Speaker 1: ever had any problems with him about what I wanted to.

954
00:53:57,040 --> 00:53:59,759
Speaker 1: You know, Columbia Records didn't think enough about me to

955
00:53:59,800 --> 00:54:02,520
Speaker 1: even have a more than a three pre song deal.

956
00:54:03,239 --> 00:54:05,320
Speaker 1: They didn't think I'd even get to an album, you know,

957
00:54:06,200 --> 00:54:09,759
Speaker 1: and uh, looking back on it, but when I did,

958
00:54:10,000 --> 00:54:11,600
Speaker 1: when we did go back in and cut an album,

959
00:54:12,600 --> 00:54:15,480
Speaker 1: every everyday he saw any album I did with him,

960
00:54:15,520 --> 00:54:18,359
Speaker 1: which was four four, if it's available anywhere, or if

961
00:54:18,400 --> 00:54:20,400
Speaker 1: it was just like a weird fluke thing that he

962
00:54:20,480 --> 00:54:22,120
Speaker 1: managed to get his hands, Yeah, I he never did.

963
00:54:22,560 --> 00:54:24,200
Speaker 1: I never. The only time he ever gave me a

964
00:54:24,239 --> 00:54:27,000
Speaker 1: little problem was when I wanted to cut almost persuaded

965
00:54:27,800 --> 00:54:30,919
Speaker 1: and hit a song he wrote, and uh, he said,

966
00:54:30,920 --> 00:54:32,680
Speaker 1: I don't think he should cut that ouselve too adult

967
00:54:32,760 --> 00:54:36,640
Speaker 1: for you. I don't know. I think no, no, after no,

968
00:54:36,960 --> 00:54:39,120
Speaker 1: after all the songs, you know, Daddy left them both

969
00:54:39,160 --> 00:54:41,440
Speaker 1: soaping up the sawdust on the floor. I mean, all

970
00:54:41,480 --> 00:54:43,719
Speaker 1: the songs were adult. Would you lay with me in

971
00:54:43,760 --> 00:54:46,120
Speaker 1: a field of stone if my needs were strong? Yeah?

972
00:54:46,200 --> 00:54:48,400
Speaker 1: You know those were all so it wasn't being too adults.

973
00:54:48,560 --> 00:54:51,680
Speaker 1: I think that because he wrote it and he didn't

974
00:54:51,680 --> 00:54:55,640
Speaker 1: want to be you know, I guess I didn't want to.

975
00:54:56,840 --> 00:54:58,719
Speaker 1: People think he was just doing it because it was his,

976
00:54:59,120 --> 00:55:00,840
Speaker 1: it was my cho Tell me if this is the

977
00:55:00,920 --> 00:55:05,080
Speaker 1: right version, I'll tell you instantly. We'll be back with

978
00:55:05,160 --> 00:55:11,839
Speaker 1: more Tanya Tucker and Brandy Carlisle. After the break, we're

979
00:55:11,920 --> 00:55:14,400
Speaker 1: back with more of Rick's conversation with Tanya Tucker and

980
00:55:14,480 --> 00:55:18,160
Speaker 1: Brandy Carlyle. Those are the two Alex Harvey Delta dons.

981
00:55:19,719 --> 00:55:22,920
Speaker 1: Oh oh, you're talking about Alex Harvey. No, that was

982
00:55:23,000 --> 00:55:25,759
Speaker 1: just I don't think that's ever been out. Was just

983
00:55:26,680 --> 00:55:30,919
Speaker 1: a guitar vocal demo. But the chick was a Bette

984
00:55:30,920 --> 00:55:35,440
Speaker 1: Midler and she had sung Delta don I see, but

985
00:55:35,560 --> 00:55:38,480
Speaker 1: that wasn't the version you heard, No, because she was

986
00:55:38,600 --> 00:55:41,880
Speaker 1: not That was not the version. No, No, she did

987
00:55:41,920 --> 00:55:44,480
Speaker 1: it before pett Miller did it before you. Yes, that's

988
00:55:44,520 --> 00:55:47,279
Speaker 1: what he said. He said, there's a chick you on

989
00:55:47,360 --> 00:55:49,799
Speaker 1: the Tonight Show, Tonight Show last night. So it wasn't

990
00:55:49,840 --> 00:55:52,880
Speaker 1: Alex Harvey and but he played when he played her

991
00:55:53,120 --> 00:55:57,520
Speaker 1: Alex and I didn't find out till years later that

992
00:55:57,600 --> 00:56:01,080
Speaker 1: it was Bette Midler. Wow, that actually did the song.

993
00:56:01,280 --> 00:56:06,080
Speaker 1: So why does history remember that as so? And Helen

994
00:56:06,120 --> 00:56:07,520
Speaker 1: Ready cut it a year and a half. Yeah, but

995
00:56:07,800 --> 00:56:11,520
Speaker 1: later everybody, everybody really sees that as your song. It

996
00:56:11,719 --> 00:56:13,840
Speaker 1: is you like your song if you were dealt to

997
00:56:13,880 --> 00:56:16,200
Speaker 1: do and it even though it had been cut die

998
00:56:16,280 --> 00:56:18,880
Speaker 1: on Dave Davidson. I think he had a single on it.

999
00:56:19,440 --> 00:56:21,600
Speaker 1: It had been cut us a few times. I love

1000
00:56:22,560 --> 00:56:26,359
Speaker 1: nothing compares to you. We think of not his Prince's song. Yeah,

1001
00:56:26,600 --> 00:56:29,360
Speaker 1: it's the same. It's like, doesn't matter who who wrote

1002
00:56:29,440 --> 00:56:31,960
Speaker 1: it or who put it out first. It matters who

1003
00:56:32,040 --> 00:56:37,759
Speaker 1: owns this. Yeah yeah, it's like well he uh we

1004
00:56:39,280 --> 00:56:41,279
Speaker 1: you know. We recorded the next morning. It was at

1005
00:56:41,280 --> 00:56:44,440
Speaker 1: ten ten o'clock studio time. Of course I was tired,

1006
00:56:44,520 --> 00:56:46,759
Speaker 1: so because I'd been my daddy, I said, just keep

1007
00:56:46,800 --> 00:56:48,279
Speaker 1: playing it, keep playing it for him, and keep I

1008
00:56:48,520 --> 00:56:51,000
Speaker 1: want to learn it as good as I could then,

1009
00:56:51,080 --> 00:56:54,680
Speaker 1: not before, and and we got to Columbia Records, the

1010
00:56:54,719 --> 00:56:58,799
Speaker 1: studio b and uh it was well. Actually we went

1011
00:56:58,840 --> 00:57:02,920
Speaker 1: into his office, Billy's office, and it was ten o'clock,

1012
00:57:03,080 --> 00:57:04,960
Speaker 1: and I laid down on his couch and I slept

1013
00:57:05,040 --> 00:57:07,839
Speaker 1: till he let me sleep till noon, and he finally

1014
00:57:07,920 --> 00:57:09,960
Speaker 1: come there and got me the sister. The session started

1015
00:57:10,000 --> 00:57:12,120
Speaker 1: at ten. He's like, do you think you're ready to

1016
00:57:12,280 --> 00:57:15,040
Speaker 1: You know, it's something about your career, kid, And I

1017
00:57:15,120 --> 00:57:18,120
Speaker 1: got up and we did it live with the Nashville

1018
00:57:18,280 --> 00:57:21,960
Speaker 1: Edition and the Jordanaires and all the greats pig Robins

1019
00:57:22,040 --> 00:57:25,000
Speaker 1: and some of the greatest musicians Pete Drake, On Steele

1020
00:57:25,080 --> 00:57:28,080
Speaker 1: and Charlotte McCoy and Harmonica. So, in fact, we're going

1021
00:57:28,120 --> 00:57:30,680
Speaker 1: to go back in and recut it, and uh, I'm

1022
00:57:30,880 --> 00:57:34,640
Speaker 1: I'm gathering all the as many of the original players

1023
00:57:34,680 --> 00:57:38,440
Speaker 1: that are still around to go back in and and

1024
00:57:38,680 --> 00:57:40,920
Speaker 1: uh and do a version that's gonna be a lot

1025
00:57:40,960 --> 00:57:44,640
Speaker 1: of fun. It's gonna be And Lou Bradley engineered we

1026
00:57:44,680 --> 00:57:47,240
Speaker 1: played the drums, so he's, uh, oh, well he's gone,

1027
00:57:47,360 --> 00:57:50,080
Speaker 1: he's gone. He in fact, he passed about a month

1028
00:57:50,160 --> 00:57:52,040
Speaker 1: and a half ago, Jerry Kerrigan one of the great

1029
00:57:52,120 --> 00:57:55,840
Speaker 1: great drummers, one of the great drummers. So I think

1030
00:57:56,160 --> 00:58:02,360
Speaker 1: we're gonna get either I think it was Eddie or

1031
00:58:02,440 --> 00:58:05,520
Speaker 1: Paul Eddie Bears or Paul Lym, one of those guys. Cool.

1032
00:58:06,200 --> 00:58:08,520
Speaker 1: But now we're just trying to put that together. And

1033
00:58:08,520 --> 00:58:10,040
Speaker 1: then Brenda Lee, you know, I'm gonna cut that song

1034
00:58:10,120 --> 00:58:11,800
Speaker 1: and she wrote for me and her you hear it,

1035
00:58:12,040 --> 00:58:14,960
Speaker 1: T and other. It's so cute. I mean, it's so

1036
00:58:15,120 --> 00:58:17,960
Speaker 1: precious that Brenda Lee, one of my heroes, would write

1037
00:58:18,000 --> 00:58:20,320
Speaker 1: a song about me and her, Brenda Lee love. I

1038
00:58:20,360 --> 00:58:21,920
Speaker 1: don't care what it would be. I Mary had a

1039
00:58:21,920 --> 00:58:24,120
Speaker 1: little aamb I'd want to cut it, you know. So,

1040
00:58:24,400 --> 00:58:26,400
Speaker 1: but you know, you used to people would ask me,

1041
00:58:26,960 --> 00:58:29,560
Speaker 1: what would you enjoy more. You'd enjoy performing live or

1042
00:58:29,640 --> 00:58:32,840
Speaker 1: you enjoy recording better. And the answer to that was

1043
00:58:32,920 --> 00:58:37,360
Speaker 1: always I enjoy performing more than being in front of

1044
00:58:37,400 --> 00:58:39,680
Speaker 1: an audience. Yeah, being in the studio painting my nails

1045
00:58:39,720 --> 00:58:42,040
Speaker 1: a lot. I flipped a lot of the studio, you know,

1046
00:58:42,480 --> 00:58:44,919
Speaker 1: my one time my producer didn't even show up. Yeah,

1047
00:58:45,080 --> 00:58:46,520
Speaker 1: most of the time when I did T and T.

1048
00:58:47,120 --> 00:58:50,640
Speaker 1: She is incredible life. But it's unbelievable. It used to

1049
00:58:50,760 --> 00:58:53,880
Speaker 1: be alive. But the answer would have to be now

1050
00:58:54,200 --> 00:58:58,000
Speaker 1: being in the studio because I love the creation that

1051
00:58:58,120 --> 00:59:04,120
Speaker 1: create the creation of music and the creativity and the cambaraderie.

1052
00:59:04,480 --> 00:59:08,520
Speaker 1: Uh they let's try this. Yeah, you know, like I said,

1053
00:59:08,520 --> 00:59:10,200
Speaker 1: how many producers does it take to screw in the

1054
00:59:10,280 --> 00:59:16,560
Speaker 1: light bulb? I don't know, what do you think? But

1055
00:59:17,120 --> 00:59:19,600
Speaker 1: I mean I enjoy You know, it's hard to say

1056
00:59:19,640 --> 00:59:21,240
Speaker 1: what you like. I mean, I love both of them.

1057
00:59:21,320 --> 00:59:23,360
Speaker 1: I mean I have to do both of them are

1058
00:59:23,440 --> 00:59:26,920
Speaker 1: very like you said, you can't separate them really, but

1059
00:59:27,040 --> 00:59:32,520
Speaker 1: I really enjoy the process now and I've been working

1060
00:59:32,600 --> 00:59:35,000
Speaker 1: on a couple of projects that I have. I mean,

1061
00:59:35,040 --> 00:59:36,640
Speaker 1: I have two albums that are almost ready to go.

1062
00:59:37,400 --> 00:59:39,240
Speaker 1: If someone said you got a week to finish them,

1063
00:59:39,600 --> 00:59:42,600
Speaker 1: we'd have it done. So I've not been twiddling my

1064
00:59:42,680 --> 00:59:45,200
Speaker 1: thumbs and not doing anything. It's just I couldn't get

1065
00:59:45,240 --> 00:59:48,800
Speaker 1: anybody interested. Yeah, when's your next TWAR date? Do you know? Uh? Well,

1066
00:59:48,840 --> 00:59:53,880
Speaker 1: the next show is, uh tomorrow now, Yeah, tomorrow tomorrow,

1067
00:59:53,920 --> 00:59:58,720
Speaker 1: the next day, two nights. Yeah it's going to be great. Yeah. Yeah,

1068
00:59:58,760 --> 01:00:00,880
Speaker 1: we'll hope, We'll hope. So we were going and try

1069
01:00:00,920 --> 01:00:06,760
Speaker 1: to like an old troupa door. You know that was

1070
01:00:06,800 --> 01:00:09,720
Speaker 1: written by a girl, which is kind of interesting, that

1071
01:00:09,840 --> 01:00:13,880
Speaker 1: George Straight song. Here's an old troupa door. You heard

1072
01:00:13,880 --> 01:00:16,080
Speaker 1: that one? Yeah, of course, and that was written by

1073
01:00:16,080 --> 01:00:20,280
Speaker 1: a girl, which I think is kind of different. But yeah,

1074
01:00:20,280 --> 01:00:23,760
Speaker 1: I really enjoyed that process. Uh. And I thought just

1075
01:00:23,920 --> 01:00:26,320
Speaker 1: about the time I thought I'd done a record, made

1076
01:00:26,360 --> 01:00:28,520
Speaker 1: a record every which way you could make one. Yeah,

1077
01:00:29,440 --> 01:00:35,480
Speaker 1: then long comes Brandy and Shooter and another another way

1078
01:00:35,480 --> 01:00:39,600
Speaker 1: of spiritually another way up there either yeah, yeah, the

1079
01:00:39,920 --> 01:00:45,240
Speaker 1: the all the others were, I don't know, there's no

1080
01:00:45,400 --> 01:00:49,800
Speaker 1: there's no comparison really to the the feeling I had

1081
01:00:49,920 --> 01:00:53,040
Speaker 1: making the record beautiful, the comfort level beautiful, And it

1082
01:00:53,080 --> 01:00:55,520
Speaker 1: sounds like it reminds you of when you first started

1083
01:00:55,600 --> 01:00:59,520
Speaker 1: making records. Everybody's in the room together, yea, to that

1084
01:01:00,120 --> 01:01:02,200
Speaker 1: that time. And you know, I'm not so sure I

1085
01:01:02,240 --> 01:01:04,280
Speaker 1: would have been able to do it if I hadn't

1086
01:01:04,320 --> 01:01:07,720
Speaker 1: had that experience with really Cheryl, Yes, you know, but

1087
01:01:08,080 --> 01:01:12,040
Speaker 1: you know I've always been a live person. It very live.

1088
01:01:12,120 --> 01:01:16,080
Speaker 1: I mean, even with my producer Jerry Jerry Crushfille, who

1089
01:01:16,160 --> 01:01:19,040
Speaker 1: produced thirteen albums in a row on me and the

1090
01:01:19,480 --> 01:01:21,560
Speaker 1: way I found out the way I got him. I

1091
01:01:21,720 --> 01:01:24,400
Speaker 1: talked to my old lawyer and I videoed it. What

1092
01:01:24,560 --> 01:01:27,280
Speaker 1: everything on video because I wanted to ask him. Bill Carter,

1093
01:01:27,440 --> 01:01:30,840
Speaker 1: he was the Rolling Stones lawyer and a secret service

1094
01:01:30,920 --> 01:01:33,320
Speaker 1: and he was my attorney at that time, and I

1095
01:01:33,440 --> 01:01:35,640
Speaker 1: want I asked him. I said, how did I get Crutchfield?

1096
01:01:36,240 --> 01:01:39,680
Speaker 1: Because I had just come off snuff Garrett in a

1097
01:01:39,760 --> 01:01:42,800
Speaker 1: studio and Santa Monica did had two number one records.

1098
01:01:43,440 --> 01:01:44,920
Speaker 1: But I told my dad, I go, I can't work

1099
01:01:45,000 --> 01:01:48,080
Speaker 1: like this. It's like I'm on a damn assembly line

1100
01:01:48,480 --> 01:01:50,800
Speaker 1: and everybody's reading it. There's like he don't even want

1101
01:01:50,840 --> 01:01:53,680
Speaker 1: me there. When I'm for the basic tracks, I'm going like,

1102
01:01:53,760 --> 01:01:55,840
Speaker 1: what if it's in the wrong key, Well, we'll just

1103
01:01:55,960 --> 01:01:59,600
Speaker 1: manipulate the track. Yeah, And I just couldn't. I was

1104
01:01:59,760 --> 01:02:03,040
Speaker 1: just turned sixteen and I couldn't fathom that. You know.

1105
01:02:03,240 --> 01:02:05,200
Speaker 1: Of course hal Blaine was playing the drums, and I

1106
01:02:05,320 --> 01:02:08,120
Speaker 1: love that it's one of the great players. But I

1107
01:02:08,200 --> 01:02:10,400
Speaker 1: didn't like that way of working. And I told my dad,

1108
01:02:10,480 --> 01:02:12,480
Speaker 1: I said, Daddy, I can't I feel like I we

1109
01:02:12,760 --> 01:02:15,959
Speaker 1: cut this album ten minutes, you know, everything's real fast.

1110
01:02:16,080 --> 01:02:18,400
Speaker 1: And al Capps was the arranger who really I think

1111
01:02:18,480 --> 01:02:20,400
Speaker 1: did most of the work on that, on that, on

1112
01:02:20,520 --> 01:02:23,320
Speaker 1: those records, and he was hot hot at that time

1113
01:02:23,360 --> 01:02:26,320
Speaker 1: with all the share records. You know, he's tramp something.

1114
01:02:27,120 --> 01:02:29,040
Speaker 1: And uh, I said, I can't. I just not. I'm

1115
01:02:29,040 --> 01:02:32,520
Speaker 1: not comfortable. I can't. So he he told Snuff, he said, well,

1116
01:02:32,640 --> 01:02:34,560
Speaker 1: I'm sorry, we're gonna to let you go. And of

1117
01:02:34,640 --> 01:02:39,160
Speaker 1: course Snuff, you know, blue a gasket. I at that time,

1118
01:02:39,240 --> 01:02:41,920
Speaker 1: I asked my attorney, I said, He said, well, what

1119
01:02:41,960 --> 01:02:44,200
Speaker 1: we're gonna do? You know? He who's gonna produce? Now?

1120
01:02:44,440 --> 01:02:46,680
Speaker 1: I said, We'll go back to Nashville. Yeah, that's where

1121
01:02:46,720 --> 01:02:49,680
Speaker 1: I feel comfortable there. I don't like this out here. Yeah,

1122
01:02:49,960 --> 01:02:53,200
Speaker 1: everybody's reading, you know. It's just it just didn't feel right.

1123
01:02:54,040 --> 01:02:57,200
Speaker 1: And he said, well, who are you thinking about? I said,

1124
01:02:57,240 --> 01:03:01,120
Speaker 1: whoever produced that song? Please come to Boston. I said,

1125
01:03:01,120 --> 01:03:06,000
Speaker 1: I want that guy, and that was Jered Crutchville. And

1126
01:03:06,160 --> 01:03:09,960
Speaker 1: so when we connected up that we pulled more shots

1127
01:03:10,000 --> 01:03:12,680
Speaker 1: than you think you did. We we oh no, no.

1128
01:03:13,320 --> 01:03:15,400
Speaker 1: Now that when I look back on it, I think, God,

1129
01:03:15,520 --> 01:03:17,520
Speaker 1: dang it, you know, I should have more faith in

1130
01:03:17,640 --> 01:03:20,880
Speaker 1: myself because I really directed a lot of these things

1131
01:03:21,560 --> 01:03:25,440
Speaker 1: and kid as a kid, and why do you put

1132
01:03:25,520 --> 01:03:27,920
Speaker 1: two singles on an album and the rest you just

1133
01:03:29,320 --> 01:03:35,880
Speaker 1: why can't we have a ten singles? Yes, that was

1134
01:03:35,960 --> 01:03:39,880
Speaker 1: my thinking, and accord with the band, and then tour

1135
01:03:40,040 --> 01:03:44,040
Speaker 1: with another one. Yea, why can't we put those together? Yes? So,

1136
01:03:44,480 --> 01:03:46,560
Speaker 1: and don't put a saxophone on my record when I

1137
01:03:46,640 --> 01:03:49,760
Speaker 1: don't have one in the band, you know, or have

1138
01:03:50,680 --> 01:03:52,840
Speaker 1: at least two way you get to one, you know.

1139
01:03:53,480 --> 01:03:56,920
Speaker 1: And so I had all these I think thoughts and

1140
01:03:58,120 --> 01:04:00,560
Speaker 1: wonderer and why do you do this? And why? And

1141
01:04:00,680 --> 01:04:03,240
Speaker 1: several times, I mean I've told crutch Fill I said, man,

1142
01:04:03,320 --> 01:04:04,760
Speaker 1: that mix, I can't do the mix it makes you

1143
01:04:04,800 --> 01:04:07,959
Speaker 1: got to remix it. I went out and he played

1144
01:04:08,000 --> 01:04:10,560
Speaker 1: strong and to prebend the album, the whole album, and

1145
01:04:10,600 --> 01:04:12,640
Speaker 1: I walked out and I cried in the parking lot.

1146
01:04:13,560 --> 01:04:16,240
Speaker 1: I said, oh my god, and my father and my

1147
01:04:16,360 --> 01:04:18,920
Speaker 1: two older children was with me. He goes, what's wrong?

1148
01:04:19,000 --> 01:04:21,720
Speaker 1: It was? It sounded great and I went, no, oh

1149
01:04:21,800 --> 01:04:24,840
Speaker 1: my god, No, he's got to remix it. So my

1150
01:04:25,000 --> 01:04:28,160
Speaker 1: ears are just so uh. I mean, I've got really

1151
01:04:28,240 --> 01:04:33,000
Speaker 1: great ears. Yeah, and you tell me the barn but

1152
01:04:33,200 --> 01:04:35,640
Speaker 1: when you you feel it and you know it yeah,

1153
01:04:36,600 --> 01:04:39,640
Speaker 1: and it's like nothing that there's nothing to argue or

1154
01:04:39,680 --> 01:04:41,680
Speaker 1: discussing about it. It's like you the feeling you don't

1155
01:04:41,920 --> 01:04:45,200
Speaker 1: don't argue with me. I had that argument last night

1156
01:04:45,720 --> 01:04:48,000
Speaker 1: or this morning, you know when you know, I just

1157
01:04:48,120 --> 01:04:50,400
Speaker 1: don't argue. This is what I If you want to

1158
01:04:50,440 --> 01:04:52,160
Speaker 1: work with me, let's do it like I want to

1159
01:04:52,200 --> 01:04:53,640
Speaker 1: do it now. If you want to, if you want

1160
01:04:53,640 --> 01:04:56,400
Speaker 1: to pay all the bills and pay me, I'll do

1161
01:04:56,480 --> 01:05:01,160
Speaker 1: it your way. Yes, but no that you know, I

1162
01:05:01,800 --> 01:05:07,400
Speaker 1: feel like my ears have been a thorn in my side,

1163
01:05:08,000 --> 01:05:09,960
Speaker 1: a blessing and a curse at the same time. Yes,

1164
01:05:10,400 --> 01:05:13,440
Speaker 1: because I have trouble with my in ears. Yes, And

1165
01:05:13,680 --> 01:05:17,360
Speaker 1: I said, I don't understand why they go. What did

1166
01:05:17,360 --> 01:05:19,000
Speaker 1: you want you? What are you missing with sound check?

1167
01:05:19,080 --> 01:05:23,840
Speaker 1: You know when you're sound checking first show and monitor guy,

1168
01:05:23,880 --> 01:05:26,000
Speaker 1: Because I've I've been through them. I've been through them.

1169
01:05:26,040 --> 01:05:28,840
Speaker 1: I've had twenty in I mean, I'm I've fired him

1170
01:05:28,880 --> 01:05:32,480
Speaker 1: before I got off stage sometime because I said, if

1171
01:05:32,520 --> 01:05:34,160
Speaker 1: you're hearing when I'm here, and you let me stand

1172
01:05:34,200 --> 01:05:37,760
Speaker 1: out there hearing this shit, then you gotta go because

1173
01:05:37,840 --> 01:05:41,640
Speaker 1: what happens is what I'm hearing. If it sounds bad.

1174
01:05:41,840 --> 01:05:45,840
Speaker 1: I think that's what they're hearing, and the it's always well,

1175
01:05:45,920 --> 01:05:48,760
Speaker 1: it sounds good out front. I go, why can't I

1176
01:05:49,160 --> 01:05:52,760
Speaker 1: enjoy it too? If they're going to enjoy it, why

1177
01:05:52,800 --> 01:05:54,680
Speaker 1: can't I just hear it like they hear it. You know,

1178
01:05:54,800 --> 01:05:59,640
Speaker 1: my mom for the last five years or so has

1179
01:05:59,720 --> 01:06:03,280
Speaker 1: been the studio engineer I work with when we made

1180
01:06:03,760 --> 01:06:09,160
Speaker 1: Firewatcher's Daughter in Bear Creek, So like he cultivated this

1181
01:06:09,680 --> 01:06:12,680
Speaker 1: monitor mix for me that makes no sense to anyone

1182
01:06:12,720 --> 01:06:16,080
Speaker 1: else about It makes no sense to anyone else, but

1183
01:06:16,200 --> 01:06:19,840
Speaker 1: to me, it's like a limb. I can't do without it.

1184
01:06:20,080 --> 01:06:22,640
Speaker 1: And it's like it's how I hear my voice. And

1185
01:06:22,760 --> 01:06:26,720
Speaker 1: if I don't have that, I eq my monitors with

1186
01:06:26,880 --> 01:06:31,680
Speaker 1: my voice. So I push harder, I round out vows,

1187
01:06:32,240 --> 01:06:36,400
Speaker 1: I hardened hard consonants, and I hurt my voice. Yeah,

1188
01:06:36,600 --> 01:06:38,520
Speaker 1: And I didn't used to think I was picky because

1189
01:06:38,560 --> 01:06:42,800
Speaker 1: I'm a bar singer, but like because this guy wants

1190
01:06:42,840 --> 01:06:44,600
Speaker 1: you to feel like you fill in the studio, like

1191
01:06:44,600 --> 01:06:47,600
Speaker 1: when you're making a record. He's got my monitor mix

1192
01:06:47,680 --> 01:06:49,000
Speaker 1: in a way that's like now it's on this like

1193
01:06:49,200 --> 01:06:54,280
Speaker 1: priceless little thumb. I can never lose it. I swear

1194
01:06:54,440 --> 01:06:57,760
Speaker 1: I've threatened to quit about every show. It's a hard thing.

1195
01:06:58,200 --> 01:07:01,880
Speaker 1: I just want your mind, if you if they're hearing

1196
01:07:01,960 --> 01:07:03,840
Speaker 1: what I'm hearing in my ears, Oh my god. Well

1197
01:07:03,880 --> 01:07:07,720
Speaker 1: I don't, but you know, I guess it's the same principle.

1198
01:07:08,080 --> 01:07:12,400
Speaker 1: So they are saying I have to leave, Is that right? Yeah?

1199
01:07:12,440 --> 01:07:17,800
Speaker 1: In like, oh, well, I feel like I've known Rick forever.

1200
01:07:17,960 --> 01:07:20,720
Speaker 1: I feel like i've you know, like maybe I mean,

1201
01:07:20,960 --> 01:07:25,760
Speaker 1: if Willie's right about this reincarnation deal. I mean I don't.

1202
01:07:25,920 --> 01:07:29,160
Speaker 1: I don't think he is, But if he is, maybe

1203
01:07:29,280 --> 01:07:31,600
Speaker 1: that's the deal. You know, maybe we met some other

1204
01:07:31,920 --> 01:07:36,080
Speaker 1: you know, I would I would be so inspired and

1205
01:07:36,120 --> 01:07:38,400
Speaker 1: amazed if you guys ever worked together and did something

1206
01:07:39,280 --> 01:07:41,280
Speaker 1: just just to I would love to do, you know,

1207
01:07:41,440 --> 01:07:43,920
Speaker 1: I because I feel like I know what Rick would do,

1208
01:07:44,160 --> 01:07:47,400
Speaker 1: and I think it's gonna happen at some point. We'll

1209
01:07:47,440 --> 01:07:54,640
Speaker 1: figure out what that is. Surprised me, Yeah, it would

1210
01:07:54,680 --> 01:07:59,720
Speaker 1: be awesome. Well, it's so funny because I Johnny Cash,

1211
01:08:00,520 --> 01:08:03,280
Speaker 1: you know this story when I well farm It was

1212
01:08:03,360 --> 01:08:07,680
Speaker 1: the first farm Aid and I was on Merle's bus

1213
01:08:07,840 --> 01:08:11,880
Speaker 1: and he was chewing out Mark Rothball. He was really

1214
01:08:12,000 --> 01:08:14,760
Speaker 1: upset with him, and I said oh, I would turn

1215
01:08:14,800 --> 01:08:16,920
Speaker 1: around to leave, and he went stay right there, and

1216
01:08:17,040 --> 01:08:19,320
Speaker 1: I guess he wanted me to hear whatever he had

1217
01:08:19,360 --> 01:08:21,800
Speaker 1: to say to Mark and as I don't know why,

1218
01:08:22,640 --> 01:08:27,400
Speaker 1: but he he gave me this hat and so skip ahead. Well,

1219
01:08:27,479 --> 01:08:30,400
Speaker 1: went left his bus and went on the stage. Uh.

1220
01:08:30,520 --> 01:08:33,000
Speaker 1: And then it was a circle stage, so half of

1221
01:08:33,120 --> 01:08:34,960
Speaker 1: it was getting ready and the other half was doing it.

1222
01:08:35,600 --> 01:08:38,759
Speaker 1: And I think Melancamp was on, and all of a sudden,

1223
01:08:38,800 --> 01:08:40,959
Speaker 1: you know, everywhere you looked it was. It wasn't anybody

1224
01:08:41,160 --> 01:08:44,800
Speaker 1: you didn't know. Everybody was a star, you know. And

1225
01:08:44,880 --> 01:08:49,320
Speaker 1: all of a sudden I heard Dan you and and

1226
01:08:49,960 --> 01:08:53,120
Speaker 1: Marty Haggard, and LIST said, so, I think my Johnny

1227
01:08:53,200 --> 01:08:56,479
Speaker 1: John Johnny Cash was holder than you. And I looked

1228
01:08:56,520 --> 01:08:59,840
Speaker 1: around and there it was. It was like the parting

1229
01:09:00,000 --> 01:09:02,200
Speaker 1: of the Red Sea. The people just kind of like

1230
01:09:02,280 --> 01:09:05,040
Speaker 1: they knew that he was talking to me and the

1231
01:09:05,160 --> 01:09:07,479
Speaker 1: music's going on, but I could hear him very well.

1232
01:09:08,360 --> 01:09:10,920
Speaker 1: So it turned and I thought, wow, I'm just gonna

1233
01:09:10,920 --> 01:09:13,320
Speaker 1: meet him, you know. So I started walking down to him.

1234
01:09:13,320 --> 01:09:15,400
Speaker 1: He started walking do me, and we met in the

1235
01:09:15,479 --> 01:09:18,240
Speaker 1: middle and he goes, I just wanted to say hello

1236
01:09:18,400 --> 01:09:21,439
Speaker 1: and hug your neck. And of course the first thing

1237
01:09:21,520 --> 01:09:24,439
Speaker 1: I said was, well, I said, I've been writing. I've

1238
01:09:24,439 --> 01:09:26,280
Speaker 1: been trying to write this song. I get this. I

1239
01:09:26,400 --> 01:09:29,320
Speaker 1: got this idea for a song. But I said, you're

1240
01:09:29,360 --> 01:09:31,760
Speaker 1: the only hoss that could sing it. So if you

1241
01:09:31,800 --> 01:09:33,880
Speaker 1: don't like it, then I ain't gonna write it, you know.

1242
01:09:34,640 --> 01:09:37,439
Speaker 1: And he said, I thought, well, you know, let's meet

1243
01:09:37,520 --> 01:09:40,120
Speaker 1: up next week. We'll sing a little bit of it

1244
01:09:40,280 --> 01:09:43,160
Speaker 1: to me. And of course it was just an idea,

1245
01:09:43,760 --> 01:09:45,719
Speaker 1: you know, so I had to come up with something.

1246
01:09:45,800 --> 01:09:47,639
Speaker 1: So I was just like, look back, Oh, you didn't

1247
01:09:47,680 --> 01:09:52,479
Speaker 1: have one. I had the idea, and I and and

1248
01:09:53,120 --> 01:09:55,280
Speaker 1: so he goes sing a little and I'm thinking, okay,

1249
01:09:55,479 --> 01:09:57,120
Speaker 1: I'll look back. I went to help me out here,

1250
01:09:57,280 --> 01:10:00,559
Speaker 1: you know, I'm said a little prayer. And so then

1251
01:10:00,880 --> 01:10:02,760
Speaker 1: not only did I I started singing it, but I

1252
01:10:02,840 --> 01:10:07,400
Speaker 1: started for imitating him, which is so funny. I whoa,

1253
01:10:08,520 --> 01:10:12,160
Speaker 1: you got the man in black feeling blue? This is

1254
01:10:12,880 --> 01:10:15,120
Speaker 1: you know, came out my ass because I had nothing else,

1255
01:10:15,200 --> 01:10:19,000
Speaker 1: you know, and you got I just came get over,

1256
01:10:19,439 --> 01:10:24,280
Speaker 1: getting all over you. I sang with what is riding?

1257
01:10:24,360 --> 01:10:28,080
Speaker 1: I standing for what is true? But you got the

1258
01:10:28,200 --> 01:10:32,880
Speaker 1: man in black feeling blue? You know, and that's all

1259
01:10:32,960 --> 01:10:35,120
Speaker 1: I had. I was amazed to come up with that

1260
01:10:35,439 --> 01:10:39,439
Speaker 1: wow tea and he goes, I like that, Well, I'll

1261
01:10:39,479 --> 01:10:41,519
Speaker 1: go see later. By So I go home with Neil

1262
01:10:41,600 --> 01:10:44,200
Speaker 1: Young on his bus. I'm going like, where was my dad?

1263
01:10:44,400 --> 01:10:48,519
Speaker 1: And then what? Then? My dad just prepared me for

1264
01:10:48,600 --> 01:10:51,680
Speaker 1: those things, is what it was. And he knew how

1265
01:10:51,720 --> 01:10:55,200
Speaker 1: to he knew he could trust me. So I'm on

1266
01:10:55,400 --> 01:10:57,800
Speaker 1: Neil Young's bus going home. I get home, they take

1267
01:10:57,840 --> 01:11:01,920
Speaker 1: me home to Nashville. And the next day, I think

1268
01:11:01,920 --> 01:11:04,720
Speaker 1: it was Marty Stewart maybe called me and said cash

1269
01:11:04,760 --> 01:11:08,960
Speaker 1: once that song, I said, Jesus, it's not a song,

1270
01:11:09,600 --> 01:11:12,640
Speaker 1: it's an idea for a song. And so when they

1271
01:11:12,680 --> 01:11:15,880
Speaker 1: were filming the movie stage Coach, I went down and

1272
01:11:15,920 --> 01:11:18,320
Speaker 1: saw Chris and took a path. I think it might

1273
01:11:18,360 --> 01:11:20,400
Speaker 1: have been the last time I saw him. And then

1274
01:11:20,439 --> 01:11:23,320
Speaker 1: they went to Tucson and me and Billy Joe Shaverer

1275
01:11:23,400 --> 01:11:25,559
Speaker 1: were kind of hanging out and writing some songs together,

1276
01:11:26,160 --> 01:11:28,679
Speaker 1: and they were about done a stage coach and I said,

1277
01:11:28,680 --> 01:11:30,759
Speaker 1: you know, well, then more boys are all I'll guarantee

1278
01:11:30,760 --> 01:11:32,680
Speaker 1: you they're all mad at each other right now. You

1279
01:11:32,760 --> 01:11:36,519
Speaker 1: know wait, you know Chris Sink talking to Whalen Wade

1280
01:11:36,520 --> 01:11:39,120
Speaker 1: and spissed off at Willie and and I guarantee you

1281
01:11:39,240 --> 01:11:42,559
Speaker 1: you're gonna they're mad at each other. Just go down there.

1282
01:11:42,600 --> 01:11:44,720
Speaker 1: I got him a plane ticket to Tucson. I sent

1283
01:11:44,760 --> 01:11:47,479
Speaker 1: Billy Joe Shaver down there. I said, and this is

1284
01:11:47,560 --> 01:11:50,479
Speaker 1: just kind of stuff like we're talking about, like things

1285
01:11:50,520 --> 01:11:52,120
Speaker 1: that come out of my mouth. And then they happened.

1286
01:11:52,560 --> 01:11:54,400
Speaker 1: I said, you're gonna get you. Willie's gonna be by

1287
01:11:54,439 --> 01:11:57,160
Speaker 1: the pool. He's gonna be by the pool, and he's

1288
01:11:57,200 --> 01:12:00,160
Speaker 1: just about down to the worm, you know, and he's

1289
01:12:00,160 --> 01:12:02,479
Speaker 1: gonna be drunk on his ass. I said, but you

1290
01:12:02,640 --> 01:12:05,400
Speaker 1: just go and you go to Johnny's. John gash his room.

1291
01:12:06,080 --> 01:12:07,680
Speaker 1: And I figured the best way to get him to

1292
01:12:07,720 --> 01:12:09,560
Speaker 1: cut that song was to get him to finish it,

1293
01:12:10,360 --> 01:12:13,200
Speaker 1: you know, to write it. And I said, he'll cut

1294
01:12:13,240 --> 01:12:16,120
Speaker 1: it if he writes it, if he finished it. So

1295
01:12:16,920 --> 01:12:20,560
Speaker 1: they did. They finished it. They finished the song. But

1296
01:12:20,720 --> 01:12:22,719
Speaker 1: and I asked John Carter the other day if maybe

1297
01:12:23,200 --> 01:12:26,600
Speaker 1: he'd had it recorded it or something, you know, put it,

1298
01:12:26,640 --> 01:12:30,799
Speaker 1: put it down before he passed. But it was exactly

1299
01:12:30,880 --> 01:12:33,200
Speaker 1: the way Billy Joe walked in and went out to

1300
01:12:33,200 --> 01:12:35,479
Speaker 1: the pool and there was Willie just on his butt.

1301
01:12:35,600 --> 01:12:37,080
Speaker 1: Me and Rick, we're just talking about this when you

1302
01:12:37,120 --> 01:12:39,800
Speaker 1: went to the bathroom. So you do these ideas right

1303
01:12:40,320 --> 01:12:43,160
Speaker 1: that wind up being songs for other people or whatever,

1304
01:12:43,320 --> 01:12:45,040
Speaker 1: because you say these things come out of your mouth,

1305
01:12:45,080 --> 01:12:47,760
Speaker 1: are a little bit inspired, like earlier when you said

1306
01:12:47,840 --> 01:12:49,760
Speaker 1: that you felt like when you lost your parents there

1307
01:12:49,840 --> 01:12:52,160
Speaker 1: was more love behind you than there wasn't you, which

1308
01:12:52,240 --> 01:12:56,719
Speaker 1: is a song, yep, but like soon to be soon

1309
01:12:56,800 --> 01:12:58,960
Speaker 1: to be a song. But when we made this album,

1310
01:12:59,040 --> 01:13:00,800
Speaker 1: you were sitting in it just like that in the

1311
01:13:00,800 --> 01:13:02,920
Speaker 1: control room, and you were telling me that you called

1312
01:13:03,000 --> 01:13:06,400
Speaker 1: Loretta up on the phone. He told her that you

1313
01:13:06,479 --> 01:13:10,640
Speaker 1: had one of your ideas, which was bring my flowers now.

1314
01:13:10,800 --> 01:13:14,559
Speaker 1: While I will need your love when I'm gone, don't

1315
01:13:14,600 --> 01:13:17,479
Speaker 1: spend time, tears or money on my old breathless body.

1316
01:13:17,920 --> 01:13:20,640
Speaker 1: If your heart is in them flowers, bring them now,

1317
01:13:21,680 --> 01:13:27,240
Speaker 1: bring them on in the end, And I was awe struck.

1318
01:13:27,320 --> 01:13:29,040
Speaker 1: And of course we had the documentary cures who were

1319
01:13:29,040 --> 01:13:31,479
Speaker 1: recording the whole thing. I recorded it. I was like,

1320
01:13:31,640 --> 01:13:34,280
Speaker 1: send me that to my phone. Ten you went home.

1321
01:13:34,320 --> 01:13:36,080
Speaker 1: I played it for Shooter and Shooters like you got

1322
01:13:36,160 --> 01:13:39,400
Speaker 1: to write that song. And me and she didn't get

1323
01:13:39,400 --> 01:13:43,000
Speaker 1: out of it this time, wanted out, but she had

1324
01:13:43,040 --> 01:13:45,360
Speaker 1: to sit at the piano with me and she had

1325
01:13:45,400 --> 01:13:47,479
Speaker 1: to write that song and it became the title track

1326
01:13:47,560 --> 01:13:51,600
Speaker 1: and really the kind of deep inspiration behind what the

1327
01:13:51,680 --> 01:13:54,679
Speaker 1: album actually is. And the album got named while I'm living.

1328
01:13:55,120 --> 01:14:00,160
Speaker 1: Your ideas are more they're more penitive than you inter

1329
01:14:00,400 --> 01:14:03,519
Speaker 1: then you think that they are, Like, is it true

1330
01:14:03,600 --> 01:14:10,400
Speaker 1: that you wrote the idea? If you're you're the I

1331
01:14:10,479 --> 01:14:13,519
Speaker 1: got some motion front property in Arizona. From my front

1332
01:14:13,560 --> 01:14:15,800
Speaker 1: porch you can see the sea. I got some motion

1333
01:14:15,880 --> 01:14:18,559
Speaker 1: from property in Arizona. If you buy that, I'll throw

1334
01:14:18,680 --> 01:14:21,600
Speaker 1: the golden gate in free how much? So that was

1335
01:14:21,680 --> 01:14:23,560
Speaker 1: your So let's see what was the deal is that

1336
01:14:23,640 --> 01:14:25,640
Speaker 1: Dean Dilon and I were hanging out. We were just

1337
01:14:25,800 --> 01:14:27,920
Speaker 1: like connected at the hip, you know, and he's one

1338
01:14:27,920 --> 01:14:31,559
Speaker 1: of my favorite writers of all time. And then everybody

1339
01:14:31,640 --> 01:14:33,200
Speaker 1: say like, if you believe that, you know, I got

1340
01:14:33,280 --> 01:14:36,760
Speaker 1: some swamp land to say you in Louisiana, And I'm thinking, well,

1341
01:14:36,800 --> 01:14:40,360
Speaker 1: there is swamp land in Louisiana, So what the hell

1342
01:14:40,680 --> 01:14:42,600
Speaker 1: it should be like if if you believe that I

1343
01:14:42,680 --> 01:14:45,439
Speaker 1: got some motion front property in Arizona, you know, And

1344
01:14:45,600 --> 01:14:48,600
Speaker 1: that came out of my mouth and Roy Sporter and

1345
01:14:48,880 --> 01:14:50,840
Speaker 1: Dean Dilan and we're sitting at his house and that

1346
01:14:51,000 --> 01:14:53,840
Speaker 1: just kind of that's a that's what happens song. And

1347
01:14:53,960 --> 01:14:56,280
Speaker 1: nobody knows that Tanya Tucker spit that line out. No,

1348
01:14:56,400 --> 01:14:58,880
Speaker 1: I mean I didn't, but it doesn't. See you do

1349
01:14:58,960 --> 01:15:01,479
Speaker 1: it all damn day. Yeah, I have to keep on

1350
01:15:01,600 --> 01:15:05,120
Speaker 1: taking Roger Miller's place, you know Roger Miller songwriters. You'd

1351
01:15:05,160 --> 01:15:07,800
Speaker 1: see I'm everywhere all around him and if he went

1352
01:15:07,920 --> 01:15:10,800
Speaker 1: somewhere because I said anything, will say something many minutes

1353
01:15:11,600 --> 01:15:14,680
Speaker 1: and that am now. I mean I have friends, I

1354
01:15:14,760 --> 01:15:19,519
Speaker 1: mean Dennis Quaid included that has a pad, Yeah, and

1355
01:15:19,640 --> 01:15:22,360
Speaker 1: they write things down. I do it. I do it

1356
01:15:22,400 --> 01:15:24,720
Speaker 1: all day. And actually Rick's even doing it. Yeah, I

1357
01:15:24,840 --> 01:15:28,719
Speaker 1: wrote down the same line that she wrote. It's funny.

1358
01:15:28,840 --> 01:15:30,439
Speaker 1: You really are right. I got a lot of them.

1359
01:15:30,560 --> 01:15:33,320
Speaker 1: You really are an inspiring person and you don't know it.

1360
01:15:33,400 --> 01:15:35,640
Speaker 1: And that's what makes it so true. No, I have no.

1361
01:15:35,760 --> 01:15:39,639
Speaker 1: I mean, I sometimes I feel so inadequate. And I'm

1362
01:15:39,680 --> 01:15:43,040
Speaker 1: sure that you know everybody must feel that way at

1363
01:15:43,080 --> 01:15:46,519
Speaker 1: some point, but uh, and feel like I mean, you

1364
01:15:46,560 --> 01:15:49,200
Speaker 1: would question when you're around her. It's like, oh my god,

1365
01:15:49,240 --> 01:15:53,280
Speaker 1: I got a lot to learn. But and she's so

1366
01:15:54,680 --> 01:15:58,320
Speaker 1: available and for me and and at any time, and

1367
01:15:58,439 --> 01:16:02,479
Speaker 1: it's been really a wonderful thing. But you know, I

1368
01:16:02,479 --> 01:16:05,280
Speaker 1: always would strive to want to be better, no matter

1369
01:16:05,320 --> 01:16:08,160
Speaker 1: if I'm cooking a chilly rihanno, or if I'm writing

1370
01:16:08,160 --> 01:16:10,040
Speaker 1: a song, or if I'm out riding my horse in

1371
01:16:10,120 --> 01:16:12,680
Speaker 1: a in a competition. You know, I just want to

1372
01:16:12,720 --> 01:16:15,400
Speaker 1: be the best I can be. Like that, what was

1373
01:16:15,439 --> 01:16:17,639
Speaker 1: that one commercial? I mean that says the American Express

1374
01:16:17,680 --> 01:16:20,200
Speaker 1: don't leave home without it. Don't don't leave home without

1375
01:16:20,280 --> 01:16:24,120
Speaker 1: I say, don't stay home with it. Don't stay home

1376
01:16:24,200 --> 01:16:26,360
Speaker 1: with it? You know. I mean, so I've got this

1377
01:16:26,760 --> 01:16:31,880
Speaker 1: commercial mind of I love writing commercials. You know. I'm

1378
01:16:31,960 --> 01:16:34,080
Speaker 1: held by Madelon in a career out of it, didn't

1379
01:16:34,080 --> 01:16:37,240
Speaker 1: he And so there's so many ways and so many

1380
01:16:37,320 --> 01:16:39,680
Speaker 1: things to be done that I've yet to do. And

1381
01:16:39,800 --> 01:16:42,759
Speaker 1: I feel like sometimes I'm running out of time energy,

1382
01:16:43,080 --> 01:16:45,960
Speaker 1: ye know, I'm running out of time. Well it's amazing

1383
01:16:45,960 --> 01:16:48,759
Speaker 1: because I have epstein bar and that's the chronic fatigue.

1384
01:16:49,280 --> 01:16:52,040
Speaker 1: And some days I I don't know how I'm gonna

1385
01:16:52,040 --> 01:16:55,160
Speaker 1: get out of bed, but I do and but then

1386
01:16:55,200 --> 01:16:57,800
Speaker 1: you get up on stage and shake your hips like Elvis. Yeah,

1387
01:16:57,800 --> 01:17:01,960
Speaker 1: and then come off and fall fall the floor. But

1388
01:17:02,400 --> 01:17:05,240
Speaker 1: it's uh, I guess, I don't know. They asked me

1389
01:17:05,360 --> 01:17:09,320
Speaker 1: what I want to be remembered for, and I guess

1390
01:17:09,360 --> 01:17:13,240
Speaker 1: I'm still working on that answer. I'm I guess a

1391
01:17:13,360 --> 01:17:17,640
Speaker 1: good person that was had a good nature and was

1392
01:17:18,160 --> 01:17:23,280
Speaker 1: always ready to help somebody, you know, always always on

1393
01:17:23,360 --> 01:17:26,639
Speaker 1: the front row. Yeah, farted for the cannon. I feel

1394
01:17:26,680 --> 01:17:30,280
Speaker 1: like you're just getting started. I said, this sounds this

1395
01:17:30,400 --> 01:17:34,320
Speaker 1: aulbms a great place to start, like that as well

1396
01:17:34,360 --> 01:17:37,120
Speaker 1: as that's what I tell you once somebody has interviewed me,

1397
01:17:37,120 --> 01:17:42,840
Speaker 1: I said, well, it's a start. Forty six albums later,

1398
01:17:43,160 --> 01:17:46,160
Speaker 1: there are many many starts. Oh and I think that,

1399
01:17:46,280 --> 01:17:49,760
Speaker 1: and they'll say you only you only live once. I said, no, no, no, no, no, no,

1400
01:17:50,280 --> 01:17:55,160
Speaker 1: you live many times, you only die once. There you go,

1401
01:17:55,439 --> 01:17:58,960
Speaker 1: see what I'm saying? Yeah? Are you writing that? My

1402
01:17:59,040 --> 01:18:02,439
Speaker 1: writing so many Rick, it's all day it's all day long.

1403
01:18:03,520 --> 01:18:10,200
Speaker 1: Yeah yeah, yeah, just a walking song. Yeah. But to

1404
01:18:10,280 --> 01:18:15,200
Speaker 1: be inspirational and to inspire people to to write or

1405
01:18:15,400 --> 01:18:17,519
Speaker 1: do whatever whatever it is they do. If I can

1406
01:18:17,640 --> 01:18:19,920
Speaker 1: inspire them to do and be better at what they do.

1407
01:18:20,640 --> 01:18:24,680
Speaker 1: It inspires me to be better. But when you have

1408
01:18:24,800 --> 01:18:26,960
Speaker 1: done it for me and you have to as well,

1409
01:18:27,240 --> 01:18:31,680
Speaker 1: thank you annoyingly but maybe because I haven't really met you,

1410
01:18:31,840 --> 01:18:35,200
Speaker 1: but I've know I feel that that connection for sure,

1411
01:18:36,320 --> 01:18:38,320
Speaker 1: and I've always said it, but just that price was

1412
01:18:38,400 --> 01:18:48,559
Speaker 1: just a little too Thanks to Tanya Tucker and Brandy

1413
01:18:48,600 --> 01:18:51,760
Speaker 1: Carlisle for coming through Shangrilad Tape Broken Record at the

1414
01:18:51,840 --> 01:18:53,920
Speaker 1: Tanya Tucker dot com to check out when it tours

1415
01:18:53,960 --> 01:18:55,920
Speaker 1: coming through your town, and you can check out her

1416
01:18:55,960 --> 01:18:58,519
Speaker 1: new album produced by Brandy Carlyle and Shooter Jennings on

1417
01:18:58,600 --> 01:19:02,200
Speaker 1: our Spotify playlist app, Broken Record podcast dot com and

1418
01:19:02,280 --> 01:19:04,479
Speaker 1: while a're there, sign up for a behind the scenes newsletter.

1419
01:19:05,200 --> 01:19:07,400
Speaker 1: Broken Record is produced with help from Jason Gambrell and

1420
01:19:07,479 --> 01:19:10,320
Speaker 1: Melobelle Or. Theme music is by Kenny Beats. Stay tuned

1421
01:19:10,320 --> 01:19:17,880
Speaker 1: for next week's episode with the Black Keys. I'm justin Richmond. Well,

1422
01:19:17,960 --> 01:19:20,360
Speaker 1: I mean I go, I can talk, you're here, I say,

1423
01:19:20,400 --> 01:19:39,200
Speaker 1: I'll talk too much for me an alcoholic alcoholic. Thanks

1424
01:19:39,240 --> 01:19:41,840
Speaker 1: to Tanya Tucker and Brandy Carlile for coming through Shanglade

1425
01:19:41,920 --> 01:19:44,680
Speaker 1: Tape Broken Record at the Tanya Tucker dot com to

1426
01:19:44,760 --> 01:19:46,479
Speaker 1: check out when a tour is coming through your town,

1427
01:19:46,720 --> 01:19:48,559
Speaker 1: and you can check out a new album produced by

1428
01:19:48,640 --> 01:19:51,640
Speaker 1: Brandy Carlyle and Shooter Jennings on our Spotify playlist at

1429
01:19:51,680 --> 01:19:54,760
Speaker 1: broken record podcast dot com, and while you're there, sign

1430
01:19:54,840 --> 01:19:57,680
Speaker 1: up for a behind the scenes newsletter. Broken Record is

1431
01:19:57,680 --> 01:20:00,400
Speaker 1: produced with help from Jason Gambrell and Melobelle. Or music

1432
01:20:00,479 --> 01:20:03,040
Speaker 1: is by Kenny Beats. Stay tuned for next week's episode

1433
01:20:03,080 --> 01:20:09,000
Speaker 1: with the Black Keys. I'm justin Richmond, h