1
00:00:15,476 --> 00:00:15,956
Speaker 1: Pushkin.

2
00:00:20,196 --> 00:00:23,116
Speaker 2: Margot Price's new album, Hard Headed Woman, was recorded in

3
00:00:23,156 --> 00:00:26,076
Speaker 2: the heart of Nashville at the legendary RCAA Studio A.

4
00:00:26,956 --> 00:00:29,516
Speaker 2: That's the very place where the Nashville Sound was born

5
00:00:29,756 --> 00:00:32,516
Speaker 2: and where greats like Merle Haggard, Dolly Parton, and Charlie

6
00:00:32,516 --> 00:00:36,036
Speaker 2: Pride have all recorded. It's the perfect setting for Margo,

7
00:00:36,316 --> 00:00:38,716
Speaker 2: who's as much a student of country's rich history as

8
00:00:38,716 --> 00:00:41,476
Speaker 2: she is a fan of its fearless rule breakers. She's

9
00:00:41,556 --> 00:00:44,516
Speaker 2: never taken the straight path herself, a journey she tells

10
00:00:44,516 --> 00:00:46,996
Speaker 2: in her twenty twenty two memoir Maybe We'll Make It.

11
00:00:48,116 --> 00:00:50,676
Speaker 2: On today's episode, Bruce Headlam talks with Margot about the

12
00:00:50,716 --> 00:00:53,236
Speaker 2: making of her new album and her creative partnership with

13
00:00:53,276 --> 00:00:58,316
Speaker 2: her husband and longtime collaborator Jeremy Ivy. Margo also shares

14
00:00:58,356 --> 00:01:01,476
Speaker 2: her thoughts on the inauthenticity of mainstream country and why

15
00:01:01,516 --> 00:01:03,996
Speaker 2: she continues to stay committed to pouring both the extreme

16
00:01:04,076 --> 00:01:10,396
Speaker 2: craft and care into every song. She writes, this is

17
00:01:10,476 --> 00:01:20,316
Speaker 2: broken record, real musicians, real conversations. Here's Bruce Headlam's conversation

18
00:01:20,356 --> 00:01:22,756
Speaker 2: with Margot Price. She starts by singing her new song

19
00:01:23,036 --> 00:01:23,996
Speaker 2: Nowhere is.

20
00:01:23,956 --> 00:01:50,276
Speaker 3: Where, nowherese Where.

21
00:01:52,836 --> 00:01:57,356
Speaker 4: I Come from where nothing gros.

22
00:01:57,356 --> 00:01:59,756
Speaker 3: Who's but the debuta who.

23
00:01:59,796 --> 00:02:06,836
Speaker 5: In the dry rivers run, and the dry rivers run.

24
00:02:11,276 --> 00:02:17,876
Speaker 3: Nowhere elsewhere nineteen ninety nine.

25
00:02:18,356 --> 00:02:27,996
Speaker 6: House speeding down the gravel road, Passers County Line, Passmbers

26
00:02:28,036 --> 00:02:29,636
Speaker 6: County Line.

27
00:02:34,036 --> 00:02:39,636
Speaker 4: On your way down, won't you pick me up?

28
00:02:40,636 --> 00:02:41,556
Speaker 3: If there's.

29
00:02:42,836 --> 00:02:51,276
Speaker 5: Room enough, you'vega gus in the truck. If you go

30
00:02:51,396 --> 00:02:58,156
Speaker 5: in nowhere, I could use or ride point.

31
00:02:57,996 --> 00:03:30,236
Speaker 3: The headline south and nowhere esewhere.

32
00:03:31,956 --> 00:03:38,116
Speaker 4: Thoughts go along between the combine clouds and the waves

33
00:03:38,196 --> 00:03:43,356
Speaker 4: of doud and the miles and miles of course, and

34
00:03:43,516 --> 00:03:46,676
Speaker 4: the miles and miles of course.

35
00:03:50,636 --> 00:03:56,156
Speaker 3: On your way down, won't pay me up?

36
00:03:57,276 --> 00:03:58,156
Speaker 7: If there's.

37
00:03:59,396 --> 00:04:07,236
Speaker 5: Room enough and you've got gas in the truck, if

38
00:04:07,276 --> 00:04:14,596
Speaker 5: you're going over, I could use a ride. Put the

39
00:04:14,716 --> 00:04:18,796
Speaker 5: headlights suth in, turn the radio along.

40
00:04:19,356 --> 00:04:20,196
Speaker 7: Will be good.

41
00:04:20,196 --> 00:04:26,516
Speaker 4: It's gone when the sun comes up, till the highway

42
00:04:26,716 --> 00:04:31,996
Speaker 4: stops and the wheel's falled in me engine russ.

43
00:04:33,876 --> 00:04:38,956
Speaker 5: Till the pavement turns, tomorrow burns into a blaze.

44
00:04:39,276 --> 00:04:44,516
Speaker 3: Glory, got no regrets.

45
00:04:44,316 --> 00:04:48,156
Speaker 4: Lot of cigaree red rewrite the story.

46
00:04:50,596 --> 00:04:58,236
Speaker 3: On your way down? Won't pie me? If there's.

47
00:04:59,476 --> 00:05:07,516
Speaker 5: Room love and you've got guas in trouble if you

48
00:05:07,756 --> 00:05:15,556
Speaker 5: go in a could use all right, what the head.

49
00:05:15,356 --> 00:05:16,716
Speaker 6: Lot so thing?

50
00:05:32,716 --> 00:05:35,516
Speaker 1: Margot, thank you for coming in and we're talking about

51
00:05:35,516 --> 00:05:37,836
Speaker 1: many things, but we're going to talk about Hard Headed Woman,

52
00:05:38,676 --> 00:05:41,716
Speaker 1: which is your new album. Can you talk a little

53
00:05:41,716 --> 00:05:44,876
Speaker 1: bit about the idea you had going into this album,

54
00:05:44,916 --> 00:05:47,836
Speaker 1: how it might have differed from your last album.

55
00:05:48,276 --> 00:05:51,236
Speaker 7: Yeah, I'm so happy to be here. I'm a big

56
00:05:51,316 --> 00:05:53,396
Speaker 7: fan of this podcast, by the way, Thank you so much.

57
00:05:54,716 --> 00:06:00,156
Speaker 7: I really just wanted to get back to the songwriting

58
00:06:00,516 --> 00:06:05,316
Speaker 7: and the storytelling with this record. And I had so

59
00:06:05,436 --> 00:06:08,756
Speaker 7: much fun on the last album exploring you know, more

60
00:06:09,116 --> 00:06:13,476
Speaker 7: psychedelic rock territory with Jonathan Wilson, and that seeped over

61
00:06:13,556 --> 00:06:16,116
Speaker 7: into our live shows with you know, we were doing

62
00:06:16,116 --> 00:06:18,996
Speaker 7: lots of double drums and I jumped back there on

63
00:06:19,036 --> 00:06:22,756
Speaker 7: the drum kit and lots of jams that you know,

64
00:06:22,876 --> 00:06:28,276
Speaker 7: went on for ten to twenty minutes. But I really

65
00:06:28,316 --> 00:06:32,076
Speaker 7: wanted to get back to, you know, more stripped down,

66
00:06:32,876 --> 00:06:34,436
Speaker 7: raw storytelling.

67
00:06:35,396 --> 00:06:38,396
Speaker 1: Did you come in with more finished songs for this

68
00:06:38,436 --> 00:06:41,636
Speaker 1: one than the last one, which was a little more experimental,

69
00:06:41,636 --> 00:06:42,476
Speaker 1: a little more ragged.

70
00:06:43,556 --> 00:06:47,036
Speaker 7: Yeah, we I mean it took a really long time

71
00:06:47,036 --> 00:06:48,636
Speaker 7: for me to get in the studio. I won't go

72
00:06:48,796 --> 00:06:51,636
Speaker 7: into all the details on why, but we were writing

73
00:06:51,676 --> 00:06:54,156
Speaker 7: on the road. We were writing. We went out to

74
00:06:54,396 --> 00:06:58,596
Speaker 7: Joshua Tree and wrote some songs. My husband and I

75
00:06:58,676 --> 00:07:01,276
Speaker 7: kind of stayed in the house out there, and then

76
00:07:02,636 --> 00:07:05,036
Speaker 7: ended up getting together with Rodney Krall, one of my

77
00:07:05,036 --> 00:07:09,556
Speaker 7: favorite songwriters in Nashville, and wrote with him. Wrote with

78
00:07:10,556 --> 00:07:14,076
Speaker 7: another friend of mine, her name is Marien Negler. So yeah,

79
00:07:14,116 --> 00:07:16,756
Speaker 7: we had we did a lot of pre production for

80
00:07:16,796 --> 00:07:20,836
Speaker 7: this album. We went over to the friend's house. He's

81
00:07:20,836 --> 00:07:23,876
Speaker 7: got a home studio and just the band and I

82
00:07:23,956 --> 00:07:27,916
Speaker 7: were laying things down and trying things out before we

83
00:07:27,956 --> 00:07:32,476
Speaker 7: got into RCAA, because I did want to have a

84
00:07:32,596 --> 00:07:34,916
Speaker 7: very clear cut. I think country music is more exact

85
00:07:34,956 --> 00:07:36,676
Speaker 7: than people think. I think a lot of people think

86
00:07:36,676 --> 00:07:41,076
Speaker 7: it's so easy to you know, to play country music

87
00:07:41,196 --> 00:07:45,756
Speaker 7: whenever folk Americana, But you've got to have all the

88
00:07:45,836 --> 00:07:48,956
Speaker 7: parts there and everything has to give other things space.

89
00:07:49,316 --> 00:07:52,676
Speaker 7: And so there was a lot of a lot more

90
00:07:52,676 --> 00:07:54,676
Speaker 7: planning with this one, for sure.

91
00:07:55,116 --> 00:07:58,796
Speaker 1: So you mentioned Jeremy, your husband, your partner in crime,

92
00:07:59,476 --> 00:08:02,116
Speaker 1: and you're writing partner. How do you guys write together?

93
00:08:02,276 --> 00:08:03,116
Speaker 1: Tell me about that?

94
00:08:04,156 --> 00:08:07,716
Speaker 7: Yeah, so sometimes we sit down and you know, completely

95
00:08:08,476 --> 00:08:12,476
Speaker 7: blink slate and work from the ground up. Other times

96
00:08:12,556 --> 00:08:16,116
Speaker 7: we'll go off separately and then come back into the

97
00:08:16,196 --> 00:08:19,556
Speaker 7: room and show, you know, show each other the idea is.

98
00:08:20,276 --> 00:08:23,476
Speaker 7: Sometimes yeah, it'll be something that like he'll have an

99
00:08:23,516 --> 00:08:26,356
Speaker 7: idea for a title, and he'll throw it to me

100
00:08:26,756 --> 00:08:28,836
Speaker 7: and then I'll work on it and then we'll come

101
00:08:28,836 --> 00:08:33,396
Speaker 7: back together. But each one is unique in the way

102
00:08:33,436 --> 00:08:35,836
Speaker 7: that it's kind of born. I think the best ones

103
00:08:36,236 --> 00:08:39,996
Speaker 7: come when the melody and everything is in the words

104
00:08:40,036 --> 00:08:43,196
Speaker 7: and everything's all just rapid fire. That's kind of how

105
00:08:43,836 --> 00:08:46,796
Speaker 7: Don't Wake Me Up really came about. Like that. He

106
00:08:47,036 --> 00:08:50,316
Speaker 7: found this notebook of mine and a poem I'd scribbled

107
00:08:50,316 --> 00:08:54,316
Speaker 7: down a couple of years ago, and just was like,

108
00:08:54,396 --> 00:08:56,316
Speaker 7: this is such a great poem. We should make this

109
00:08:56,356 --> 00:08:58,196
Speaker 7: into a song. And so then he just started playing

110
00:08:58,196 --> 00:09:03,036
Speaker 7: this very simple blues progression and we had the whole

111
00:09:03,036 --> 00:09:06,076
Speaker 7: thing written like ten minutes. It was like it was

112
00:09:06,116 --> 00:09:07,796
Speaker 7: so fun, you know, I felt like I could have

113
00:09:07,796 --> 00:09:09,916
Speaker 7: written ten more verses to that one.

114
00:09:10,476 --> 00:09:14,276
Speaker 1: I love that song because it's like an encyclopedia song.

115
00:09:14,316 --> 00:09:17,596
Speaker 1: People don't do it those things anymore. But like I've

116
00:09:17,596 --> 00:09:20,876
Speaker 1: been everywhere the old I guess it was Hank Snow

117
00:09:20,916 --> 00:09:23,516
Speaker 1: did that song end of the World as we know

118
00:09:23,596 --> 00:09:25,556
Speaker 1: at ori em. You know, just people just like We're

119
00:09:25,596 --> 00:09:27,196
Speaker 1: just gonna It's every.

120
00:09:27,036 --> 00:09:30,916
Speaker 7: Variation, all the places. Yeah, it really started after I

121
00:09:30,956 --> 00:09:37,196
Speaker 7: was reading a Frank Stanford poem and I loved that

122
00:09:37,316 --> 00:09:40,956
Speaker 7: duality of like, what's going on in the world currently

123
00:09:41,036 --> 00:09:45,036
Speaker 7: and still thinking about all the places you can dream.

124
00:09:45,196 --> 00:09:48,756
Speaker 1: I should say this is primarily an album. It's about you.

125
00:09:48,836 --> 00:09:51,836
Speaker 1: It's a lot of love songs, but the outside world

126
00:09:51,916 --> 00:09:55,556
Speaker 1: does kind of weave its way in and out, sometimes

127
00:09:55,596 --> 00:10:00,756
Speaker 1: in really unexpected places. There's a beautiful line in one

128
00:10:00,836 --> 00:10:03,596
Speaker 1: song where you're talking about listening to the jukebox while

129
00:10:03,676 --> 00:10:07,636
Speaker 1: democracy falls, and it's completely unexpected. It's like an easter

130
00:10:07,716 --> 00:10:08,676
Speaker 1: egg in the middle of this.

131
00:10:09,756 --> 00:10:11,796
Speaker 7: Yeah, I think even yeah, when you're in the middle

132
00:10:11,836 --> 00:10:16,796
Speaker 7: of a moment with with somebody or you know, with

133
00:10:16,836 --> 00:10:18,596
Speaker 7: your family, that's kind of how it is, you know,

134
00:10:18,636 --> 00:10:22,196
Speaker 7: those the dark things that they creep in there. But

135
00:10:22,316 --> 00:10:26,596
Speaker 7: it's Yeah, I'm especially proud of that line.

136
00:10:27,076 --> 00:10:30,236
Speaker 1: Tell me about meeting up with Rodney Crowell and how

137
00:10:30,316 --> 00:10:31,276
Speaker 1: that came about.

138
00:10:31,836 --> 00:10:35,596
Speaker 7: Yes, I've been covering his work for a really long time,

139
00:10:35,676 --> 00:10:41,756
Speaker 7: and I think he shared a version of that I

140
00:10:41,796 --> 00:10:44,836
Speaker 7: did of ain't living long like this and kind of

141
00:10:45,076 --> 00:10:49,756
Speaker 7: started creeping into his world. Actually, him and Emmy Lou

142
00:10:49,836 --> 00:10:53,516
Speaker 7: Harris and myself we were at a benefit and we

143
00:10:53,516 --> 00:10:56,716
Speaker 7: were playing some songs, just passing the guitar, just me

144
00:10:56,836 --> 00:10:59,276
Speaker 7: with the two of them. It was just so intimidating,

145
00:11:00,076 --> 00:11:04,036
Speaker 7: and it was for a really good cause. And I

146
00:11:04,116 --> 00:11:06,436
Speaker 7: was kind of, you know, wood shopping these tunes with them,

147
00:11:06,756 --> 00:11:12,916
Speaker 7: and they were so support They were singing along like

148
00:11:12,956 --> 00:11:15,476
Speaker 7: I'm close to you and on these songs before we'd

149
00:11:15,516 --> 00:11:18,276
Speaker 7: even went into the studio, and I knew that was

150
00:11:18,316 --> 00:11:20,196
Speaker 7: a good sign and don't wake me up. They were

151
00:11:20,196 --> 00:11:23,796
Speaker 7: there in those early days and so just having them

152
00:11:23,876 --> 00:11:26,796
Speaker 7: kind of building me up and going through these transitions

153
00:11:26,836 --> 00:11:29,876
Speaker 7: that I've been in. I had left my managers, left

154
00:11:29,916 --> 00:11:34,076
Speaker 7: my band, but Rodney was like more than happy to

155
00:11:34,116 --> 00:11:37,476
Speaker 7: write with me. And really we were kind of pulling

156
00:11:37,556 --> 00:11:43,076
Speaker 7: so directly from his style on like Red Eye Flight,

157
00:11:43,876 --> 00:11:46,356
Speaker 7: that I thought, man, it would be killer to get

158
00:11:46,436 --> 00:11:49,076
Speaker 7: Rodney on this song and went out to his house,

159
00:11:50,196 --> 00:11:52,436
Speaker 7: got to hear some songs he was working on, and

160
00:11:52,716 --> 00:11:55,716
Speaker 7: he helped us finish Bastards as well, and just watching

161
00:11:55,796 --> 00:11:58,276
Speaker 7: him turn a phrase in real time and seeing kind

162
00:11:58,276 --> 00:12:00,156
Speaker 7: of how he does it. He'd try one thing and

163
00:12:00,156 --> 00:12:02,236
Speaker 7: then he'd keep taking it further, and well, what about this?

164
00:12:02,316 --> 00:12:06,196
Speaker 7: What about this? He had this line in don't let

165
00:12:06,196 --> 00:12:08,636
Speaker 7: the bastards get you down that he threw out I

166
00:12:08,756 --> 00:12:12,556
Speaker 7: just let every time I hear it, he said, Cocaine

167
00:12:12,596 --> 00:12:17,676
Speaker 7: and poontang pleasure don't make a man of measure. I said,

168
00:12:17,716 --> 00:12:20,756
Speaker 7: I don't think I can sing that word in a song,

169
00:12:20,996 --> 00:12:23,716
Speaker 7: but I love that you threw that out there.

170
00:12:24,996 --> 00:12:28,116
Speaker 1: Wow, well cocaine made it in it.

171
00:12:28,076 --> 00:12:30,516
Speaker 7: Sure did. Yeah, that was my line, mel the cocaine

172
00:12:30,556 --> 00:12:32,996
Speaker 7: in existence couldn't keep their nose out of my business.

173
00:12:33,276 --> 00:12:35,916
Speaker 1: Yeah. Well, he's a great songwriter. He is.

174
00:12:35,956 --> 00:12:36,916
Speaker 7: He's unmatched.

175
00:12:37,276 --> 00:12:39,756
Speaker 1: Can you think of something else in Red Eye, which

176
00:12:39,756 --> 00:12:42,716
Speaker 1: I think is a great song on this album. Was

177
00:12:42,756 --> 00:12:45,236
Speaker 1: there anything musical he provided for that as well? Or

178
00:12:45,236 --> 00:12:46,196
Speaker 1: was it mainly lyrical?

179
00:12:47,036 --> 00:12:49,676
Speaker 7: A lot of those chords were Jeremy coming up with

180
00:12:49,716 --> 00:12:53,836
Speaker 7: those chords, but it was mostly getting the lyrics dialed

181
00:12:53,876 --> 00:12:57,836
Speaker 7: in on both those songs that I don't know who

182
00:12:58,396 --> 00:13:00,876
Speaker 7: you think you are, but I sure know who I

183
00:13:00,956 --> 00:13:04,476
Speaker 7: ain't like that was all Rodney like twisting these things.

184
00:13:04,516 --> 00:13:08,116
Speaker 7: I just love his Texas vernacular.

185
00:13:08,516 --> 00:13:11,316
Speaker 1: Are there things you would the next time you sit

186
00:13:11,396 --> 00:13:13,636
Speaker 1: down to write, You'll think, what would Is there a

187
00:13:13,916 --> 00:13:16,396
Speaker 1: Rodney thing? Yeah? What would Rodney do? Is that?

188
00:13:16,756 --> 00:13:17,916
Speaker 7: Yeah? What would Rodney do?

189
00:13:19,276 --> 00:13:19,476
Speaker 1: Yeah?

190
00:13:19,476 --> 00:13:21,356
Speaker 7: We had so much fun over there that day, just

191
00:13:21,396 --> 00:13:25,356
Speaker 7: swapping stories with him and passing the guitar around. And

192
00:13:25,436 --> 00:13:31,116
Speaker 7: he has this really old black acoustic guitar that everybody

193
00:13:31,156 --> 00:13:34,036
Speaker 7: has signed. It's got Johnny Cash's name is scratched into it.

194
00:13:34,076 --> 00:13:37,036
Speaker 7: And at the end of the right he had me

195
00:13:37,116 --> 00:13:41,476
Speaker 7: sign his guitar. Wow, it was like a rite of passage.

196
00:13:41,836 --> 00:13:43,716
Speaker 7: And I had him sign mine too. I have a

197
00:13:43,796 --> 00:13:47,356
Speaker 7: guitar with a bunch of signatures. But it's just really

198
00:13:47,356 --> 00:13:52,036
Speaker 7: surreal after like I said, just kind of digging into

199
00:13:52,116 --> 00:13:56,836
Speaker 7: his work not only as a songwriter and a lyricist,

200
00:13:56,836 --> 00:13:59,356
Speaker 7: but I'm a huge fan of his memoir China Berry

201
00:13:59,356 --> 00:14:04,236
Speaker 7: Sidewalks was brilliant, and so being able to kind of

202
00:14:04,236 --> 00:14:06,356
Speaker 7: have him as a mentor and say, yeah, it's okay,

203
00:14:06,356 --> 00:14:08,996
Speaker 7: it's okay if you if you pull from me, all

204
00:14:09,156 --> 00:14:10,756
Speaker 7: I'll go ahead and put my name on it with you.

205
00:14:10,876 --> 00:14:12,676
Speaker 7: And my blessing is.

206
00:14:12,596 --> 00:14:14,636
Speaker 1: That one of the things that inspired you to write

207
00:14:14,716 --> 00:14:15,276
Speaker 1: your memoir.

208
00:14:16,276 --> 00:14:21,036
Speaker 7: Definitely had his memoirs beautiful. I've got a big thing

209
00:14:21,036 --> 00:14:24,156
Speaker 7: about whenever I get into an artist, I immediately try

210
00:14:24,196 --> 00:14:25,956
Speaker 7: to go see if there's any books written on them,

211
00:14:26,076 --> 00:14:31,316
Speaker 7: or even better, like a memoir. And I think the

212
00:14:31,396 --> 00:14:35,196
Speaker 7: reason I wanted to write my book was really just

213
00:14:35,276 --> 00:14:39,436
Speaker 7: so I didn't forget all of the all of the

214
00:14:39,676 --> 00:14:42,636
Speaker 7: coming up and you know, all those like times of struggle,

215
00:14:42,716 --> 00:14:48,796
Speaker 7: because I never have journals really, and it's I was

216
00:14:49,596 --> 00:14:52,876
Speaker 7: using a lot of substances and drinking very heavily in

217
00:14:53,116 --> 00:14:56,356
Speaker 7: a lot of my early days in Nashville, and so

218
00:14:56,396 --> 00:15:00,196
Speaker 7: it's kind of like putting together pieces of a crime scene,

219
00:15:00,636 --> 00:15:02,956
Speaker 7: you know. I had had to ask sometimes.

220
00:15:02,636 --> 00:15:07,076
Speaker 1: A literal crime scene. Yes, yes, yeah, you could have

221
00:15:07,116 --> 00:15:10,796
Speaker 1: the same tagline as Keith rich and his memoir, which

222
00:15:10,836 --> 00:15:12,476
Speaker 1: is surprise. I remember it all.

223
00:15:13,876 --> 00:15:17,236
Speaker 7: Yes, it was so good too. I love I've read

224
00:15:17,236 --> 00:15:19,796
Speaker 7: it and then we've also listened to it on tape

225
00:15:19,876 --> 00:15:22,316
Speaker 7: back when we were touring in like an astro van

226
00:15:22,436 --> 00:15:25,116
Speaker 7: with my old band Buffalo Clover. We would just always

227
00:15:25,156 --> 00:15:29,516
Speaker 7: have Keith Richards life on and like his voice while

228
00:15:29,556 --> 00:15:31,676
Speaker 7: he's saying it, it is just so it's so fun

229
00:15:31,716 --> 00:15:33,636
Speaker 7: to listen to. I just remember him being like, you know,

230
00:15:33,796 --> 00:15:37,396
Speaker 7: the purest cocaine was taro it.

231
00:15:39,036 --> 00:15:41,676
Speaker 1: But I was going to mention Merle Haggard because there

232
00:15:41,756 --> 00:15:45,836
Speaker 1: was such a there's such a kind of Roy Nichols

233
00:15:47,436 --> 00:15:51,476
Speaker 1: guitar sound on a lot of these songs, but starting

234
00:15:51,516 --> 00:15:54,116
Speaker 1: with the first one, starting with Don't let the Bastards

235
00:15:54,116 --> 00:15:54,916
Speaker 1: Get You Down.

236
00:15:55,716 --> 00:15:59,356
Speaker 7: I really love all the tones we were able to achieve.

237
00:15:59,596 --> 00:16:04,316
Speaker 7: My guitarist Jamie Davis, who's been with me since the beginning,

238
00:16:04,356 --> 00:16:07,476
Speaker 7: played on Midwest Farmer's Daughter and All American Maid. He

239
00:16:08,836 --> 00:16:12,076
Speaker 7: is just so thoughtful in what he plays, and it's

240
00:16:12,116 --> 00:16:15,316
Speaker 7: not ever too showy. It's like melodic serves the song.

241
00:16:16,476 --> 00:16:18,996
Speaker 7: Him and Russ Paul, who came in to play pedal steel,

242
00:16:18,996 --> 00:16:21,556
Speaker 7: and Russ Paul's the absolute legend and has just played

243
00:16:21,596 --> 00:16:27,036
Speaker 7: on everybody's stuff. The way that they had this kind

244
00:16:27,076 --> 00:16:30,276
Speaker 7: of musical conversation with each other throughout the whole album,

245
00:16:30,356 --> 00:16:32,796
Speaker 7: it's just it's brilliant. And I think it was fun

246
00:16:32,796 --> 00:16:35,556
Speaker 7: for Russ too, because you know, there were songs where

247
00:16:35,556 --> 00:16:38,076
Speaker 7: we're like, let's gritty it up, like Red Eye Flight.

248
00:16:38,156 --> 00:16:41,076
Speaker 7: He had his his pedal steel sounds like a semi

249
00:16:41,076 --> 00:16:44,076
Speaker 7: truck just plowing through and I don't know if he

250
00:16:44,116 --> 00:16:46,316
Speaker 7: gets to do that on all all of the sessions

251
00:16:46,316 --> 00:16:47,116
Speaker 7: that he plays.

252
00:16:47,556 --> 00:16:50,516
Speaker 1: And the other one, which I think is an absolute killer,

253
00:16:51,676 --> 00:16:53,516
Speaker 1: is love Me like you used to do.

254
00:16:53,596 --> 00:16:57,716
Speaker 7: Oh thank You. That song was actually written for me

255
00:16:58,556 --> 00:17:02,156
Speaker 7: by a dear friend of mine. His name is Stephen Knutsen,

256
00:17:02,476 --> 00:17:08,396
Speaker 7: and I've known him for nearly twenty years. Brilliant songwriter,

257
00:17:08,636 --> 00:17:14,156
Speaker 7: brilliant singer as well, and painter and just kind of

258
00:17:15,036 --> 00:17:18,756
Speaker 7: all around talented human who's just working at a grocery

259
00:17:18,756 --> 00:17:21,516
Speaker 7: store in Nashville, not really doing anything with his music.

260
00:17:22,156 --> 00:17:24,396
Speaker 7: And he wrote a song for me a few years

261
00:17:24,436 --> 00:17:26,156
Speaker 7: back that I put out. It's called it Ain't Drunk

262
00:17:26,236 --> 00:17:30,436
Speaker 7: Driving if You're riding a Horse, And so he sent

263
00:17:30,476 --> 00:17:34,356
Speaker 7: me this one, and I just knew I had to

264
00:17:35,076 --> 00:17:37,596
Speaker 7: sing it. And you know, there's a couple of lines

265
00:17:37,636 --> 00:17:41,236
Speaker 7: in there, like using drugs for the masses and rose

266
00:17:41,276 --> 00:17:44,356
Speaker 7: colored glasses until we can't even see what is true.

267
00:17:44,436 --> 00:17:47,436
Speaker 7: It was like, I don't, you know, I don't often

268
00:17:47,556 --> 00:17:50,756
Speaker 7: want to just cover a song that maybe I haven't

269
00:17:50,756 --> 00:17:53,516
Speaker 7: had a hand in writing. But he wrote it almost

270
00:17:53,676 --> 00:17:58,236
Speaker 7: from a perspective of mine and just knowing me so long.

271
00:17:58,676 --> 00:18:02,516
Speaker 1: You could also close your eyes and imagine Tanya Tucker

272
00:18:02,596 --> 00:18:06,316
Speaker 1: doing it, or any of the kind of I wish

273
00:18:06,356 --> 00:18:09,676
Speaker 1: she would, Yeah, maybe she, maybe she will. Here that

274
00:18:09,796 --> 00:18:11,436
Speaker 1: I thought that about a lot of these songs. I

275
00:18:11,476 --> 00:18:14,556
Speaker 1: know you are the artist. You don't write to have

276
00:18:14,636 --> 00:18:18,276
Speaker 1: other people cover your songs. I know they have, But

277
00:18:18,676 --> 00:18:21,636
Speaker 1: on this album, I thought, well, who's not going to

278
00:18:21,836 --> 00:18:23,956
Speaker 1: want to cover Close to You or Wild at Heart?

279
00:18:23,996 --> 00:18:27,476
Speaker 7: It just seemed Yeah, I wanted it to feel timeless.

280
00:18:27,516 --> 00:18:31,196
Speaker 7: I didn't want it to feel like current or too old.

281
00:18:31,276 --> 00:18:34,476
Speaker 7: It just can live in a space that's a forever

282
00:18:34,556 --> 00:18:35,796
Speaker 7: space hopefully.

283
00:18:36,676 --> 00:18:39,676
Speaker 1: Well that's an interesting question because I was thinking about

284
00:18:39,676 --> 00:18:42,116
Speaker 1: this album, and I was thinking about, you know, people

285
00:18:42,116 --> 00:18:45,036
Speaker 1: who are performing now, and I know you're not on

286
00:18:45,076 --> 00:18:49,756
Speaker 1: the sort of pop end of Nashville country songwriting. I

287
00:18:49,916 --> 00:18:52,916
Speaker 1: just looked up out of sheer interest, the top thirty

288
00:18:52,956 --> 00:18:57,076
Speaker 1: songs on the country charts this week, and I think

289
00:18:57,076 --> 00:19:00,876
Speaker 1: there were three women. All the rest were men. All

290
00:19:00,916 --> 00:19:04,436
Speaker 1: the rest may have been more than Walman actually, but they.

291
00:19:04,276 --> 00:19:05,356
Speaker 7: Were Morgan who.

292
00:19:05,796 --> 00:19:10,556
Speaker 1: Yeah, I get the feeling. His is the album everybody

293
00:19:10,636 --> 00:19:12,836
Speaker 1: falls asleep to and it just keeps playing.

294
00:19:12,916 --> 00:19:15,076
Speaker 7: And it's got you know, each song has like thirty

295
00:19:15,116 --> 00:19:18,276
Speaker 7: co writers on it. It's ridiculous. Yeah, I try to.

296
00:19:18,676 --> 00:19:20,636
Speaker 7: I try to stay out of their side of town

297
00:19:20,716 --> 00:19:23,796
Speaker 7: and hope stay out of mind. That's why I covered

298
00:19:23,836 --> 00:19:26,436
Speaker 7: that George Jones song and just don't give a damn right.

299
00:19:26,676 --> 00:19:28,316
Speaker 1: So that's felt like a bit A couple of the

300
00:19:28,356 --> 00:19:31,996
Speaker 1: covers felt a little bit like this is you talking

301
00:19:32,036 --> 00:19:34,436
Speaker 1: to your hometown.

302
00:19:34,916 --> 00:19:38,076
Speaker 7: Yeah, I think you could even say love me like

303
00:19:38,116 --> 00:19:41,876
Speaker 7: you used to. Is could be too. It could be

304
00:19:41,916 --> 00:19:45,196
Speaker 7: to a lover and that's probably who was written for,

305
00:19:45,676 --> 00:19:50,476
Speaker 7: but it could also be about you know, maybe fans

306
00:19:50,516 --> 00:19:53,356
Speaker 7: who've turned their back on me, or maybe people who

307
00:19:53,396 --> 00:19:56,876
Speaker 7: don't who don't like me because of you know, what

308
00:19:56,956 --> 00:19:59,156
Speaker 7: I stand for or things I've said in the past.

309
00:20:00,316 --> 00:20:03,676
Speaker 2: Yeah, we'll be right back with more from Margot Price

310
00:20:03,716 --> 00:20:04,436
Speaker 2: and Bruce Hadlam.

311
00:20:04,556 --> 00:20:11,596
Speaker 1: After the Break, your last album was far less country.

312
00:20:11,676 --> 00:20:14,236
Speaker 1: Are you comfortable saying, yeah, I'm a country artist, I'm Nashville,

313
00:20:14,916 --> 00:20:15,756
Speaker 1: this is who I am.

314
00:20:16,716 --> 00:20:21,076
Speaker 7: Well, definitely, I've lived in Nashville longer than I've lived

315
00:20:21,956 --> 00:20:26,836
Speaker 7: in my hometown or in Illinois, and it's a huge

316
00:20:26,876 --> 00:20:32,396
Speaker 7: piece of my identity, of my soul and country music

317
00:20:32,436 --> 00:20:36,516
Speaker 7: as well. I love it. I don't think anybody can

318
00:20:37,556 --> 00:20:40,116
Speaker 7: own it. I don't think any one group of people

319
00:20:40,396 --> 00:20:43,716
Speaker 7: can say this is country music. I mean, you really

320
00:20:43,716 --> 00:20:47,156
Speaker 7: have to clarify when somebody says I like country music,

321
00:20:47,196 --> 00:20:50,636
Speaker 7: you have to say, well, what kind? It's not cut

322
00:20:50,676 --> 00:20:54,196
Speaker 7: and dry like that. And I'm not a cut and

323
00:20:54,276 --> 00:20:59,076
Speaker 7: dry artist. I love so many different types of music,

324
00:20:59,996 --> 00:21:01,796
Speaker 7: you know. I feel like when I started, I wanted

325
00:21:01,876 --> 00:21:05,956
Speaker 7: to be like a folk singer and country and everything

326
00:21:05,956 --> 00:21:08,916
Speaker 7: it all comes from the blues, even rock, and you know,

327
00:21:08,956 --> 00:21:11,956
Speaker 7: it's all it's all in this great, big melting pot.

328
00:21:12,316 --> 00:21:16,316
Speaker 7: And you know, I was in soul bands and had

329
00:21:16,476 --> 00:21:20,236
Speaker 7: horn section and backup singers and have done James Brown

330
00:21:20,316 --> 00:21:24,476
Speaker 7: covers and there's just too many things to want to

331
00:21:24,516 --> 00:21:28,556
Speaker 7: just whittle myself down to I'm a country music artist.

332
00:21:28,876 --> 00:21:32,636
Speaker 7: And that is why I think that the label or

333
00:21:32,676 --> 00:21:36,956
Speaker 7: the genre Americana is helpful because it gives a space

334
00:21:37,356 --> 00:21:41,556
Speaker 7: for people who are just we're writing, you know, story songs,

335
00:21:41,756 --> 00:21:48,396
Speaker 7: We're using real instruments, we're playing from a genuine, deep

336
00:21:48,436 --> 00:21:53,156
Speaker 7: down place, and so yeah, I hate labels, I hate genres,

337
00:21:53,476 --> 00:21:57,596
Speaker 7: but it is a beautiful thing in a place to

338
00:21:57,596 --> 00:22:00,916
Speaker 7: have Americana music. Oh, I just saw Machine Gun. Kelly

339
00:22:00,956 --> 00:22:02,996
Speaker 7: came out with an album. It has an album coming

340
00:22:02,996 --> 00:22:07,316
Speaker 7: out it's called like Americana Something's And we had Bob

341
00:22:07,396 --> 00:22:10,156
Speaker 7: Dylan do the intro for Have you seen that yet?

342
00:22:10,636 --> 00:22:11,716
Speaker 1: Is that really Bob Dylan?

343
00:22:12,196 --> 00:22:14,676
Speaker 7: I think somebody confirmed it's really Bob Dylan. It's not Ai.

344
00:22:15,436 --> 00:22:19,156
Speaker 1: Really. Yeah, At this point, the difference between Bob Dylan

345
00:22:19,156 --> 00:22:22,116
Speaker 1: and Ai Bob Dylan is probably a pretty thin one,

346
00:22:22,156 --> 00:22:22,476
Speaker 1: isn't it.

347
00:22:22,516 --> 00:22:25,676
Speaker 7: Oh No, don't say that about my precious Bobby.

348
00:22:25,996 --> 00:22:28,676
Speaker 1: Okay, Well, we're going to talk about actually your early

349
00:22:28,676 --> 00:22:30,556
Speaker 1: influences because you didn't grow up in Nashville. You grew

350
00:22:30,636 --> 00:22:33,436
Speaker 1: up unlike the vast majority of people who play country music.

351
00:22:33,436 --> 00:22:34,836
Speaker 1: You actually grew up on a farm.

352
00:22:35,156 --> 00:22:37,596
Speaker 7: Did Yeah. I grew up in a very rural area.

353
00:22:38,476 --> 00:22:42,716
Speaker 7: Three thousand people in my hometown, and we lived outside

354
00:22:42,716 --> 00:22:45,596
Speaker 7: of the town, no close neighbors and down a gravel

355
00:22:45,676 --> 00:22:47,436
Speaker 7: road and all that cliched shit.

356
00:22:48,676 --> 00:22:51,316
Speaker 1: You talked very movingly in your book about the problems

357
00:22:51,756 --> 00:22:55,236
Speaker 1: that farmers were having at that point, and started with

358
00:22:55,276 --> 00:22:58,196
Speaker 1: the boycott of the Soviet Union. It was interesting. I

359
00:22:58,236 --> 00:23:00,476
Speaker 1: didn't know that's what led to so many of the

360
00:23:00,516 --> 00:23:01,716
Speaker 1: foreclosures in the eighties.

361
00:23:02,116 --> 00:23:07,196
Speaker 7: Yeah, it took a lot of like interviewing my family

362
00:23:07,276 --> 00:23:09,876
Speaker 7: to kind of find out why they lost the farm.

363
00:23:10,236 --> 00:23:13,236
Speaker 7: It was, you know, I thought at times people said, oh,

364
00:23:13,236 --> 00:23:15,036
Speaker 7: it was a bad drought and there was a bad

365
00:23:15,116 --> 00:23:18,236
Speaker 7: drought that year. Other times it was, oh, you know

366
00:23:18,276 --> 00:23:23,356
Speaker 7: this corrupt man in town who was laundering money and

367
00:23:23,916 --> 00:23:28,636
Speaker 7: is in prison now, And other people were saying, oh, no,

368
00:23:28,716 --> 00:23:32,516
Speaker 7: it was because the government had us put in these

369
00:23:32,636 --> 00:23:34,796
Speaker 7: green bins to dry our own corn, and then we

370
00:23:34,796 --> 00:23:39,196
Speaker 7: all went bankrupts. There's so many problems, and it's so

371
00:23:39,356 --> 00:23:42,996
Speaker 7: hard for farmers to make a living. That's why I

372
00:23:42,996 --> 00:23:46,436
Speaker 7: feel like, even though I'm not a farmer, I connect

373
00:23:46,436 --> 00:23:49,556
Speaker 7: with them because it's the same. It's like a music career.

374
00:23:49,636 --> 00:23:53,156
Speaker 7: It takes all the just the perfect environment to make

375
00:23:53,196 --> 00:23:56,116
Speaker 7: it grow and to make it thrive. And they're up

376
00:23:56,156 --> 00:24:00,316
Speaker 7: against a lot of challenges right now, climate change, politics.

377
00:24:00,716 --> 00:24:03,476
Speaker 1: Right. You have a lovely song that I think is

378
00:24:03,516 --> 00:24:08,796
Speaker 1: about growing up there called Nowhere is Where You Come From?

379
00:24:08,796 --> 00:24:10,036
Speaker 1: Tell me bit about that song.

380
00:24:10,916 --> 00:24:15,196
Speaker 7: Yeah, I am. Every time I go back home. It's

381
00:24:15,876 --> 00:24:20,276
Speaker 7: very grounding. It always kind of resets my nervous system

382
00:24:20,556 --> 00:24:26,316
Speaker 7: in a way and yeah, just talking about the things

383
00:24:26,356 --> 00:24:28,356
Speaker 7: that I saw growing up was you know, a lot

384
00:24:28,356 --> 00:24:35,196
Speaker 7: of crop dusting planes always going overhead and just massive fields,

385
00:24:35,556 --> 00:24:41,716
Speaker 7: vast emptiness. And that song Jeremy and I started writing together,

386
00:24:42,036 --> 00:24:44,916
Speaker 7: and it was taking a really long time to flush

387
00:24:44,956 --> 00:24:50,356
Speaker 7: out the just kind of the tagline that if you're

388
00:24:50,396 --> 00:24:54,396
Speaker 7: going nowhere, I could use a ride line, and I

389
00:24:54,396 --> 00:24:56,636
Speaker 7: don't know why. I just couldn't quite get the phrasing.

390
00:24:56,636 --> 00:24:58,956
Speaker 7: I couldn't figure out what I wanted it to be.

391
00:24:59,516 --> 00:25:02,836
Speaker 7: There's a song that is actually a Beck song and

392
00:25:02,956 --> 00:25:07,636
Speaker 7: Johnny Cash covers it and it's called row Boat, and

393
00:25:07,676 --> 00:25:10,396
Speaker 7: that song's like haunted me. The lyrics of it are like,

394
00:25:11,316 --> 00:25:13,156
Speaker 7: you know, pick me up in your truck, go in

395
00:25:13,276 --> 00:25:17,836
Speaker 7: no place. I'll be down with the gasoline, You'll be strange,

396
00:25:17,836 --> 00:25:20,316
Speaker 7: you'll be far away, And that song has just like

397
00:25:20,396 --> 00:25:23,396
Speaker 7: seeped into my existence. I feel like I definitely pulled

398
00:25:23,436 --> 00:25:28,476
Speaker 7: a bit from that. But Morgan Niggler, who has written

399
00:25:28,476 --> 00:25:31,076
Speaker 7: a lot with Jenny Lewis and Phoebe Bridges, she came

400
00:25:31,116 --> 00:25:34,076
Speaker 7: over and and really helped me get that kind of

401
00:25:34,116 --> 00:25:36,116
Speaker 7: cool ending that we have on it, where it like

402
00:25:36,156 --> 00:25:38,956
Speaker 7: picks up and I'm happy with how that one turned out?

403
00:25:38,996 --> 00:25:41,116
Speaker 1: And so a song like that that takes you a well,

404
00:25:41,196 --> 00:25:42,996
Speaker 1: how long how long will you work on a song

405
00:25:43,076 --> 00:25:43,276
Speaker 1: like that?

406
00:25:44,756 --> 00:25:48,276
Speaker 7: Yeah, that one was a couple months of like, you know,

407
00:25:48,436 --> 00:25:50,396
Speaker 7: figure some stuff out, get to a good place, and

408
00:25:50,396 --> 00:25:51,956
Speaker 7: they go back and listen to it and you're like, ah,

409
00:25:52,036 --> 00:25:56,076
Speaker 7: something's still not right, and try to wrestle with it

410
00:25:56,116 --> 00:26:01,756
Speaker 7: again and then set it down. And I think, how

411
00:26:01,756 --> 00:26:06,996
Speaker 7: long did Leonard Cohen say he wrestled with writing Hallelulijah's

412
00:26:07,076 --> 00:26:08,156
Speaker 7: times when I feel.

413
00:26:07,916 --> 00:26:12,196
Speaker 1: Like three years or vias are something? And Bob Dylan

414
00:26:12,236 --> 00:26:13,276
Speaker 1: told me he wrote a song in.

415
00:26:13,316 --> 00:26:16,316
Speaker 7: Like two hours, write his favorite song. And I think,

416
00:26:16,636 --> 00:26:20,356
Speaker 7: you know, there's sometimes it's lightning, and sometimes it takes

417
00:26:20,356 --> 00:26:22,916
Speaker 7: a little bit more nuance and a little bit more

418
00:26:23,116 --> 00:26:26,396
Speaker 7: attention to detail. And I really wanted to get that

419
00:26:26,436 --> 00:26:30,356
Speaker 7: one right because it's so sparse, and sometimes the ones

420
00:26:30,356 --> 00:26:33,396
Speaker 7: with less words are are a little bit harder to write.

421
00:26:35,156 --> 00:26:37,956
Speaker 1: Now, Leonard Cohen was the writer who he had these

422
00:26:37,996 --> 00:26:40,916
Speaker 1: notebooks and he would write dozens and dozens of verses

423
00:26:40,996 --> 00:26:43,436
Speaker 1: and then whittle them down. Are you that kind of writer?

424
00:26:43,556 --> 00:26:46,636
Speaker 1: Do you write a lot and then squeeze it in?

425
00:26:46,956 --> 00:26:53,316
Speaker 7: Or I go through phases phases of like being very prolific,

426
00:26:53,436 --> 00:26:57,076
Speaker 7: and then phases of drought where I'm working on other things.

427
00:26:57,756 --> 00:27:01,436
Speaker 7: I've been writing another book, so I go in between

428
00:27:01,476 --> 00:27:06,916
Speaker 7: those mediums, and you know, sometimes I've I've got seven

429
00:27:07,036 --> 00:27:10,236
Speaker 7: or eight like frames of songs working at a time,

430
00:27:10,716 --> 00:27:13,556
Speaker 7: and then I won't show them to anybody for a

431
00:27:13,556 --> 00:27:15,316
Speaker 7: long time, and then I'll finally, you know, sit down

432
00:27:15,356 --> 00:27:17,756
Speaker 7: with usually Jeremy, it's what do you think about these?

433
00:27:18,476 --> 00:27:20,596
Speaker 7: But yeah, I think it just kind of depends on

434
00:27:20,636 --> 00:27:23,996
Speaker 7: the on the season of where I'm at, But I

435
00:27:24,036 --> 00:27:28,316
Speaker 7: definitely have Sylvia Plath always talked about how she felt

436
00:27:28,356 --> 00:27:30,276
Speaker 7: like her work was never good enough. She just had

437
00:27:30,636 --> 00:27:33,556
Speaker 7: little fragments of things, like you know, she was comparing

438
00:27:33,556 --> 00:27:36,076
Speaker 7: it to furniture, like oh, I've got this little chair

439
00:27:36,156 --> 00:27:39,076
Speaker 7: over here, and I've got a couch over here. Like

440
00:27:39,156 --> 00:27:42,156
Speaker 7: building the album is like building a whole house. So

441
00:27:43,196 --> 00:27:45,996
Speaker 7: it's good to have all those fragments lying around.

442
00:27:47,076 --> 00:27:49,476
Speaker 1: Is there always an an aha moment with a song

443
00:27:49,516 --> 00:27:51,316
Speaker 1: where you go, Okay, it's now it's working.

444
00:27:51,916 --> 00:27:54,676
Speaker 7: I think, so yeah, there's a I love when it

445
00:27:54,756 --> 00:27:58,876
Speaker 7: kind of unlocks itself. Usually I think that's when you

446
00:27:59,036 --> 00:28:02,076
Speaker 7: don't need to refer back to the demo to remember it.

447
00:28:02,676 --> 00:28:05,316
Speaker 7: Oh interesting, you've got it in your head all day

448
00:28:05,876 --> 00:28:08,836
Speaker 7: and you just you get a new song high when

449
00:28:08,876 --> 00:28:12,836
Speaker 7: you know you're like sitting on something good. I think

450
00:28:12,876 --> 00:28:17,956
Speaker 7: the intro to hard Headed Women, there's some lines in

451
00:28:18,036 --> 00:28:20,636
Speaker 7: there that I had been kicking around in other songs

452
00:28:21,116 --> 00:28:25,036
Speaker 7: for a long time, like the I've been High as

453
00:28:25,076 --> 00:28:28,036
Speaker 7: Heaven and Stubborn as Hell. That's in like three different

454
00:28:28,076 --> 00:28:31,836
Speaker 7: songs I wrote along the way. We did these sessions

455
00:28:31,876 --> 00:28:36,196
Speaker 7: out at Rancho de la Luna back in twenty twenty

456
00:28:36,196 --> 00:28:41,636
Speaker 7: three maybe early twenty twenty four, and got a song

457
00:28:41,676 --> 00:28:44,356
Speaker 7: called always Leaving that I wrote with Morgan Nigeler and

458
00:28:44,436 --> 00:28:49,636
Speaker 7: Jonathan Wilson, and a few other songs that were good songs,

459
00:28:49,916 --> 00:28:52,636
Speaker 7: I just felt like they didn't fit with this project

460
00:28:52,956 --> 00:28:54,596
Speaker 7: or like, and so then I was like, well, I

461
00:28:54,636 --> 00:28:58,876
Speaker 7: can scavenge from the bones the good lines and put

462
00:28:58,876 --> 00:29:01,996
Speaker 7: them in what I'm working on now. I'm only ripping

463
00:29:01,996 --> 00:29:02,636
Speaker 7: off myself.

464
00:29:04,636 --> 00:29:07,476
Speaker 1: You mentioned Leonard Cohen because he did live in Nashville

465
00:29:07,636 --> 00:29:08,196
Speaker 1: for a while.

466
00:29:08,476 --> 00:29:09,796
Speaker 7: I didn't know that he.

467
00:29:09,676 --> 00:29:13,996
Speaker 1: Lived in Nashville, And one thing he said was that

468
00:29:14,676 --> 00:29:17,396
Speaker 1: living in Nashville, listening to country music. It gave his

469
00:29:17,436 --> 00:29:20,236
Speaker 1: songs a better narrative sense that they were it just

470
00:29:20,316 --> 00:29:22,916
Speaker 1: wasn't this first and then this verse, but that it

471
00:29:22,956 --> 00:29:27,196
Speaker 1: had some momentum going through. And I thought of that

472
00:29:27,316 --> 00:29:30,556
Speaker 1: a couple times when in this album, when you were

473
00:29:30,796 --> 00:29:37,036
Speaker 1: writing Red Eye Flight, which just sounds like I'm finally

474
00:29:37,036 --> 00:29:39,996
Speaker 1: sick of you, I'm leaving. But then there's the line

475
00:29:41,396 --> 00:29:44,516
Speaker 1: about actually being the love of your life, which sort

476
00:29:44,556 --> 00:29:47,196
Speaker 1: of is a little unexpected and kind of it gives

477
00:29:47,236 --> 00:29:50,876
Speaker 1: the song a lot more narrative strength because that doesn't

478
00:29:50,876 --> 00:29:52,916
Speaker 1: come right off the top. It's not you're the love

479
00:29:52,956 --> 00:29:54,076
Speaker 1: of my life now I'm leaving.

480
00:29:54,716 --> 00:29:58,916
Speaker 7: Yeah, that song was when I first started writing it,

481
00:29:58,916 --> 00:30:02,116
Speaker 7: it was kind of directed it a group of people,

482
00:30:02,276 --> 00:30:05,716
Speaker 7: and Rotting told me I needed to narrow it down

483
00:30:05,756 --> 00:30:09,516
Speaker 7: and put my finger at one person. Oh, I thought

484
00:30:09,556 --> 00:30:12,516
Speaker 7: was great, and it definitely you know, my husband Can

485
00:30:13,196 --> 00:30:15,916
Speaker 7: has at times had to be my punching bag on

486
00:30:16,196 --> 00:30:18,676
Speaker 7: stage and I'll sing mean lines at him, you know,

487
00:30:18,876 --> 00:30:24,276
Speaker 7: just for effect. But that one is a bit about

488
00:30:24,276 --> 00:30:28,956
Speaker 7: our relationship, and it was also about my previous bandmates too,

489
00:30:29,596 --> 00:30:33,316
Speaker 7: And it's really hard to to write a song and

490
00:30:33,436 --> 00:30:36,156
Speaker 7: be mad at like six people all at once.

491
00:30:36,836 --> 00:30:38,156
Speaker 1: It's easier to be mad at one.

492
00:30:38,236 --> 00:30:41,876
Speaker 7: Easier just narrowed down to one. But yeah, I was

493
00:30:41,916 --> 00:30:44,116
Speaker 7: coming from a yeah, larger place.

494
00:30:44,516 --> 00:30:45,836
Speaker 1: Can you write when you're angry?

495
00:30:47,196 --> 00:30:50,956
Speaker 7: Oh not when I'm like an eleven, not when I'm

496
00:30:50,996 --> 00:30:54,956
Speaker 7: that mad. But it is a good tool for me

497
00:30:55,756 --> 00:31:00,276
Speaker 7: to process emotions. And I do feel anger very strongly sometimes,

498
00:31:00,316 --> 00:31:03,516
Speaker 7: So yeah, I can write when I'm angry, just not

499
00:31:03,756 --> 00:31:04,916
Speaker 7: at like the boiling point.

500
00:31:05,316 --> 00:31:06,796
Speaker 1: Does that lead to good songs? Do you think?

501
00:31:08,476 --> 00:31:10,876
Speaker 7: I think so? I like the finger pointing songs. I

502
00:31:10,996 --> 00:31:14,356
Speaker 7: like angry songs. I think like this town gets around

503
00:31:14,436 --> 00:31:18,156
Speaker 7: from my you know, my first record, and even like

504
00:31:18,196 --> 00:31:21,116
Speaker 7: don't let the bastards get you down, I would say

505
00:31:21,516 --> 00:31:26,916
Speaker 7: angry it's angry at people. And sometimes you can't tell

506
00:31:27,076 --> 00:31:29,756
Speaker 7: the people that you're mad at that it's about them.

507
00:31:30,276 --> 00:31:33,316
Speaker 7: But yeah, it's a great way to just move through

508
00:31:33,356 --> 00:31:35,556
Speaker 7: the emotion and just now you've felt it, now you

509
00:31:35,596 --> 00:31:37,716
Speaker 7: get a move on. It's like writing the letter that

510
00:31:37,756 --> 00:31:38,476
Speaker 7: you never send.

511
00:31:39,196 --> 00:31:43,076
Speaker 1: M So, when you were growing up, when did when

512
00:31:43,076 --> 00:31:46,476
Speaker 1: did music enter your life? When you were growing up.

513
00:31:48,036 --> 00:31:50,116
Speaker 7: I was always listening to the radio growing up. I

514
00:31:50,156 --> 00:31:53,436
Speaker 7: was always my parents always had a stereo system with

515
00:31:53,476 --> 00:31:58,236
Speaker 7: like the record player and the console the too yours, Yeah,

516
00:31:58,276 --> 00:32:01,036
Speaker 7: and we had it in the summers. We would pull

517
00:32:01,076 --> 00:32:05,996
Speaker 7: the speakers outside and just always had music on. I

518
00:32:06,036 --> 00:32:09,556
Speaker 7: think I probably started writing some of my first like

519
00:32:09,636 --> 00:32:11,956
Speaker 7: songs and poems. I was very young, I don't know,

520
00:32:12,076 --> 00:32:15,636
Speaker 7: like six seven eight. I would just hit record and

521
00:32:15,636 --> 00:32:17,596
Speaker 7: play on a tape recorder and I would just sing

522
00:32:17,636 --> 00:32:23,676
Speaker 7: things a cappella with no accompaniment. I started piano lessons

523
00:32:24,076 --> 00:32:27,196
Speaker 7: probably around that age as well, maybe like seven eight,

524
00:32:27,996 --> 00:32:31,876
Speaker 7: and I was learning, you know whatever my piano teacher

525
00:32:32,076 --> 00:32:35,076
Speaker 7: wanted me to learn. But when I got the guitar,

526
00:32:36,076 --> 00:32:38,076
Speaker 7: that was really when it picked up. And that was

527
00:32:38,236 --> 00:32:44,196
Speaker 7: like twelve thirteen. Right around that time I started playing

528
00:32:44,236 --> 00:32:48,436
Speaker 7: the guitar and really getting serious about the songwriting.

529
00:32:48,756 --> 00:32:51,156
Speaker 1: And was there a moment that you said, maybe this

530
00:32:51,316 --> 00:32:53,236
Speaker 1: is my life, Maybe this is what I'm gonna do.

531
00:32:54,716 --> 00:33:01,716
Speaker 7: I vividly remember the guidance counselor coming into classroom in

532
00:33:01,756 --> 00:33:06,076
Speaker 7: elementary school and passing everybody a sheet and you had

533
00:33:06,076 --> 00:33:08,116
Speaker 7: to write down, you know what you wanted to be

534
00:33:08,156 --> 00:33:10,956
Speaker 7: for career day. You could leave school on this day

535
00:33:11,076 --> 00:33:14,116
Speaker 7: and go work at whatever trade you chose. And I

536
00:33:14,116 --> 00:33:18,276
Speaker 7: think I wrote down like Broadway actress or you know,

537
00:33:18,516 --> 00:33:23,756
Speaker 7: singer something and missus erdman. She said, no, that's that's

538
00:33:23,836 --> 00:33:27,116
Speaker 7: not a job that you can choose. And I went

539
00:33:27,196 --> 00:33:29,156
Speaker 7: home and I was pretty crushed, you know. I told

540
00:33:29,156 --> 00:33:32,036
Speaker 7: my mom, like, wow, she said, I can't do this.

541
00:33:32,316 --> 00:33:34,316
Speaker 7: And so my mother fought really hard for me to

542
00:33:34,476 --> 00:33:38,556
Speaker 7: go to this theater in the Quad Cities near where

543
00:33:38,556 --> 00:33:42,916
Speaker 7: we lived, somewhere in like brock Island, Illinois, and I

544
00:33:42,956 --> 00:33:47,316
Speaker 7: got to go shadow some actress that was working in

545
00:33:47,316 --> 00:33:47,676
Speaker 7: the theater.

546
00:33:48,716 --> 00:33:51,196
Speaker 1: That's an amazing story. Yeah, good your mom.

547
00:33:51,356 --> 00:33:53,716
Speaker 7: Yeah, she was like, well, absolutely, you can do that

548
00:33:53,756 --> 00:33:56,036
Speaker 7: if you want to. That's of course it's a job.

549
00:33:56,796 --> 00:34:00,876
Speaker 7: But then when college started rolling around, everybody was like, well,

550
00:34:00,876 --> 00:34:02,956
Speaker 7: but you got to go to college. You know, my

551
00:34:03,476 --> 00:34:06,356
Speaker 7: father didn't have the luxury of going to college, and

552
00:34:06,556 --> 00:34:07,836
Speaker 7: they were like, we're going to pay for it, and

553
00:34:07,876 --> 00:34:11,476
Speaker 7: you're going to go. And so off I went to

554
00:34:11,876 --> 00:34:17,676
Speaker 7: NIU Northern Illinois University, and after a couple of years

555
00:34:17,716 --> 00:34:21,956
Speaker 7: of just being bored, not showing up to the classes,

556
00:34:21,996 --> 00:34:27,956
Speaker 7: and drinking too much, had a psychedelic mushroom trip and

557
00:34:28,836 --> 00:34:31,636
Speaker 7: I just decided that I wanted to be a musician.

558
00:34:32,036 --> 00:34:36,116
Speaker 7: That was at twenty and I dropped out of school

559
00:34:36,836 --> 00:34:40,036
Speaker 7: after my sophomore year and moved to Nashville.

560
00:34:40,716 --> 00:34:43,116
Speaker 1: And who are your influences at that point when you were.

561
00:34:42,996 --> 00:34:50,956
Speaker 7: Writing loosen To Williams, Gillian Walsh, Fiona Apple, Like I

562
00:34:50,996 --> 00:34:54,556
Speaker 7: already said Leonard Cohen, I've already mentioned Bob Dylan, Joan Bias.

563
00:34:54,756 --> 00:34:57,516
Speaker 7: I think every woman that picks up a guitar wants

564
00:34:57,556 --> 00:34:58,676
Speaker 7: to be Joan Bias.

565
00:34:59,036 --> 00:34:59,596
Speaker 1: Is that right?

566
00:34:59,676 --> 00:35:02,076
Speaker 7: At least that's how I feel. That's Emmy Lou Harris

567
00:35:02,116 --> 00:35:04,316
Speaker 7: told me that too. She said that's that Joan was

568
00:35:04,356 --> 00:35:05,636
Speaker 7: the reason she picked up a guitar.

569
00:35:06,756 --> 00:35:07,196
Speaker 5: I liked.

570
00:35:07,676 --> 00:35:10,316
Speaker 7: I liked Jules first rec. I loved Pieces of You

571
00:35:10,636 --> 00:35:13,116
Speaker 7: when that came out. I just thought that was one

572
00:35:13,116 --> 00:35:14,956
Speaker 7: of the first songs that I that I learned how

573
00:35:14,956 --> 00:35:16,916
Speaker 7: to play on the guitar was Pieces of You. And

574
00:35:16,996 --> 00:35:20,396
Speaker 7: I sang it at a county fair. I was in

575
00:35:20,436 --> 00:35:22,716
Speaker 7: sixth grade and I won first place.

576
00:35:23,276 --> 00:35:27,036
Speaker 1: Good for you. That was also that was a good

577
00:35:27,036 --> 00:35:30,036
Speaker 1: time for women's music. It was really much all over

578
00:35:30,076 --> 00:35:30,556
Speaker 1: the radio.

579
00:35:31,116 --> 00:35:34,196
Speaker 7: Absolutely. I mean I loved Alanis Morissett too, Like there

580
00:35:34,276 --> 00:35:38,436
Speaker 7: was so many people, I mean in Fiona Apple as well.

581
00:35:38,516 --> 00:35:42,796
Speaker 7: I just I was obsessed with Fiona Apple. Every record

582
00:35:42,796 --> 00:35:45,036
Speaker 7: that she put out, I mean, go pick it up.

583
00:35:45,076 --> 00:35:49,116
Speaker 7: And I'm so glad I had them to look up to.

584
00:35:49,196 --> 00:35:50,956
Speaker 7: And that's what I think the real problem is with

585
00:35:51,156 --> 00:35:55,396
Speaker 7: country music today is that there are an incredible amount

586
00:35:55,956 --> 00:35:58,916
Speaker 7: of women in country music right now. They're writing the

587
00:35:58,956 --> 00:36:02,556
Speaker 7: best songs, they're making the best records, but it seems

588
00:36:02,556 --> 00:36:05,316
Speaker 7: they always just get one that is kind of let

589
00:36:05,356 --> 00:36:07,556
Speaker 7: in to the room and to be on the radio,

590
00:36:07,916 --> 00:36:10,196
Speaker 7: and then the rest of us have to kind of

591
00:36:10,196 --> 00:36:11,156
Speaker 7: fend for ourselves.

592
00:36:11,476 --> 00:36:13,516
Speaker 1: I know, there's no question all the best writers now

593
00:36:13,516 --> 00:36:17,916
Speaker 1: are women and country music absolutely, We've interviewed lots of them. Yeah,

594
00:36:18,156 --> 00:36:20,196
Speaker 1: Mary Goche now, she's love.

595
00:36:20,276 --> 00:36:22,516
Speaker 7: Mary Gachet actually did a writing session with her not

596
00:36:22,516 --> 00:36:27,116
Speaker 7: too long. How was that amazing? She's her and I

597
00:36:27,196 --> 00:36:29,196
Speaker 7: have a lot in common and had a lot to

598
00:36:29,196 --> 00:36:31,876
Speaker 7: talk about, so I think we talked for nearly two

599
00:36:31,876 --> 00:36:34,836
Speaker 7: hours before we picked up the guitars and started writing.

600
00:36:34,876 --> 00:36:38,596
Speaker 7: But she really puts herself into her songs, and she's

601
00:36:39,516 --> 00:36:43,276
Speaker 7: not afraid to, you know, the self deprecation or the

602
00:36:43,356 --> 00:36:47,156
Speaker 7: vulnerability that I think it takes to really write something

603
00:36:47,196 --> 00:36:51,036
Speaker 7: that breaks your heart and hopefully breaks the person's heart

604
00:36:51,076 --> 00:36:51,636
Speaker 7: listening to it.

605
00:36:51,916 --> 00:36:54,756
Speaker 1: Well, her album The Foundling about being Adopted is just

606
00:36:54,796 --> 00:36:57,756
Speaker 1: an amazing I have a friend who is adopted and

607
00:36:58,596 --> 00:37:00,556
Speaker 1: struggles with it in a way, and it wasn't until

608
00:37:00,556 --> 00:37:03,156
Speaker 1: I heard her album I really kind of understood his

609
00:37:04,316 --> 00:37:05,036
Speaker 1: those feelings.

610
00:37:05,276 --> 00:37:07,556
Speaker 7: I think Gillia Wels does such a great job too

611
00:37:07,596 --> 00:37:11,556
Speaker 7: of kind of sharing her experience as you know, like

612
00:37:11,636 --> 00:37:14,196
Speaker 7: an I'm sure you feel like an orphan your whole life.

613
00:37:14,396 --> 00:37:16,756
Speaker 7: My husband as well, he was adopted. He's got a

614
00:37:16,796 --> 00:37:20,076
Speaker 7: great song called Orphan Child. Yeah, it's a lot to

615
00:37:20,076 --> 00:37:22,956
Speaker 7: process when you grow up and you don't know who

616
00:37:23,036 --> 00:37:23,676
Speaker 7: your family is.

617
00:37:24,596 --> 00:37:27,156
Speaker 1: It is interesting that when you grew up there was

618
00:37:27,676 --> 00:37:30,956
Speaker 1: in almost every kind of music like that's when Hole

619
00:37:31,116 --> 00:37:35,236
Speaker 1: was big, and in alternative music it was Liz Fair

620
00:37:35,556 --> 00:37:37,356
Speaker 1: was like totally everything.

621
00:37:37,636 --> 00:37:40,356
Speaker 7: Yeah, I mean Lilith Fair was huge, you know, I

622
00:37:40,356 --> 00:37:43,716
Speaker 7: think it was. It felt like a very liberating time

623
00:37:43,756 --> 00:37:47,116
Speaker 7: to be a woman, and but then you had what

624
00:37:47,196 --> 00:37:51,916
Speaker 7: would stock to happen, like, Okay, maybe we're not as

625
00:37:51,916 --> 00:37:58,276
Speaker 7: far as we think, and obviously now just going backwards. Yeah, Unfortunately, one.

626
00:37:58,156 --> 00:38:01,476
Speaker 1: Of the influences you talked about in your book really

627
00:38:01,476 --> 00:38:06,236
Speaker 1: surprised me. It was the Kinks really Well, it's not

628
00:38:06,276 --> 00:38:08,796
Speaker 1: that I don't love the Kinks, I do, but but

629
00:38:08,836 --> 00:38:14,076
Speaker 1: there's so sort of arch and English and class obsessed.

630
00:38:14,556 --> 00:38:16,916
Speaker 1: What was it about the Kinks that you loved so much?

631
00:38:17,156 --> 00:38:18,636
Speaker 7: I think it was all the things you just said.

632
00:38:18,796 --> 00:38:22,476
Speaker 7: I loved that they were class obsessed. I loved that

633
00:38:23,436 --> 00:38:28,076
Speaker 7: they made albums that were about things other than love

634
00:38:28,876 --> 00:38:32,516
Speaker 7: and I you know, they're the underdogs of the brit

635
00:38:32,596 --> 00:38:37,876
Speaker 7: rock scene. They they didn't have the opportunities that the

636
00:38:37,956 --> 00:38:42,236
Speaker 7: Rolling Stones or the Beatles did, and I think that's

637
00:38:42,276 --> 00:38:45,276
Speaker 7: one of the reasons why I really gravitated towards them.

638
00:38:45,716 --> 00:38:49,436
Speaker 7: Dead End Street, all those songs like we Lived in

639
00:38:49,476 --> 00:38:56,396
Speaker 7: those albums, Lola Versus Powermanned Money go Round, talking about

640
00:38:56,476 --> 00:38:59,036
Speaker 7: you know, like where all the money's going when you

641
00:38:59,036 --> 00:39:03,516
Speaker 7: get signed, and stuff like that. Like that has absolutely

642
00:39:03,836 --> 00:39:05,796
Speaker 7: still seeped into who I am. And I think even

643
00:39:05,836 --> 00:39:08,516
Speaker 7: that first record, Midwest Farmer's Daughter, I was talking about

644
00:39:09,116 --> 00:39:12,356
Speaker 7: some of those things. I've got to see Ray when

645
00:39:12,396 --> 00:39:15,076
Speaker 7: he played in Nashville, and he did a record in

646
00:39:15,156 --> 00:39:17,796
Speaker 7: Nashville with one of my friends, and I was trying

647
00:39:17,836 --> 00:39:21,196
Speaker 7: so hard to get in there and meet him. This

648
00:39:21,356 --> 00:39:26,716
Speaker 7: was like seventeen years ago or something and Muswell Hillbillies,

649
00:39:27,036 --> 00:39:30,436
Speaker 7: like they were so obsessed with like Southern culture, you know,

650
00:39:30,516 --> 00:39:33,996
Speaker 7: even during that album cycle. And it's really cool to

651
00:39:34,076 --> 00:39:37,676
Speaker 7: hear how that kind of echo chamber goes back where

652
00:39:37,716 --> 00:39:41,956
Speaker 7: it's like we're influencing brit Rock and they're influencing us,

653
00:39:41,996 --> 00:39:44,076
Speaker 7: and it just I love it.

654
00:39:44,436 --> 00:39:46,676
Speaker 1: And I mean the song Waterloo Sunset probably one of

655
00:39:46,716 --> 00:39:48,356
Speaker 1: the greatest songs.

656
00:39:47,956 --> 00:39:52,836
Speaker 7: So good and like Strangers, that song destroys me.

657
00:39:53,396 --> 00:39:56,956
Speaker 1: Yeah. Yeah, there's a good song on this album. I

658
00:39:57,036 --> 00:40:01,036
Speaker 1: think that about that period in your life called Losing Streak. Yeah,

659
00:40:01,076 --> 00:40:01,916
Speaker 1: so tell me about that.

660
00:40:03,076 --> 00:40:11,676
Speaker 7: Yes, that song is a pretty exact story of what

661
00:40:11,836 --> 00:40:14,796
Speaker 7: was going on in those days and in my twenties.

662
00:40:14,836 --> 00:40:20,236
Speaker 7: And I loved being homeless. I loved having that struggle

663
00:40:20,476 --> 00:40:22,356
Speaker 7: of like, oh, okay, I'm going to have to sleep

664
00:40:22,916 --> 00:40:26,596
Speaker 7: in my car at the state park. I don't know.

665
00:40:26,636 --> 00:40:28,276
Speaker 7: It was just really whatever I had to do to

666
00:40:28,276 --> 00:40:30,596
Speaker 7: not move back in with my parents and bruise my

667
00:40:30,636 --> 00:40:33,756
Speaker 7: pride and let them know it really wasn't working out

668
00:40:33,796 --> 00:40:34,236
Speaker 7: so great.

669
00:40:34,876 --> 00:40:37,116
Speaker 1: Did you faith that whole time that it would work at.

670
00:40:39,476 --> 00:40:39,556
Speaker 5: No?

671
00:40:41,116 --> 00:40:43,636
Speaker 1: Really what kept you going because most people would have

672
00:40:43,676 --> 00:40:44,756
Speaker 1: dropped out by that point.

673
00:40:45,596 --> 00:40:47,956
Speaker 7: Even now, and even if all you know, if Jack

674
00:40:47,996 --> 00:40:50,676
Speaker 7: White had not scooped me up out of my obscurity,

675
00:40:51,236 --> 00:40:54,116
Speaker 7: I would like to think I would still be writing

676
00:40:54,156 --> 00:40:56,956
Speaker 7: songs and playing songs and making music. I mean, I

677
00:40:57,916 --> 00:41:01,196
Speaker 7: might still have to have like a straight job, but

678
00:41:02,076 --> 00:41:04,356
Speaker 7: it's just such a huge part of my identity, and

679
00:41:04,476 --> 00:41:07,556
Speaker 7: like I said, it's my emotional processing and everything kind

680
00:41:07,596 --> 00:41:10,036
Speaker 7: of goes through that. Done a lot of work with

681
00:41:10,076 --> 00:41:12,996
Speaker 7: my therapist to kind of figure out where like musician

682
00:41:13,076 --> 00:41:18,036
Speaker 7: Margo ends and the other one begins, because it's it's

683
00:41:18,116 --> 00:41:22,436
Speaker 7: just very deeply wrapped up in who I am.

684
00:41:23,316 --> 00:41:25,716
Speaker 1: Don't do too much therapy on that. You want to

685
00:41:26,596 --> 00:41:28,236
Speaker 1: you want to keep the creative juices flowing.

686
00:41:28,276 --> 00:41:30,956
Speaker 7: And she moved to Kansas City, so I hadn't been.

687
00:41:30,836 --> 00:41:34,236
Speaker 1: Thank god, thank god, you won't be cured. That's the

688
00:41:34,316 --> 00:41:35,036
Speaker 1: important thing.

689
00:41:35,756 --> 00:41:37,716
Speaker 7: Oh there's not a chance for that. I don't think

690
00:41:37,716 --> 00:41:39,356
Speaker 7: I have the funds.

691
00:41:40,676 --> 00:41:42,916
Speaker 2: Well, last break, and we're back with Margo Price.

692
00:41:48,516 --> 00:41:51,116
Speaker 1: You tell a funny story about I think a great

693
00:41:51,196 --> 00:41:55,476
Speaker 1: uncle you had who was a songwriter, and I think

694
00:41:55,476 --> 00:41:56,996
Speaker 1: a pretty successful one, wasn't he.

695
00:41:57,036 --> 00:42:01,356
Speaker 7: For absolutely, he's still in Nashville. He's still sharp as attack.

696
00:42:01,476 --> 00:42:03,036
Speaker 7: I just went over and wrote a song with him

697
00:42:03,076 --> 00:42:06,156
Speaker 7: a couple months ago. Really that turned out beautifully and

698
00:42:06,156 --> 00:42:09,876
Speaker 7: I'm definitely going to record it. His name's Bobby Fisher,

699
00:42:10,636 --> 00:42:16,236
Speaker 7: and he moved to Nashville in his early forties, left

700
00:42:16,276 --> 00:42:19,316
Speaker 7: his job. Him and his wife moved down there and

701
00:42:19,356 --> 00:42:22,196
Speaker 7: she kind of supported him as a nurse until he

702
00:42:22,916 --> 00:42:26,036
Speaker 7: got his foot in the door. But he hung out

703
00:42:26,076 --> 00:42:29,476
Speaker 7: at Tootsi's with all the degenerates and you know, hung

704
00:42:29,516 --> 00:42:33,116
Speaker 7: out with Roger Miller and ended up getting you know,

705
00:42:33,436 --> 00:42:38,356
Speaker 7: George Jones Cuts and Tanny Tucker and Charlie Pride and

706
00:42:39,396 --> 00:42:43,516
Speaker 7: just the list goes on. It's it's really impressive. But

707
00:42:43,596 --> 00:42:47,356
Speaker 7: when I moved to Nashville, I think that my mom

708
00:42:47,516 --> 00:42:51,436
Speaker 7: and my family kind of everybody thought like, oh, maybe

709
00:42:51,556 --> 00:42:55,276
Speaker 7: maybe uncle Bob will plug you in, get you in

710
00:42:55,316 --> 00:42:58,156
Speaker 7: the studio and get you an album deal. And so

711
00:42:58,196 --> 00:43:01,436
Speaker 7: I went over to his home and I, you know,

712
00:43:01,476 --> 00:43:03,116
Speaker 7: i'd only really met him like a few times in

713
00:43:03,156 --> 00:43:06,196
Speaker 7: my life when we passed through Nashville on vacation. But

714
00:43:07,396 --> 00:43:11,796
Speaker 7: played him some songs and he sat there and listened,

715
00:43:11,876 --> 00:43:16,276
Speaker 7: and when I finished, he said, well, you know what

716
00:43:16,316 --> 00:43:20,236
Speaker 7: you need to do, don't you? I said, no, what

717
00:43:20,636 --> 00:43:21,916
Speaker 7: do I need to do? And he said, well, you

718
00:43:21,956 --> 00:43:24,196
Speaker 7: need to need to get rid of your TV, you

719
00:43:24,236 --> 00:43:26,316
Speaker 7: need to get rid of your computer, and you need

720
00:43:26,356 --> 00:43:29,596
Speaker 7: to just you just really need to sit in your

721
00:43:29,596 --> 00:43:32,156
Speaker 7: apartment and just write and just keep writing and just

722
00:43:32,196 --> 00:43:38,356
Speaker 7: don't stop writing because you're not there yet. And that hurt,

723
00:43:38,636 --> 00:43:40,956
Speaker 7: as you know, as a twenty year old who just

724
00:43:40,996 --> 00:43:45,116
Speaker 7: thought that I was already great, it really really hurt.

725
00:43:45,476 --> 00:43:49,196
Speaker 7: But it was exactly the tough love that I needed.

726
00:43:50,356 --> 00:43:51,636
Speaker 1: And did you take his advice?

727
00:43:51,876 --> 00:43:54,276
Speaker 7: I did? I did. I started going out to like

728
00:43:55,396 --> 00:44:00,156
Speaker 7: every writer's round in Nashville and would go, you know,

729
00:44:00,196 --> 00:44:01,516
Speaker 7: sign up on the list.

730
00:44:01,356 --> 00:44:04,676
Speaker 1: And explained to people what the writer's rounds are.

731
00:44:04,876 --> 00:44:07,676
Speaker 7: Yeah, writers round is like usually they're in a bar

732
00:44:08,236 --> 00:44:10,956
Speaker 7: or like a little list room or a club, and

733
00:44:11,196 --> 00:44:14,516
Speaker 7: it'd be like, oh, you know Wednesday nights like New

734
00:44:14,516 --> 00:44:16,556
Speaker 7: Faces Night or whatever, so you can come out and

735
00:44:16,596 --> 00:44:18,356
Speaker 7: you got to get there early, so you got to

736
00:44:18,356 --> 00:44:20,236
Speaker 7: sign up on the list, just kind of like karaoke,

737
00:44:20,436 --> 00:44:22,196
Speaker 7: but you know, you bring your own guitar and you

738
00:44:22,236 --> 00:44:26,076
Speaker 7: bring your own songs. And there was this place that

739
00:44:26,116 --> 00:44:28,876
Speaker 7: we went we started frequenting. It was called the Hall

740
00:44:28,916 --> 00:44:31,316
Speaker 7: of Fame Lounge, and it was in a Best Western

741
00:44:31,716 --> 00:44:35,036
Speaker 7: right down on Music Row. The inside was decorated like

742
00:44:35,756 --> 00:44:38,276
Speaker 7: cracker barrel or something. It just had like all these

743
00:44:38,556 --> 00:44:42,396
Speaker 7: chotchkeys and knickknacks and antlers and things up on the wall.

744
00:44:43,076 --> 00:44:47,476
Speaker 7: And everybody there that was playing was like forty to

745
00:44:47,716 --> 00:44:51,276
Speaker 7: seventy years old, and I was twenty. I don't even

746
00:44:51,316 --> 00:44:54,676
Speaker 7: think I could drink at the time, but I would

747
00:44:54,756 --> 00:44:56,076
Speaker 7: hang out there and I would hang out with all

748
00:44:56,116 --> 00:44:58,076
Speaker 7: those old people, and they would buy me beers and

749
00:44:58,716 --> 00:45:00,916
Speaker 7: I would just sit and study. Like what it was

750
00:45:00,956 --> 00:45:03,396
Speaker 7: the audience reaction to, you know, somebody who finished a

751
00:45:03,436 --> 00:45:06,516
Speaker 7: song or say a line. It was like, what makes

752
00:45:06,556 --> 00:45:10,556
Speaker 7: the song good? What makes it memorable? And that was

753
00:45:10,596 --> 00:45:14,036
Speaker 7: in lieu of like going to Belmont University and getting

754
00:45:14,396 --> 00:45:17,316
Speaker 7: a degree in music, or you know, going to Berkeley.

755
00:45:18,076 --> 00:45:21,156
Speaker 7: I just cut my teeth around town.

756
00:45:21,156 --> 00:45:22,396
Speaker 1: At the Best Western, at.

757
00:45:22,316 --> 00:45:23,956
Speaker 7: The Best Western Hall of Fame Lounge.

758
00:45:24,236 --> 00:45:26,156
Speaker 1: Mm hmm. You said at the time you were writing

759
00:45:26,156 --> 00:45:32,156
Speaker 1: a lot of minor chords. Sylvia Plath lyrics on this album.

760
00:45:32,516 --> 00:45:35,956
Speaker 1: You mentioned in some of the publicity stuff you said,

761
00:45:36,116 --> 00:45:37,676
Speaker 1: I want to do a one, four or five song.

762
00:45:37,796 --> 00:45:41,956
Speaker 1: I want to go back to that very basic sound.

763
00:45:42,836 --> 00:45:46,156
Speaker 1: Tell me about what you were thinking when you said that.

764
00:45:47,476 --> 00:45:50,796
Speaker 7: Yeah, the three chords in the truth, you know, cliche

765
00:45:51,036 --> 00:45:55,196
Speaker 7: that you find it's so true. Sometimes sometimes you only

766
00:45:55,236 --> 00:45:57,836
Speaker 7: need one chord. If you've got a melody and a hook,

767
00:45:57,876 --> 00:46:02,716
Speaker 7: that's good enough. I think my husband, he can be

768
00:46:02,796 --> 00:46:05,716
Speaker 7: quite cordy with things that he does. He's just got

769
00:46:05,756 --> 00:46:10,436
Speaker 7: an incredible knowledge of, you know, how the guitar works.

770
00:46:10,476 --> 00:46:15,356
Speaker 7: And I find that so many of the songs that

771
00:46:15,756 --> 00:46:18,196
Speaker 7: I've kept in my catalog and the things that I

772
00:46:18,236 --> 00:46:21,756
Speaker 7: play on stage that are older, a lot of times

773
00:46:21,796 --> 00:46:24,076
Speaker 7: they are just the just a one four or five,

774
00:46:25,116 --> 00:46:28,636
Speaker 7: and you know, you don't have to reinvent the wheel

775
00:46:28,756 --> 00:46:32,756
Speaker 7: or like make something that has never been done before.

776
00:46:33,036 --> 00:46:37,116
Speaker 7: I think building off of tradition and going back to

777
00:46:37,196 --> 00:46:43,116
Speaker 7: these prolific songwriters like Christofferson, who definitely pulled from his

778
00:46:43,956 --> 00:46:47,316
Speaker 7: vernacular on like Losing Streak. But it's a very I mean,

779
00:46:47,356 --> 00:46:50,036
Speaker 7: those chords are they're one four or five. There's there's

780
00:46:50,116 --> 00:46:52,156
Speaker 7: no magic tricks going on there.

781
00:46:52,716 --> 00:46:54,716
Speaker 1: Although the magic trick is that it is a one

782
00:46:54,796 --> 00:46:57,516
Speaker 1: four five, isn't it? That always amazes me. Sometimes I'll

783
00:46:57,556 --> 00:47:00,316
Speaker 1: hear songs and I'll think, I wonder what that progression is,

784
00:47:00,356 --> 00:47:02,556
Speaker 1: and I'm like, oh, it's a one four.

785
00:47:02,556 --> 00:47:06,476
Speaker 7: Five less can really be more? Yeah times Yeah, but.

786
00:47:06,436 --> 00:47:09,596
Speaker 1: It can sound so different and it's it's it's sort

787
00:47:09,596 --> 00:47:10,236
Speaker 1: of disarming.

788
00:47:10,516 --> 00:47:14,596
Speaker 7: Yeah. Yeah. I mean I do love, you know, doing

789
00:47:14,636 --> 00:47:19,356
Speaker 7: a key change, having like a lift that happens so

790
00:47:19,436 --> 00:47:23,316
Speaker 7: subtly you don't quite notice. Like on I just don't

791
00:47:23,316 --> 00:47:26,276
Speaker 7: give a damn that last chorus moves up.

792
00:47:26,636 --> 00:47:30,476
Speaker 1: Yeah, you've got a modulation, yeah.

793
00:47:29,396 --> 00:47:32,676
Speaker 7: Or even like kissing you goodbye. I think we added

794
00:47:32,916 --> 00:47:38,396
Speaker 7: a really fun chord. Sometimes I don't know chord names,

795
00:47:38,396 --> 00:47:41,916
Speaker 7: but I know how to play him like a kissing

796
00:47:42,436 --> 00:47:45,076
Speaker 7: you good but I like, I don't know if the

797
00:47:45,116 --> 00:47:49,676
Speaker 7: original had this in there, but it just adds passing chord,

798
00:47:49,476 --> 00:47:51,156
Speaker 7: a nice little passing chord.

799
00:47:51,276 --> 00:47:51,876
Speaker 2: Yeah.

800
00:47:51,996 --> 00:47:55,196
Speaker 1: Yeah, So your husband is the he's the coord nerd.

801
00:47:55,676 --> 00:47:57,276
Speaker 7: He is a little bit more of a chord nerd.

802
00:47:57,316 --> 00:47:58,996
Speaker 7: And I mean, you know, I know my circle of

803
00:47:58,996 --> 00:48:01,636
Speaker 7: fifths and I there's definitely been times where I've been

804
00:48:01,676 --> 00:48:06,356
Speaker 7: able to kind of break through something that's never been done,

805
00:48:06,396 --> 00:48:11,796
Speaker 7: Like Hands of Time is an A but the chorus

806
00:48:12,716 --> 00:48:16,236
Speaker 7: goes down and modulates down to G and when I

807
00:48:16,276 --> 00:48:18,436
Speaker 7: initially wrote that song. My husband said, I don't think

808
00:48:18,476 --> 00:48:21,396
Speaker 7: that works. That doesn't sound right, but it gives the

809
00:48:21,396 --> 00:48:24,436
Speaker 7: illusion that you're that the key is being moved up

810
00:48:24,516 --> 00:48:28,276
Speaker 7: because I'm jumping up into like my belting voice, but

811
00:48:28,316 --> 00:48:33,916
Speaker 7: I'm actually moduling down. Yeah, I love it.

812
00:48:33,916 --> 00:48:35,876
Speaker 1: It was such a great trick, isn't it when when

813
00:48:35,916 --> 00:48:39,356
Speaker 1: you think it's going up, but it's going down. Yeah.

814
00:48:39,396 --> 00:48:42,476
Speaker 1: It's like a little counterpoint with chords. You said in

815
00:48:42,516 --> 00:48:45,556
Speaker 1: your book, that was the first the first time you

816
00:48:45,596 --> 00:48:46,956
Speaker 1: said okay, now that's a song.

817
00:48:47,676 --> 00:48:49,116
Speaker 6: Yeah.

818
00:48:49,276 --> 00:48:51,716
Speaker 7: And I really wasn't writing it for anybody but myself.

819
00:48:52,036 --> 00:48:54,476
Speaker 7: It was really just like I didn't have a therapist

820
00:48:54,476 --> 00:48:58,436
Speaker 7: back then, and I needed to get some things off

821
00:48:58,436 --> 00:49:03,396
Speaker 7: my chest. And there's a lot of subliminal lines in

822
00:49:03,436 --> 00:49:07,076
Speaker 7: there that you know, I say, like the men they

823
00:49:07,076 --> 00:49:10,676
Speaker 7: brought me problems and the drinking brought me grief. I

824
00:49:10,716 --> 00:49:14,196
Speaker 7: don't exactly go into exactly what my men troubles are,

825
00:49:15,276 --> 00:49:18,516
Speaker 7: but it was, you know, just every line of that song,

826
00:49:18,676 --> 00:49:21,716
Speaker 7: it was it was therapy, and it was finally me

827
00:49:23,316 --> 00:49:27,276
Speaker 7: just saying like, okay, I'm I'm a loser musician. Nothing's

828
00:49:27,316 --> 00:49:30,236
Speaker 7: happened for me, and this is where I'm at and

829
00:49:30,676 --> 00:49:31,476
Speaker 7: people loved it.

830
00:49:33,076 --> 00:49:35,596
Speaker 1: Were you conscious of those thoughts when you were writing it?

831
00:49:35,676 --> 00:49:38,356
Speaker 1: Or is that something you looked back later and said

832
00:49:38,556 --> 00:49:39,436
Speaker 1: that must have been what.

833
00:49:39,396 --> 00:49:45,316
Speaker 7: I was feeling conscious of, like being self degrading, or like.

834
00:49:45,596 --> 00:49:48,276
Speaker 1: Yeah, what you just said, like here's a song about

835
00:49:48,276 --> 00:49:49,556
Speaker 1: me is the loser musician?

836
00:49:50,436 --> 00:49:52,596
Speaker 7: I think I really had just reached a breaking point.

837
00:49:52,756 --> 00:49:55,796
Speaker 7: I remember so many times we would go on tour

838
00:49:56,556 --> 00:49:58,956
Speaker 7: with my band Buffalo Clover, and we'd you know, set

839
00:49:59,036 --> 00:50:01,916
Speaker 7: up a little weekend run and we come back, we

840
00:50:02,036 --> 00:50:04,756
Speaker 7: hanging out in the bar and you're, you know, your

841
00:50:04,756 --> 00:50:06,676
Speaker 7: friends ask you like, how is the run? How are

842
00:50:06,716 --> 00:50:09,756
Speaker 7: the shows? How's the turnout? Oh? It was right, you know,

843
00:50:09,836 --> 00:50:13,276
Speaker 7: you just lie through your teeth. Oh yeah. Everybody loved it.

844
00:50:14,356 --> 00:50:16,556
Speaker 7: And then kind of at a certain point it was

845
00:50:16,636 --> 00:50:19,996
Speaker 7: just like, man, this is this is not going the

846
00:50:19,996 --> 00:50:21,796
Speaker 7: way that I wanted to. And it just felt like

847
00:50:21,836 --> 00:50:24,516
Speaker 7: I just took off a heavy coat and was like,

848
00:50:26,116 --> 00:50:28,316
Speaker 7: all right, this is who I am, this is where

849
00:50:28,356 --> 00:50:32,236
Speaker 7: I'm at now, and not be afraid to look at

850
00:50:32,236 --> 00:50:33,116
Speaker 7: myself in the mirror.

851
00:50:33,916 --> 00:50:36,236
Speaker 1: Interesting, you had no money back then, This is what

852
00:50:36,316 --> 00:50:39,316
Speaker 1: fascinated me. But you were determined that you were going

853
00:50:39,316 --> 00:50:43,556
Speaker 1: to record your first album at Sun Records, and you

854
00:50:43,596 --> 00:50:45,556
Speaker 1: managed to do it. I don't know how you knew

855
00:50:45,556 --> 00:50:48,876
Speaker 1: somebody who could pick a lock or something. I don't

856
00:50:48,916 --> 00:50:51,636
Speaker 1: know how you did that. Now this album, tell me

857
00:50:51,636 --> 00:50:52,756
Speaker 1: about the recording of it.

858
00:50:53,276 --> 00:50:56,996
Speaker 7: Yeah, well, yeah, the first album, we pawned a car,

859
00:50:57,556 --> 00:51:00,436
Speaker 7: ponned a bunch of stuff so we could go in there.

860
00:51:00,716 --> 00:51:03,236
Speaker 7: And it was luck that we got to do it

861
00:51:03,316 --> 00:51:07,236
Speaker 7: because I ended up some of the money from the

862
00:51:07,396 --> 00:51:10,756
Speaker 7: pond items had disappeared, and so then I had to

863
00:51:10,756 --> 00:51:12,636
Speaker 7: borrow money from a guy who owned a pizza shop

864
00:51:12,916 --> 00:51:14,836
Speaker 7: to pay for the rest of it because the check

865
00:51:14,876 --> 00:51:19,516
Speaker 7: to Sun bounced. Anyway, I digress this this album.

866
00:51:19,636 --> 00:51:21,516
Speaker 1: You know, it was probably not the first bounced check

867
00:51:21,516 --> 00:51:23,836
Speaker 1: they've ever had. Yeah, I'm guessing.

868
00:51:24,596 --> 00:51:29,036
Speaker 7: I need to reach out to that guy. Yeah, this album'

869
00:51:29,196 --> 00:51:33,356
Speaker 7: You know, I've never recorded a proper record in Nashville

870
00:51:33,876 --> 00:51:36,476
Speaker 7: as a solo artist since taking off. I have recorded,

871
00:51:36,996 --> 00:51:39,116
Speaker 7: you know, in my twenties and stuff. We recorded at

872
00:51:39,116 --> 00:51:44,156
Speaker 7: studios all around Nashville with my bands. But I've recorded

873
00:51:44,156 --> 00:51:48,356
Speaker 7: at RCAA in the past. And I went in to

874
00:51:48,476 --> 00:51:52,556
Speaker 7: do the song with billy strings two Stone to Cry,

875
00:51:53,276 --> 00:51:57,116
Speaker 7: and I just was so blown away with how it

876
00:51:57,196 --> 00:51:59,996
Speaker 7: sounded in there. I mean like we were all in

877
00:52:00,036 --> 00:52:02,756
Speaker 7: the room live, playing everything live, and we had some

878
00:52:02,876 --> 00:52:05,876
Speaker 7: you know a couple of dividers like blocking the sound.

879
00:52:05,996 --> 00:52:08,076
Speaker 7: But it was amazing because if you didn't like anything

880
00:52:08,116 --> 00:52:10,516
Speaker 7: and somebody needed to, oh I hit a wrong bass

881
00:52:10,556 --> 00:52:13,356
Speaker 7: note there, you could go in and just punch it.

882
00:52:13,396 --> 00:52:17,636
Speaker 7: Because the way that studio is built, it's just it's perfect.

883
00:52:18,396 --> 00:52:22,956
Speaker 7: And the history that's there, just all the songs, all

884
00:52:22,956 --> 00:52:25,076
Speaker 7: the artists that have recorded there. It's where you know

885
00:52:25,196 --> 00:52:29,196
Speaker 7: chud Atkins like Refine, the Nashville Sounds, where Willie and

886
00:52:29,236 --> 00:52:33,956
Speaker 7: Whalon and Leon. You know, we're making records that defined

887
00:52:33,996 --> 00:52:37,916
Speaker 7: the outlaw movement. And also just knowing that Dolly Parton

888
00:52:37,956 --> 00:52:40,756
Speaker 7: recorded nine to five and Jolene there. It was all

889
00:52:40,796 --> 00:52:44,916
Speaker 7: those things. I just wanted to like pick up that energy.

890
00:52:45,356 --> 00:52:48,476
Speaker 7: And that was how it was when we were in

891
00:52:48,596 --> 00:52:50,276
Speaker 7: Sun as well. It's like, Okay, I'm in the room

892
00:52:50,276 --> 00:52:52,716
Speaker 7: where Elvis was. I'm in the room you know where

893
00:52:53,196 --> 00:52:57,476
Speaker 7: Johnny Cash saying these songs. And late at night when

894
00:52:57,476 --> 00:53:01,956
Speaker 7: we were working at RCAA on Hard Headed Woman, sometimes

895
00:53:02,036 --> 00:53:04,316
Speaker 7: you would you would hear noises and there would be

896
00:53:04,356 --> 00:53:06,476
Speaker 7: nobody else in there, And I'm not saying that it

897
00:53:06,516 --> 00:53:12,356
Speaker 7: was haunted, but I'm not saying it's not haunted all

898
00:53:12,396 --> 00:53:16,716
Speaker 7: those ghosts and all those prolific recordings that were made there.

899
00:53:16,756 --> 00:53:19,236
Speaker 7: I just I wanted a piece of that.

900
00:53:20,196 --> 00:53:23,876
Speaker 1: Does the room change how you record, how you sang?

901
00:53:24,356 --> 00:53:28,316
Speaker 7: Yeah. One of the main things I think about this

902
00:53:28,356 --> 00:53:31,636
Speaker 7: album is the vocals that we were able to achieve

903
00:53:31,796 --> 00:53:35,156
Speaker 7: because I was just alone in this massive room doing

904
00:53:35,196 --> 00:53:37,636
Speaker 7: the vocals, and we didn't have to use like an

905
00:53:37,636 --> 00:53:39,716
Speaker 7: echo chamber, we didn't have to use a lot of

906
00:53:39,756 --> 00:53:42,956
Speaker 7: like reverb or things in post because it just sounded

907
00:53:43,036 --> 00:53:46,196
Speaker 7: great right off the bat. We spent a lot of

908
00:53:46,236 --> 00:53:50,436
Speaker 7: time and a lot of money, but I don't regret it.

909
00:53:50,476 --> 00:53:54,116
Speaker 7: I really in the past, I've I haven't rushed things,

910
00:53:54,156 --> 00:53:58,116
Speaker 7: but I just didn't have the budget always to spend

911
00:53:58,236 --> 00:54:00,996
Speaker 7: all the time on all the extra little accouterments and

912
00:54:01,036 --> 00:54:03,436
Speaker 7: the minutia. And like I would go back, I would

913
00:54:03,436 --> 00:54:05,236
Speaker 7: listen to mixes and say, I've got to hit that

914
00:54:05,316 --> 00:54:07,476
Speaker 7: vocal again. I can do that better. I know it.

915
00:54:07,796 --> 00:54:11,716
Speaker 7: And really we went and made the record last June,

916
00:54:12,236 --> 00:54:14,876
Speaker 7: and then the band and I went out. We went

917
00:54:14,916 --> 00:54:19,076
Speaker 7: on tour with Tedesky Trucks, and we played all these

918
00:54:19,156 --> 00:54:22,636
Speaker 7: all the songs that we recorded, and during that time,

919
00:54:22,676 --> 00:54:24,476
Speaker 7: I was like learning how to sing them better.

920
00:54:24,756 --> 00:54:24,956
Speaker 6: You know.

921
00:54:25,116 --> 00:54:26,756
Speaker 7: I think a lot of times it's like people make

922
00:54:26,796 --> 00:54:28,156
Speaker 7: the record and then they go out and tour it,

923
00:54:28,476 --> 00:54:30,516
Speaker 7: and then you've got all these other ideas of like,

924
00:54:31,076 --> 00:54:32,996
Speaker 7: oh the melody could have actually went here and it

925
00:54:32,996 --> 00:54:36,236
Speaker 7: would have been more effective. So that was really crucial.

926
00:54:36,596 --> 00:54:39,916
Speaker 7: And you know, I had all these ideas, Oh, I'm

927
00:54:39,956 --> 00:54:44,396
Speaker 7: going to get this record out like spring of you know,

928
00:54:44,996 --> 00:54:47,476
Speaker 7: twenty twenty five. That was the goal. And now here

929
00:54:47,556 --> 00:54:50,596
Speaker 7: it's like, well it's August, but this record's going to

930
00:54:50,636 --> 00:54:54,156
Speaker 7: be around forever. And there's not one single thing that

931
00:54:54,196 --> 00:54:55,636
Speaker 7: I would say, oh I want to go back and

932
00:54:55,676 --> 00:54:58,276
Speaker 7: do that different. It's exactly the way I want it.

933
00:54:58,476 --> 00:55:00,356
Speaker 1: Those are things you can do with your voice now

934
00:55:00,556 --> 00:55:02,276
Speaker 1: that you couldn't do earlier in your career.

935
00:55:02,636 --> 00:55:06,876
Speaker 7: Absolutely, I think being in the studio is such a

936
00:55:06,916 --> 00:55:13,836
Speaker 7: different than singing live. And I've been working with a

937
00:55:13,916 --> 00:55:16,516
Speaker 7: vocal coach on and off. His name is Rob Stevenson.

938
00:55:16,876 --> 00:55:21,476
Speaker 7: He's just transformed the way that I think about singing

939
00:55:21,556 --> 00:55:24,956
Speaker 7: and also just giving me a lot of different vocal

940
00:55:24,996 --> 00:55:28,436
Speaker 7: warm ups and scales and things to do. And also

941
00:55:28,476 --> 00:55:32,556
Speaker 7: I think in my early days you're kind of impersonating

942
00:55:32,676 --> 00:55:35,756
Speaker 7: people the records that you've heard, other singers that you've heard.

943
00:55:35,796 --> 00:55:39,796
Speaker 7: It takes a really long time to refine your sound.

944
00:55:39,876 --> 00:55:41,636
Speaker 7: And of course some people just come out of the

945
00:55:41,636 --> 00:55:43,916
Speaker 7: gate and you know, like Johnny Cash or something. It's

946
00:55:43,956 --> 00:55:47,236
Speaker 7: like piecings Like Johnny Cash, his voice is there, everything's there.

947
00:55:47,276 --> 00:55:51,276
Speaker 7: But for me, at least, it's been a long, arduous

948
00:55:51,316 --> 00:55:55,676
Speaker 7: process of figuring out exactly who I am, who I

949
00:55:55,676 --> 00:55:56,396
Speaker 7: want to sound like.

950
00:55:57,156 --> 00:55:59,596
Speaker 1: And you've got a new band I do, and what's

951
00:55:59,636 --> 00:55:59,996
Speaker 1: that like.

952
00:56:00,556 --> 00:56:06,876
Speaker 7: It's amazing to have some fresh energy and just different

953
00:56:06,916 --> 00:56:10,836
Speaker 7: ways of doing things. I've got some incredible singers out

954
00:56:10,836 --> 00:56:14,236
Speaker 7: with me. There's this guy who sang all over the record.

955
00:56:14,276 --> 00:56:17,316
Speaker 7: His name's Logan Ledger, and he's just got like a

956
00:56:18,276 --> 00:56:22,116
Speaker 7: George Jones type voice where it's like he's just so gifted.

957
00:56:22,796 --> 00:56:26,756
Speaker 7: And him and Rodney sang harmonies on Don't let the

958
00:56:26,756 --> 00:56:30,916
Speaker 7: Bastards Get You Down and Red Eye Flight, and I

959
00:56:31,076 --> 00:56:33,356
Speaker 7: just after I had him on the recordings, I just

960
00:56:33,436 --> 00:56:35,836
Speaker 7: kept thinking, like, man, I've got to I've got to

961
00:56:35,876 --> 00:56:39,556
Speaker 7: get him out on the road with me, and so, yeah,

962
00:56:39,596 --> 00:56:43,036
Speaker 7: he's been out touring with me. I've got a fiddle player.

963
00:56:43,156 --> 00:56:46,116
Speaker 7: I just I really wanted to switch up the instrumentation.

964
00:56:46,796 --> 00:56:48,156
Speaker 7: It was time for a change.

965
00:56:49,316 --> 00:56:52,396
Speaker 1: The fiddle opens this album. It seems like a real statement.

966
00:56:53,396 --> 00:56:56,916
Speaker 7: Yeah, the intro I came intact on later. That was

967
00:56:56,956 --> 00:56:59,036
Speaker 7: like one of the last things that I recorded, But

968
00:56:59,116 --> 00:57:02,396
Speaker 7: I knew that it needed something. And it's crazy because

969
00:57:02,436 --> 00:57:03,796
Speaker 7: it was like, first the album was going to open

970
00:57:03,876 --> 00:57:08,516
Speaker 7: with losing streak and I had a sequencing is so challenging,

971
00:57:08,596 --> 00:57:12,636
Speaker 7: I think, But once I had that that intro piece,

972
00:57:12,676 --> 00:57:15,836
Speaker 7: it was like, all right, everything feels cohesive Now.

973
00:57:16,316 --> 00:57:20,676
Speaker 1: It almost feels because of the shortage production. I hate

974
00:57:20,676 --> 00:57:23,796
Speaker 1: to say concept album, but I mean a concept album

975
00:57:23,836 --> 00:57:25,356
Speaker 1: in the way the Kings used to make them.

976
00:57:25,596 --> 00:57:29,356
Speaker 7: Yeah, well, I mean I keep pointing back to Redheaded Stranger.

977
00:57:30,076 --> 00:57:32,396
Speaker 7: I mean I almost call it hard Headed Woman. It's

978
00:57:32,436 --> 00:57:35,196
Speaker 7: like the same amount of silverles got headed in the

979
00:57:35,196 --> 00:57:38,036
Speaker 7: middle of it. Yeah, which is like obviously the most

980
00:57:38,636 --> 00:57:42,756
Speaker 7: incredible concept record of all times. And I did want

981
00:57:42,756 --> 00:57:46,156
Speaker 7: it to have a really cohesive feel where it's like, Okay,

982
00:57:46,236 --> 00:57:50,276
Speaker 7: everything supposed to be exactly this way.

983
00:57:51,116 --> 00:57:53,156
Speaker 1: So tell me about your choice of covers.

984
00:57:53,436 --> 00:58:00,476
Speaker 7: Yes, this Waylon Jennings tune that we interpreted here was

985
00:58:01,556 --> 00:58:06,076
Speaker 7: passed to me from Jesse Coulter, who was obviously married

986
00:58:06,116 --> 00:58:09,996
Speaker 7: to Whylon Jennings for a good long time, and I

987
00:58:10,036 --> 00:58:13,076
Speaker 7: produced a record of hers. Gosh, it's been about six

988
00:58:13,156 --> 00:58:17,076
Speaker 7: years ago now, and her and I were looking through

989
00:58:17,076 --> 00:58:20,156
Speaker 7: this old suitcase of Whelan's, like all these songs, just

990
00:58:20,796 --> 00:58:23,956
Speaker 7: songs he'd written, songs people had given him. I was

991
00:58:24,436 --> 00:58:28,156
Speaker 7: so thrilling to rifle through there. But she said, oh,

992
00:58:28,196 --> 00:58:30,316
Speaker 7: I've got this song so fun. It's called get your

993
00:58:30,356 --> 00:58:32,356
Speaker 7: Tongue out of my Mouth I'm kissing you goodbye. You know,

994
00:58:32,396 --> 00:58:34,356
Speaker 7: it's like the line in it, and she goes, I

995
00:58:34,476 --> 00:58:36,756
Speaker 7: can't do that song, I'm too old, but you should

996
00:58:36,796 --> 00:58:40,076
Speaker 7: do that song. And so I've literally been thinking about

997
00:58:40,076 --> 00:58:43,276
Speaker 7: covering this song and doing this song for like six

998
00:58:43,356 --> 00:58:46,596
Speaker 7: or seven years. And it just has such a like

999
00:58:46,876 --> 00:58:49,516
Speaker 7: Loretta Lynne type feel of like don't come home and

1000
00:58:49,556 --> 00:58:52,636
Speaker 7: drinking or you know, just I needed a song like that.

1001
00:58:53,796 --> 00:58:57,036
Speaker 7: I changed a few of the words because it was

1002
00:58:57,036 --> 00:59:05,196
Speaker 7: actually inspired by Waylon Jennings lawyer slash drug dealer's ex wife.

1003
00:59:05,996 --> 00:59:09,996
Speaker 7: So she said, you know, she was really her. Jesse

1004
00:59:10,156 --> 00:59:13,396
Speaker 7: was hanging out with Whylon and said drug dealer and

1005
00:59:13,516 --> 00:59:16,156
Speaker 7: the ex wife, and he tried to give her a

1006
00:59:16,236 --> 00:59:17,836
Speaker 7: kiss and she said, gets you chunge out of my mouth.

1007
00:59:17,836 --> 00:59:21,116
Speaker 7: I'm kissing goodbye. Whylan went wrote the song, but it's

1008
00:59:21,156 --> 00:59:23,996
Speaker 7: kind of more aimed at like a woman. He's cutting

1009
00:59:23,996 --> 00:59:26,196
Speaker 7: her down by talking about her peroxide hair and this

1010
00:59:26,236 --> 00:59:28,596
Speaker 7: and that. I changed it to like your polyester suit.

1011
00:59:28,756 --> 00:59:32,196
Speaker 7: And that's one that I always like to to direct

1012
00:59:32,196 --> 00:59:35,316
Speaker 7: at my husband's you know, when we're on stage. It's fun.

1013
00:59:35,356 --> 00:59:36,276
Speaker 7: It's such a fun song.

1014
00:59:36,436 --> 00:59:38,916
Speaker 1: It feels like it's directed at the music business.

1015
00:59:39,196 --> 00:59:42,996
Speaker 7: Yeah, absolutely, it absolutely could be.

1016
00:59:43,516 --> 00:59:48,276
Speaker 1: Yeah, everybody you met in your book, like who said,

1017
00:59:48,276 --> 00:59:48,916
Speaker 1: I don't think so.

1018
00:59:49,396 --> 00:59:51,236
Speaker 7: Yeah, we picked up the temple on that one. It

1019
00:59:51,276 --> 00:59:53,956
Speaker 7: feels like a I mean when you hear Whyaln's got

1020
00:59:53,956 --> 00:59:57,876
Speaker 7: a version of it and it's just it's laid back

1021
00:59:57,916 --> 00:59:59,916
Speaker 7: and whatever, but like me and the band be tear

1022
00:59:59,956 --> 01:00:03,796
Speaker 7: into it. It feels more like punk than even country.

1023
01:00:04,316 --> 01:00:06,476
Speaker 1: And then the George Jones song, Yes.

1024
01:00:06,356 --> 01:00:09,076
Speaker 7: I just don't give a damn. This song I became

1025
01:00:09,116 --> 01:00:12,956
Speaker 7: I'm obsessed with. There's a podcast that I love. My

1026
01:00:13,036 --> 01:00:17,556
Speaker 7: friend Tyler Mayhanko does. It's called Cocaine and Rhinestones, and

1027
01:00:17,596 --> 01:00:21,076
Speaker 7: he has a wonderful book as well, and he played

1028
01:00:21,156 --> 01:00:23,996
Speaker 7: he does. His whole second season was about George and Tammy.

1029
01:00:24,516 --> 01:00:27,996
Speaker 7: And when I started getting ready to do this record again,

1030
01:00:28,036 --> 01:00:30,956
Speaker 7: I saved the podcast so I could listen to it

1031
01:00:31,156 --> 01:00:34,356
Speaker 7: during this time and when I was really focused and

1032
01:00:34,396 --> 01:00:38,156
Speaker 7: at home and writing, and I'd never heard this song

1033
01:00:38,236 --> 01:00:42,356
Speaker 7: and George does it super slow, so again we up

1034
01:00:42,356 --> 01:00:45,356
Speaker 7: to the tempo. I love the guitar riff that my producer,

1035
01:00:45,396 --> 01:00:47,916
Speaker 7: Matt ross Spang came up with that it just opens

1036
01:00:47,916 --> 01:00:51,996
Speaker 7: it and it feels very like Jolene goes to Memphis

1037
01:00:52,076 --> 01:00:54,756
Speaker 7: or something. It's just got this lick that just sticks

1038
01:00:54,756 --> 01:00:56,716
Speaker 7: in your head. I'm sure he you know, he was

1039
01:00:56,756 --> 01:01:01,396
Speaker 7: singing it probably did Tammy or whatever when he wrote it.

1040
01:01:01,396 --> 01:01:03,476
Speaker 7: It was written George wrote it with a guy named

1041
01:01:03,876 --> 01:01:06,876
Speaker 7: Jimmy Peppers. I just think it's the best name. But

1042
01:01:06,956 --> 01:01:12,076
Speaker 7: I I've just reason that if ever you try to

1043
01:01:12,116 --> 01:01:14,156
Speaker 7: call me, you know, I'll be on my side of town.

1044
01:01:15,356 --> 01:01:17,956
Speaker 7: I feel that in my bones. It's like I'll be

1045
01:01:18,036 --> 01:01:20,276
Speaker 7: over here. You guys can do your thing over there.

1046
01:01:21,036 --> 01:01:24,436
Speaker 1: Just mm hmm. Leave it. At that that East West

1047
01:01:24,516 --> 01:01:25,636
Speaker 1: Divide in Nashville.

1048
01:01:25,996 --> 01:01:28,476
Speaker 7: Right that river right there, that Cumberland River.

1049
01:01:28,916 --> 01:01:32,636
Speaker 1: Yeah, keep on your own side. Well, thank you, it's

1050
01:01:32,636 --> 01:01:33,676
Speaker 1: been wonderful talking to you.

1051
01:01:33,956 --> 01:01:35,596
Speaker 7: Of course, I'm so grateful.

1052
01:01:38,436 --> 01:01:40,316
Speaker 2: In the episode description, you'll find a link to a

1053
01:01:40,356 --> 01:01:42,836
Speaker 2: playlist of our favorite Margo Price tracks, as well as

1054
01:01:42,876 --> 01:01:45,956
Speaker 2: her latest album, Hard Headed Woman. Be sure to check

1055
01:01:45,956 --> 01:01:48,796
Speaker 2: out YouTube dot com slash Broken Record Podcast to see

1056
01:01:48,876 --> 01:01:51,556
Speaker 2: all of our video interviews, and be sure to follow

1057
01:01:51,596 --> 01:01:54,716
Speaker 2: us on Instagram at the Broken Record Pod. You can

1058
01:01:54,716 --> 01:01:55,996
Speaker 2: follow us on Twitter.

1059
01:01:55,716 --> 01:01:56,836
Speaker 1: At broken Record.

1060
01:01:57,316 --> 01:02:00,236
Speaker 2: Broken Record is produced and edited by Leah Rose, with

1061
01:02:00,356 --> 01:02:03,796
Speaker 2: marketing help from Eric Sandler and Jordan McMillan. Our engineer

1062
01:02:03,996 --> 01:02:08,356
Speaker 2: is Ben Holliday. Broken Record is a production of Pushkin Industries.

1063
01:02:09,236 --> 01:02:13,356
Speaker 2: This show and others from Pushkin consider subscribing to Pushkin Plus.

1064
01:02:13,956 --> 01:02:17,236
Speaker 2: Pushkin Plus is a podcast subscription that offers bonus content

1065
01:02:17,316 --> 01:02:20,036
Speaker 2: and ad pre listening for four ninety nine a month.

1066
01:02:20,716 --> 01:02:24,596
Speaker 2: Look for Pushkin Plus on Apple podcast subscriptions, and if

1067
01:02:24,636 --> 01:02:27,116
Speaker 2: you like this show, please remember to share, rate, and

1068
01:02:27,156 --> 01:02:29,996
Speaker 2: review us on your podcast app. Our theme music's back

1069
01:02:30,036 --> 01:02:30,676
Speaker 2: Anny Beats.

1070
01:02:30,836 --> 01:02:31,916
Speaker 1: I'm justin Richmond.