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Speaker 1: All right, welcome to episode from a House. Shane mcinalley

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Speaker 1: here finally, Hi, when it was taken forever. You got

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Speaker 1: sick last week, I know, and I'm barely if you

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Speaker 1: could tell I still sort of have this which I

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Speaker 1: prefer my voice like this, but I couldn't talk at

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Speaker 1: all this week. So and I actually want to get

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Speaker 1: to you know a lot of your stuff and just

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Speaker 1: a quick rundown before because I have something else i'll

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Speaker 1: talk to you about. But number one songs of yours

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Speaker 1: real quick, just so the folks out there listening, because

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Speaker 1: you're like the most famous not famous person in Nashville. Okay, yeah,

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Speaker 1: I think that's probably that's that's a that's a good

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Speaker 1: way to say it. Yeah, because you have the Vampaire

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Speaker 1: better dig to Americ kids, Kenny Chesney, Luke Bryan, Kissed Tomorrow,

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Speaker 1: Goodbye Lady and Abelleum Downtown, Sam Hunt, Leave the Night

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Speaker 1: on Derk Spentley different for girls, say you do Thomas

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Speaker 1: Rhett t shirt. There's a lot and it keeps going.

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Speaker 1: But that's how influential and like a big dealy is.

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Speaker 1: Now with that being said, I kind of want to

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Speaker 1: talk to you about like theory for a second at

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Speaker 1: philosophy because that would be more fun. Um, well, don't worry,

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Speaker 1: we'll get to the part where you have to be

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Speaker 1: like But and I also think Shane might be the

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Speaker 1: richest person that's been up here, because we were not

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Speaker 1: think that now we were we were thinking, and it's

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Speaker 1: either richest person we've and I have no idea much

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Speaker 1: money you have, but I know what these songs pay.

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Speaker 1: If you right him in twos or threes, you're probably well,

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Speaker 1: I think we have the richest Bobby cast. Yes, it's funny.

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Speaker 1: I always joke about two. I always joke to friends like, well,

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Speaker 1: I'm rich, But when someone else says it, all of

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Speaker 1: a sudden, you get read and you want to go,

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Speaker 1: will you know, I think we have a new winner

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Speaker 1: and until yeah, I think right now you're reached by

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Speaker 1: the standards of where I came from clubhouse. Let's get

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Speaker 1: to all that. And he was, you're on Star Search

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Speaker 1: or so much I want to get to But this

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Speaker 1: came out this week, and you're the guy to talk

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Speaker 1: to about this because you're a writer and a producer

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Speaker 1: and you're an artist. So here is edge sher in

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Speaker 1: shape you right? You know your love was handing me

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Speaker 1: for somebody like me coming. Now great, All that's great, right,

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Speaker 1: So this week he had to add the writers of

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Speaker 1: TLC No Scrubs to his song now here is the

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Speaker 1: part of No Scrubs. I'm gonna plan it back again,

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Speaker 1: So it's you know, da da da da da, I

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Speaker 1: don't want no Scott. When you hear those two, what

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Speaker 1: do you here? Well, it's funny. I just heard about

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Speaker 1: this and I was I literally was thinking about it

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Speaker 1: this morning because I thought maybe the reason the writer's

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Speaker 1: noticed it was because at the end of that one

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Speaker 1: phrase he says, somebody liked me and they say no

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Speaker 1: love from me. Sometimes just the phonetically the syllables, that

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Speaker 1: the fact that they were saying me would make somebody go, oh,

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Speaker 1: that sounds I would never have heard that. But I

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Speaker 1: didn't write No Scrubs, so it's hard to imagine. If

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Speaker 1: if I had written it, maybe I would say that's

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Speaker 1: on my song. I don't it doesn't. I don't feel

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Speaker 1: that now when you play them like that. If I was,

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Speaker 1: if I was, you know, just like in a jury

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Speaker 1: or however they do it, I would probably say I

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Speaker 1: see the connection there. But as a songwriter, because we

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Speaker 1: are all rewriting and influenced and hearing things. It would

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Speaker 1: be hard for me as a songwriter to say that

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Speaker 1: those writers should be on that song. That one's tough

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Speaker 1: for me, it is. And if it's going, hey jump

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Speaker 1: on as a songwriter. Maybe he doesn't want to deal

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Speaker 1: with it. Maybe think it's too close. It's happened to

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Speaker 1: him a couple of times. And even with See and

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Speaker 1: See on that song too. You know, see it has

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Speaker 1: a song and it sounds like that at the beginning

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Speaker 1: and some other Yeah. So I mean, why do you

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Speaker 1: where does it stop? I mean, either, I don't know

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Speaker 1: why it's happened so much lately. I mean, it seems

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Speaker 1: like it started with blurred lines. And here's this, here's

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Speaker 1: the two, here's Robin Thick blurred lines, by the way,

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Speaker 1: and they actually went to court and lost this case.

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Speaker 1: And so here's Marvin Gaye. Gotta give it to you.

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Speaker 1: I mean, for sure this one. You don't hear this one? No,

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Speaker 1: I do. I do know. The thing about that I

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Speaker 1: was My expression was they I cannot imagine that those

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Speaker 1: guys when they wrote it, and that when they made

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Speaker 1: that track, that they what they were thinking was theoretically

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Speaker 1: I mean you said theory, they were thinking, our melody

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Speaker 1: and our phrasing is different, but the track it sounds

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Speaker 1: so similar. So you have to think of like the

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Speaker 1: average listener's ear, does this hearken to that? Does this

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Speaker 1: make you think of that? It was certainly influenced by it.

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Speaker 1: It's so hard because I mean, we I would. I

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Speaker 1: think it's a pretty safe pet to say. I can't

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Speaker 1: speak for every songwriter, but most of the circle I

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Speaker 1: run with we drive to work every morning and come

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Speaker 1: in and go, oh my god, I just heard this

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Speaker 1: song like I want to write a feel like that.

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Speaker 1: You know, usually by the end of the day you

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Speaker 1: can hardly hear where we started. But we were still

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Speaker 1: influenced by I mean, it's it's impossible to sort of

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Speaker 1: pinpoint where it all started. And I really feel bad

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Speaker 1: for the for ed shearing that this continues to happen

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Speaker 1: in situation. Now. The other one of his uh, the

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Speaker 1: the big song was it thinking out Loud? That song

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Speaker 1: sounded very similar to the other song, and I didn't

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Speaker 1: I didn't actually know the other song, but I heard

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Speaker 1: him side by side. Yeah, And that guy was from

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Speaker 1: like a like idol, like um British ide or whatever

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Speaker 1: it's called, you know, and even that and I'll play

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Speaker 1: it this so I'm gonna pull up and it's close.

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Speaker 1: But even when you know tr Thomas did Die Happy Man,

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Speaker 1: that sounded. I told Tomas first time I heard, I

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Speaker 1: was like, are you like anything with ed like it?

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Speaker 1: And he was like, no, not yet, And I guess

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Speaker 1: nothing ever happened. It's the production on Die Happy Man

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Speaker 1: that kind of makes you think of that, which in

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Speaker 1: is where does it lie? Is it the sound of

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Speaker 1: the musicians playing or is it the melody and the lyrics?

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Speaker 1: And it's it's getting harder and harder to I mean

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Speaker 1: for people to fight those things. What about this? And

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Speaker 1: we don't want to. Songwriters, if some things you stole

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Speaker 1: something from, Oh my god, I mean, if if someone

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Speaker 1: has you know, would ever say to me, I think

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Speaker 1: you got that from my song, especially if we were friends,

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Speaker 1: I would know they really felt that way. Songwriters don't

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Speaker 1: just cry wolf. I mean most of the time they're

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Speaker 1: not just out there trying to, you know, get on

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Speaker 1: a song. The ones I know, and if they bring

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Speaker 1: it up, it would be it would be very hurtful

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Speaker 1: because you would think, oh, I would never want you

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Speaker 1: to think that I stole that from you. You know,

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Speaker 1: I haven't had that happen to me. I mean I've

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Speaker 1: had friends where we've discussed. I'll be like I was

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Speaker 1: sort of like, you know, in a joking way, like, oh,

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Speaker 1: that's kind of like the one that we wrote that

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Speaker 1: was never a hit and now it's a hit for you. Um.

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Speaker 1: But that's in the very close circle where we write

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Speaker 1: so many songs, you know that sometimes topics crossed some things.

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Speaker 1: This one here Smith and you know the song that

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Speaker 1: the Won't Back Down And now Tom Petty's a writer

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Speaker 1: on the Sam Smith song. I would never have noticed it,

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Speaker 1: but the melody is exactly the same. The weird thing

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Speaker 1: about this one the first time I heard it, I

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Speaker 1: heard it I was listening to Lightning One and they

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Speaker 1: were playing Sam Smith and I was like, this sounds

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Speaker 1: like R and B Tom Petty. Wow. And I didn't

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Speaker 1: hear until this pointed out, and I was like, well

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Speaker 1: it is. I mean you count the notes they used

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Speaker 1: to say it was like seven notes or something. That's

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Speaker 1: clearly not the rule anymore it can be. Do you

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Speaker 1: feel like this came from this? I mean, I think

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Speaker 1: there's actually I think I shouldn't be talking leally because

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Speaker 1: I don't know, but I just remember thinking that used

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Speaker 1: to be a seven note rule or something like. I

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Speaker 1: think this sample rule also used to be that too,

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Speaker 1: like if you would sample, you don't have to pay

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Speaker 1: for it at like seven notes. So that's that's why quick,

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Speaker 1: you know. Again, so uh, there are a lot of those.

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Speaker 1: And I wondered how you felt, because again, I feel

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Speaker 1: bad for everybody involved, because I hate for somebody on

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Speaker 1: one side, like No Scrubs, for those folks to think

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Speaker 1: that he stole from them, but God to get that

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Speaker 1: call and then to hear him side by side and go, wow,

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Speaker 1: I guess you can sort of you can hear it,

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Speaker 1: but the production is so different. The way we make

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Speaker 1: records is so different than when No Scrubs, you know,

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Speaker 1: so the sound is just different. But you you lay

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Speaker 1: them out, I mean there is I can see where

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Speaker 1: somebody would hear it. I wouldn't have heard it for me,

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Speaker 1: and I am, by no means a real life songwriter,

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Speaker 1: but every butting a kids album and did you never

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Speaker 1: write comedy songs? I have to have writers insurance. Okay,

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Speaker 1: someone sees me, I can only imagine. And this is

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Speaker 1: mine's gonna be miniscule compared to what yours. Did you know,

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Speaker 1: I don't really know what we pay. I know that

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Speaker 1: we're covered in that way. Um, because certainly when you

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Speaker 1: have this many songs floating around and and uh, it

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Speaker 1: gets I have to be honest with you, Sonny. In

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Speaker 1: country world, we kind of stay in our in our

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Speaker 1: corner when we have things that start to cross over.

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Speaker 1: Is when I started, like the the new Sam single

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Speaker 1: body like a back road. Uh. I've heard a couple

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Speaker 1: of different people say it reminded them of songs and

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Speaker 1: I can't even tell you which one is. Different ones.

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Speaker 1: Oh it makes me think of this, and I'm like,

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Speaker 1: oh God, that song is getting is looking to sort

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Speaker 1: of make the crossover push. Like that's when I would

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Speaker 1: be afraid of it. When it has that sort of

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Speaker 1: attention on it. Well, more ears bring more thoughts, exactly.

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Speaker 1: And so when it goes from forty million people hearing

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Speaker 1: it to five million people hearing it and somebody yeah exactly.

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Speaker 1: So let's talk about you for a second, and let's

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Speaker 1: bounce around a little bit. First of all, because you

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Speaker 1: grew up in Texas and you went to ut Yeah

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Speaker 1: and so and you wanted to be like, like an

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Speaker 1: accountant or a financial guy. Went, I went. I was

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Speaker 1: in accounting. I was weirdly really good at math. That

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Speaker 1: was one of the only natural things to me in

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Speaker 1: school and uh, which did kind of show up in

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Speaker 1: my songwriting. It a lot of people don't have. I

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Speaker 1: don't see songwriting that way. It's it is nu merit

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Speaker 1: to me. When I look at lyrics on a page,

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Speaker 1: seeing the way the lines lay out looks mathematical, almost

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Speaker 1: like a graph, like, oh, that verse doesn't match the

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Speaker 1: second verse. And that's not how most people right. And

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Speaker 1: I've gotten I've tried to get away from it because

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Speaker 1: there is a more train of thought way of writing now. Um.

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Speaker 1: But with that said, I like, you know, you take

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Speaker 1: your S A T S and they can separate different

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Speaker 1: parts that I did very good enough in math to

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Speaker 1: be in the School of Business at ut which is

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Speaker 1: harder to get into once you've been there a couple

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Speaker 1: of years. So they suggested, since my scores were high enough,

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Speaker 1: go ahead and started in the School of Business. So

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Speaker 1: I was an accounting major, But I mean in my

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Speaker 1: first year I didn't really get that deep into it.

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Speaker 1: He's super good student. I was in high school, like

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Speaker 1: you're I'm a competitive person. I think it had to

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Speaker 1: do with more wanting to for people to like me,

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Speaker 1: wanting to be the best at stuff where you super

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Speaker 1: gifted or super hard workers. Hard worker really so okay,

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Speaker 1: so you go how on the because I imagine you

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Speaker 1: could sing while you're doing this, because you're an artist.

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Speaker 1: So are you singing in Texas? Yeah, I was about twelve,

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Speaker 1: I did. I got on stage the first time in

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Speaker 1: just saying it like a you know, local contest at

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Speaker 1: the mall. What that turned into was sort of a

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Speaker 1: weekend gig of of um going around two in Texas

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Speaker 1: and Oklahoma. In Arkansas there's sort of an opera circuit.

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Speaker 1: I don't even really know if this is still something

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Speaker 1: that goes on, But when I was a kid, there

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Speaker 1: were places you could go and play with the band.

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Speaker 1: There these operys and reviews. There was this one in

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Speaker 1: uh Great Contextas where it was like Lean Wimack, Steve Holly, myself,

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Speaker 1: Lee and Rhymes grew up on that show was the

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Speaker 1: Johnny High Country Music Review. A lot of a lot

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Speaker 1: of Nashville talent has come from there. So that's what

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Speaker 1: I would do on the weekends. And uh and that

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Speaker 1: got you know, and then I was on Star Search

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Speaker 1: and I moved to Branson for a while. I can't

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Speaker 1: skip over star starts like that. You can't so bad.

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Speaker 1: I'm so glad you do not have a way to

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Speaker 1: show that clip. Well, it's just you have to meet

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Speaker 1: ebit man. Yes, like if for those if you're listening

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Speaker 1: and then you're under twenty five, you don't even know.

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Speaker 1: But Ed McMahon was. He was like to do that

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Speaker 1: was the coolest thing about doing it. It was American,

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Speaker 1: Adam before it was American right exactly. So you went

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Speaker 1: on Star Search at what age I was and what

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Speaker 1: did you say? I saying sometimes when we touch, sometimes

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Speaker 1: when we touched, very serious. I wore the most stars

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Speaker 1: that you got to in three quarters. I did not

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Speaker 1: do well. And I was against this, literally a fourteen

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Speaker 1: year old Whitney Houston. I swear I saw her in

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Speaker 1: rehearsal and I was like, what am I doing here?

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Speaker 1: I was just this country kid tried and I tried

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Speaker 1: to like jazz it up because I was against her

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Speaker 1: and I saw what she did and I tried to

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Speaker 1: do things that vocally we're not really in my you

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Speaker 1: know element and uh, I learned a lot I got.

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Speaker 1: I was really hurt by that. It's funny, it sounds

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Speaker 1: you know, my my childhood was a little bizarre. My

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Speaker 1: um my parents divorced when I was twelve. My dad

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Speaker 1: actually went to to prison. Um, and I just was

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Speaker 1: kind of a lost kid, really trying to hold it

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Speaker 1: together in a way that the Star Search. I pinned

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Speaker 1: a lot of my hopes and dreams on that, um

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Speaker 1: if that makes any sense, Like I I was like,

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Speaker 1: if I can win this, something will happen for me

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Speaker 1: outside of this. So I took it very very seriously.

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Speaker 1: And uh, it's it's funny. I have a hard time

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Speaker 1: even now I'm forty two, it's still I just did

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Speaker 1: this thing at the Hall of Fame where they showed

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Speaker 1: all these clips of me growing up and stuff this

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Speaker 1: Poets and Profit series, which was an honor. But they

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Speaker 1: showed a clip of that that they asked if they could,

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Speaker 1: and it was really hard for me. I mean, do

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Speaker 1: you feel like you let your mom or absolutely? And

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Speaker 1: I and look, I don't feel like that. Now. Look

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Speaker 1: what I've my life has gotten into. But I think

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Speaker 1: I think it's more about I look at that kid,

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Speaker 1: and I just wish I could have talk to him

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Speaker 1: so that he would just calm down, you know, you know,

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Speaker 1: and I relate to you in the way of my parents.

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Speaker 1: I don't know my real dad, you know, and um

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Speaker 1: my mom's not alive anymore. But I kept from a

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Speaker 1: broken home too, and I always felt a little bit

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Speaker 1: like it was my fault. There was some kind of

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Speaker 1: just if I would have just been better at something

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Speaker 1: that maybe it wouldn't. And I think that's a common feeling.

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Speaker 1: It doesn't really logically make sense when you're an adult

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Speaker 1: and you look, You're like, why would that Why would

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Speaker 1: it be your fault? But yeah, I mean that was

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Speaker 1: sort of that that Star searchs thing, weirdly is a

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Speaker 1: great symbol of what it marked something for me, you know. Also,

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Speaker 1: I was, look, I didn't even know this myself, and

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Speaker 1: and not to make it about this, but I was

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Speaker 1: really sort of a stranger in my own body because

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Speaker 1: I was gay and I didn't know, but sort of

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Speaker 1: you're mixed up and I'm growing up in the small

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Speaker 1: town in Texas where everything is football and and you know, testosterone,

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Speaker 1: and like I'm singing, I just thought I would go

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Speaker 1: on Star Search and like show everybody at fifteen in

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Speaker 1: Texas where you openly gay to anyone. No, not even

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Speaker 1: to me. I mean my I had a girlfriend through

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Speaker 1: college and and uh, I don't even think I was lying.

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Speaker 1: And a lot of times people will be like, how

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Speaker 1: could you have lied? I think I just had no exposure.

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Speaker 1: I just felt out of place. When did you finally

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Speaker 1: feel in place? I don't know. I mean I think

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Speaker 1: I still struggle with that. It's funny. I was just

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Speaker 1: I was just saying this to someone the other day,

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Speaker 1: a young artist. I said, you know, I thought when

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Speaker 1: I had kids that somehow something would click and make

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Speaker 1: me a grown up, that I wouldn't still be scared

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Speaker 1: of the same things, or because you can't your parents

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Speaker 1: kind of have to fake it or or adults. I'm

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Speaker 1: I'm still I still have the same insecurity, same fears.

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Speaker 1: But I do feel really loved in this community. Um,

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Speaker 1: I feel really respected. And so I don't know if

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Speaker 1: it if you as if a creative person ever feels

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Speaker 1: like they completely fit. I think that's that's what drives us.

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Speaker 1: That's why you keep creating, because you feel like you

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Speaker 1: have to keep creating so you can create whatever the

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Speaker 1: full is and you never achieved the search exactly. You're

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Speaker 1: always on the search. But I will say that that

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Speaker 1: this success, in this sort of acceptance by the the

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Speaker 1: songwriting community in Nashville, it does that is a little

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Speaker 1: part of my heart that's a little more, a little

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Speaker 1: more together. I mean that sounds dramatic, but uh, if

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Speaker 1: it's true, if it's a real feeling you have, then

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Speaker 1: it's you. I don't need some of them. I mean

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Speaker 1: saying this. I haven't ever said it that way when

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Speaker 1: you said when did you fit? And I guess I don't.

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Speaker 1: I I don't, but I but in most people I

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Speaker 1: know probably don't. But there are moments of where people

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Speaker 1: doing things like this, I mean, getting to see it

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Speaker 1: all together here, the fact that you want to talk

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Speaker 1: to me, it it is validating and it does feel

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Speaker 1: like I did something. How do you feel about because

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Speaker 1: the country music genre gets this reputation as being southern male,

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Speaker 1: gotta be straight. Here, you are a gay man super

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Speaker 1: successful in country music. But I don't feel what everyone

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Speaker 1: else says we're supposed to be. It isn't like I

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Speaker 1: don't feel what everyone says you have. It's funny because

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Speaker 1: a few years ago, when I was first having a

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Speaker 1: big run um. This guy came to do a story

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Speaker 1: on me from the New York Times and the angle

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Speaker 1: was gay in country music. What that must be like,

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Speaker 1: Like that You're going in with all these you know, redneck,

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Speaker 1: straight masculine men and writing these songs. They must it

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Speaker 1: must be hard to even get in the rooms with

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Speaker 1: those guys or and I said, you know, it just

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Speaker 1: has not. I have not had that experience. I think

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Speaker 1: that there are so many great songwriters and you just

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Speaker 1: have to be so much better than everybody else to

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Speaker 1: in any capacity. It doesn't matter if you used to

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Speaker 1: have a record deal, or if you're gay, or if

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Speaker 1: everybody has a reason why it's not gonna work for him.

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Speaker 1: And you know, a lot of times gay songwriters will

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Speaker 1: come up to me at the Bluebird or whatever and say, oh,

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Speaker 1: you've just been so inspiring to me. Like what would

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Speaker 1: you say to a gay songwriter? And I'll say, just

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Speaker 1: write the best songs. I mean, that's that really sounds simple.

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Speaker 1: But I would love to have used it, and maybe

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Speaker 1: sometimes I have used it as a reason, you know,

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Speaker 1: for like not getting something. But the reality is I've

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Speaker 1: never been treated in a negative way. If anything, I

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Speaker 1: think it's been the opposite as you look back and man,

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Speaker 1: we have a lot, have a lot. Uh here, Before

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Speaker 1: I do this, let me talk about what's what's our

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Speaker 1: first sponsor sleep Number. The great thing about doing this

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Speaker 1: podcast for my house is that my bed, my sleep

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Speaker 1: Number bed, is just about ten feet from here, because

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Speaker 1: I do we do the show upstairs in my house

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Speaker 1: and my bedrooms right next to it. And I love

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Speaker 1: my sleep number bed for a bunch of reasons. First

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Speaker 1: of all, if you're trying to of a healthy lifestyle

376
00:19:01,200 --> 00:19:03,360
Speaker 1: and you need a balanced diet in a regular exercise,

377
00:19:03,400 --> 00:19:07,040
Speaker 1: but mostly you need great sleep, and people sometimes don't

378
00:19:07,080 --> 00:19:09,440
Speaker 1: think about that. At a Sleep number store. You go

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00:19:09,520 --> 00:19:11,680
Speaker 1: into the store and you feel how I sleep number

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00:19:11,720 --> 00:19:14,359
Speaker 1: mattress adjust to you for the right comfort every single night.

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Speaker 1: And I don't know if your bed does that or not.

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00:19:15,920 --> 00:19:18,239
Speaker 1: Probably doesn't know. I guess the sleep Number bed let

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00:19:18,280 --> 00:19:20,360
Speaker 1: you choose your ideal comfort on each side, so it's

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Speaker 1: perfect for couples. Optional sleep by Q technology to give

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Speaker 1: you personal insights. And sometimes I come right over, like

386
00:19:26,080 --> 00:19:28,359
Speaker 1: I'll be laying down like thirty thirty minutes of it,

387
00:19:28,440 --> 00:19:30,480
Speaker 1: come right over and do this. Sleep number setting is

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00:19:30,560 --> 00:19:32,879
Speaker 1: a thirty in my sleep by you last night. I

389
00:19:32,880 --> 00:19:34,240
Speaker 1: didn't get a lot of sleep last night, be honest

390
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Speaker 1: with you, because I was just out gone late. So

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Speaker 1: I'm not gonna lie. I don't even know what it was.

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Speaker 1: So right now, I say, four hundred dollars the most

393
00:19:40,000 --> 00:19:43,480
Speaker 1: popular P five mattress, eight hundred next bed to find

394
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Speaker 1: one of the five hundred sleep number stores near you.

395
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Speaker 1: Eight hundred next bed. And that's about sleep number. Okay,

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Speaker 1: we're back, and so as you look, I have so

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Speaker 1: many clips here and you're you're so accomplished at your age.

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Speaker 1: Let's start with Kenny Chetney because it seem okay, um,

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Speaker 1: let's start with that. So how did the Kenny you

400
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Speaker 1: getting into the Kenny camp? Well, what's weird is that

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Speaker 1: I so, I had a record deal in the nineties.

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Speaker 1: I moved to Nashville in nine four five, and uh

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Speaker 1: I had a record deal and was I was managed

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Speaker 1: by the same folks that manage Kenny. Still to this

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Speaker 1: day they still man No, Buffy Is works on that team. Yes,

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Speaker 1: but Clint Higham, who manages Kenny, managed me, and um,

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Speaker 1: so I got to this is in the nineties. I mean,

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Speaker 1: he wasn't what he is now. He was still he

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Speaker 1: was playing like three thousand seat venues and I went

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Speaker 1: on the road with him, but we didn't really know

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Speaker 1: each other. We sang it like a wedding together, you

412
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Speaker 1: know what I mean, like we would cross paths. So

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Speaker 1: then jump to uh, two thousand nine. At that point,

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Speaker 1: I had moved to l A. I'm moved back. I'm

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Speaker 1: still great friends with his manager, but I mean were

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Speaker 1: very close. And um, I had this song and that

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Speaker 1: I had written, still living in l A. But back

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Speaker 1: and forth to Nashville, and I sent it to him

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Speaker 1: and he loved it, and he was like, you know,

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Speaker 1: my friend. He was like, I want to send this

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Speaker 1: to Kenny. He tried, it didn't really get there. I

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Speaker 1: had a friend, Robin Palmer, who still works with me now,

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Speaker 1: who's pitching songs. She pitched it every which way and

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Speaker 1: just couldn't get it through. And finally he did hear

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Speaker 1: the song. He did not know I wrote it or

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Speaker 1: connect me from ten years prior. But what happened was

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Speaker 1: when he recorded the song, he then reached out and

428
00:21:39,000 --> 00:21:41,119
Speaker 1: started listening to so much more of myself was the

429
00:21:41,119 --> 00:21:47,639
Speaker 1: first song you're talking about Somewhere with You on the

430
00:21:47,680 --> 00:21:53,080
Speaker 1: beach Down, just a monster song and if it's a

431
00:21:53,160 --> 00:21:55,720
Speaker 1: turn for him. I mean, the thing was that the

432
00:21:55,800 --> 00:21:59,480
Speaker 1: phrasing was strange in the in a way that this

433
00:21:59,640 --> 00:22:02,040
Speaker 1: was very natural to me, the way the writing of this.

434
00:22:02,720 --> 00:22:07,120
Speaker 1: So that is why so much happened so fast, because

435
00:22:07,119 --> 00:22:10,919
Speaker 1: I had a lot of songs like this. So when

436
00:22:10,960 --> 00:22:12,720
Speaker 1: you have a hit like this for someone that is

437
00:22:12,960 --> 00:22:15,160
Speaker 1: kind of out of their comfort zone but makes them,

438
00:22:16,160 --> 00:22:20,200
Speaker 1: it creates this comfort lane for them, and so they go, Okay,

439
00:22:20,240 --> 00:22:22,560
Speaker 1: I'm coming back to you because what you did is

440
00:22:22,600 --> 00:22:24,000
Speaker 1: something that no one else has been able to do

441
00:22:24,119 --> 00:22:27,640
Speaker 1: with me. So then what then, what do you do? Well?

442
00:22:27,960 --> 00:22:32,159
Speaker 1: I would send him everything first and then um, and

443
00:22:32,280 --> 00:22:35,200
Speaker 1: then in the in between, I'm starting to again some

444
00:22:35,359 --> 00:22:38,040
Speaker 1: of the songs that were sort of cousins of Somewhere

445
00:22:38,119 --> 00:22:41,800
Speaker 1: with You, like Alone with You, even the title. I

446
00:22:41,960 --> 00:22:44,800
Speaker 1: had a few songs like that, uh, and Jacob and

447
00:22:44,880 --> 00:22:47,359
Speaker 1: recorded that and that's the jam by the way, like

448
00:22:47,400 --> 00:22:52,000
Speaker 1: that's that might be my favorite Jake song. It sounds

449
00:22:52,040 --> 00:22:53,920
Speaker 1: so good on it and it sounds so good on

450
00:22:53,920 --> 00:22:59,640
Speaker 1: the radio. So I had a run of a few

451
00:22:59,760 --> 00:23:04,000
Speaker 1: things like that that got placed. Then he recorded come

452
00:23:04,080 --> 00:23:08,520
Speaker 1: Over and um, that was the song that that I've

453
00:23:08,520 --> 00:23:10,080
Speaker 1: written with Sam Hunt. One of the first things I

454
00:23:10,119 --> 00:23:14,760
Speaker 1: wrote with Sam when I met him, and this to

455
00:23:14,920 --> 00:23:19,880
Speaker 1: me come over was when the real downfall or not downfall,

456
00:23:19,920 --> 00:23:22,920
Speaker 1: what like the when it started to just everybody was

457
00:23:23,040 --> 00:23:25,680
Speaker 1: then it wasn't like a one hit thing. It was

458
00:23:25,760 --> 00:23:30,040
Speaker 1: like everybody started coming to room. And I think it's

459
00:23:30,080 --> 00:23:31,960
Speaker 1: because it you know, it does kind of when it

460
00:23:32,040 --> 00:23:36,600
Speaker 1: happens twice like that. And uh so, yeah, this song,

461
00:23:36,720 --> 00:23:38,680
Speaker 1: I feel like it was just as important to somewhere

462
00:23:38,680 --> 00:23:41,159
Speaker 1: with you been in a different way because then we

463
00:23:41,280 --> 00:23:44,600
Speaker 1: had done it twice. Um with Kenny in that lane,

464
00:23:44,960 --> 00:23:49,400
Speaker 1: you know, something he hadn't done before it and Josh

465
00:23:49,440 --> 00:23:53,280
Speaker 1: Osborne another another power hit it. Absolutely, So how do

466
00:23:53,400 --> 00:23:56,960
Speaker 1: Sam at that point okay Sam as American knows and

467
00:23:57,080 --> 00:23:59,320
Speaker 1: wasn't Sam at that point? How does Sam get in

468
00:23:59,359 --> 00:24:02,919
Speaker 1: a room with you? And interesting that the connection Actually

469
00:24:03,000 --> 00:24:05,720
Speaker 1: he was managed at that time by Clint Higham, who

470
00:24:06,320 --> 00:24:08,320
Speaker 1: is the guy who manages Kenny, who managed me in

471
00:24:08,359 --> 00:24:11,520
Speaker 1: the nineties, So he just had he had met Sam

472
00:24:11,640 --> 00:24:14,080
Speaker 1: and and was working with him and said, I want

473
00:24:14,119 --> 00:24:17,199
Speaker 1: you to to write with this kid, and and uh,

474
00:24:17,480 --> 00:24:18,960
Speaker 1: you know, we just hit it off and we wrote

475
00:24:19,040 --> 00:24:23,480
Speaker 1: a long time, and we wrote a lot of songs before. Ultimately,

476
00:24:23,880 --> 00:24:26,840
Speaker 1: what sort of turned for Sam was when we wrote

477
00:24:26,920 --> 00:24:29,639
Speaker 1: the song take Your tom which at this point now

478
00:24:29,840 --> 00:24:32,760
Speaker 1: is five years old. Let's get there, ye let let's

479
00:24:32,760 --> 00:24:34,520
Speaker 1: get there because we're gonna get all Listen, this is

480
00:24:34,600 --> 00:24:38,880
Speaker 1: MCINALI drive here today. We're driving down at Kenny. I'll

481
00:24:38,880 --> 00:24:41,720
Speaker 1: give you one more Kenny one here talking about this

482
00:24:41,800 --> 00:24:45,399
Speaker 1: one so American Kids. I wrote with Luke Layard and

483
00:24:45,520 --> 00:24:49,199
Speaker 1: Rodney Clawson and it was the first song the three

484
00:24:49,200 --> 00:24:51,399
Speaker 1: of us had ever written together to the two of

485
00:24:51,440 --> 00:24:54,439
Speaker 1: the biggest writers and you know the history of country

486
00:24:54,520 --> 00:24:58,320
Speaker 1: music actually, and um, it's funny about this song is

487
00:24:58,520 --> 00:25:02,200
Speaker 1: Josh and I Josh Osborne and I flew to St.

488
00:25:02,280 --> 00:25:06,680
Speaker 1: John too write with Kenny with him coming back on

489
00:25:06,760 --> 00:25:09,920
Speaker 1: the plane on that trip we wrote wild Child coming

490
00:25:10,040 --> 00:25:14,200
Speaker 1: back right well the Himmgress, yeah, exactly. On the way

491
00:25:14,280 --> 00:25:16,399
Speaker 1: back on the plane, Kenny said this was for the

492
00:25:16,840 --> 00:25:21,440
Speaker 1: big revival record. He said, I have everything, but the

493
00:25:21,520 --> 00:25:24,040
Speaker 1: first single. I just don't have it. And he's looking

494
00:25:24,119 --> 00:25:27,280
Speaker 1: through emails while he's on his plane. I'm sitting next

495
00:25:27,320 --> 00:25:29,439
Speaker 1: to him, and he said, here's an email you sent

496
00:25:29,480 --> 00:25:32,199
Speaker 1: me three months ago. I never listened to it. At

497
00:25:32,280 --> 00:25:35,040
Speaker 1: that time, a Little Big Town had just started to

498
00:25:35,080 --> 00:25:37,320
Speaker 1: record this song that had laid down the initial tracks.

499
00:25:38,320 --> 00:25:40,240
Speaker 1: I didn't say that the moment because I see his

500
00:25:40,359 --> 00:25:43,760
Speaker 1: he's like listening on his headphones literally next to me,

501
00:25:44,359 --> 00:25:46,479
Speaker 1: and he looks at me before I mean, thirty seconds

502
00:25:46,520 --> 00:25:48,520
Speaker 1: in he was like, this is the song, this is

503
00:25:48,560 --> 00:25:52,080
Speaker 1: the one, and I didn't It was awful. It was

504
00:25:52,200 --> 00:25:54,919
Speaker 1: that's the worst of that sort of thing that's happened.

505
00:25:55,400 --> 00:26:00,000
Speaker 1: Because I didn't say in that moment because I didn't

506
00:26:00,040 --> 00:26:02,159
Speaker 1: know what to do. I didn't say, well, it's on

507
00:26:02,280 --> 00:26:05,760
Speaker 1: hold and let me check with them. I just sat there, like,

508
00:26:06,720 --> 00:26:08,640
Speaker 1: what did you say? Like, what what did you say?

509
00:26:08,720 --> 00:26:10,520
Speaker 1: In that moment? I didn't say anything. I was like, awesome,

510
00:26:11,880 --> 00:26:13,480
Speaker 1: glad you like and I wish you had opened it

511
00:26:13,520 --> 00:26:16,240
Speaker 1: when I sent it to you. Um. But then we

512
00:26:16,320 --> 00:26:18,760
Speaker 1: got back and I called Clint and I said, oh

513
00:26:18,840 --> 00:26:21,720
Speaker 1: my god, like Kenny said he loves this song and

514
00:26:22,080 --> 00:26:25,960
Speaker 1: you know, and uh, I called Little Big Towns manager

515
00:26:26,080 --> 00:26:28,960
Speaker 1: is also on our good friends and it was not

516
00:26:29,040 --> 00:26:33,600
Speaker 1: correct at first it was and it was not a

517
00:26:33,680 --> 00:26:37,159
Speaker 1: great conversation. It was he said, well, you know, this

518
00:26:37,320 --> 00:26:41,240
Speaker 1: isn't it's not professional for YouTube. They have the song,

519
00:26:41,680 --> 00:26:44,000
Speaker 1: they should get to try it, and I said, no, no,

520
00:26:44,160 --> 00:26:47,080
Speaker 1: I know, I don't know what to do. So uh,

521
00:26:47,720 --> 00:26:50,359
Speaker 1: Basically what happened was that eventually Clint did talk to

522
00:26:50,560 --> 00:26:54,000
Speaker 1: Kenny about it, and Kenny said, here's the thing. I

523
00:26:55,200 --> 00:26:57,720
Speaker 1: this is my first single from this record. At that point,

524
00:26:57,800 --> 00:27:01,560
Speaker 1: he hadn't he had taken two years off. Uh, he

525
00:27:01,600 --> 00:27:02,960
Speaker 1: had put out like a beach record. You know, it

526
00:27:03,000 --> 00:27:04,320
Speaker 1: does that everyone in a while, so this was a

527
00:27:04,400 --> 00:27:06,119
Speaker 1: big thing for him. He said, this is gonna be

528
00:27:06,160 --> 00:27:09,000
Speaker 1: my first single. Let's find if a little big town

529
00:27:09,080 --> 00:27:11,600
Speaker 1: is that invested in it, if they feel like it's

530
00:27:11,720 --> 00:27:14,280
Speaker 1: that sort of record for them, then we'll back off.

531
00:27:14,359 --> 00:27:16,480
Speaker 1: But let them know that's where I'm at. This is

532
00:27:16,520 --> 00:27:19,560
Speaker 1: not a record cut. And luckily they were not. They

533
00:27:19,600 --> 00:27:22,280
Speaker 1: weren't far enough along at that point, and they said,

534
00:27:22,359 --> 00:27:24,480
Speaker 1: you know, if Kenny is gonna say that's his first

535
00:27:24,480 --> 00:27:27,520
Speaker 1: single from his record, then we can't hold you back

536
00:27:27,520 --> 00:27:29,760
Speaker 1: because we don't know where we're being gonna be. So

537
00:27:29,960 --> 00:27:32,920
Speaker 1: that's what happened. So is it ever Let's say, okay,

538
00:27:32,960 --> 00:27:34,600
Speaker 1: so let's say that call happens, and I'm just gonna

539
00:27:34,920 --> 00:27:37,000
Speaker 1: hypothetically throw this out there. So Kenny calls a little

540
00:27:37,000 --> 00:27:38,119
Speaker 1: big town. He goes, hey, I'd like to have this.

541
00:27:38,600 --> 00:27:40,280
Speaker 1: So does he owe a little big town one later

542
00:27:40,320 --> 00:27:45,000
Speaker 1: down the road if I mean, I think that's more personal. Yeah, like,

543
00:27:45,640 --> 00:27:47,400
Speaker 1: And the truth is what happened with that whole run,

544
00:27:47,440 --> 00:27:50,320
Speaker 1: which is really interesting, is that on the whole cycle

545
00:27:50,640 --> 00:27:53,159
Speaker 1: of you know you have a big hit, that was

546
00:27:53,200 --> 00:27:55,440
Speaker 1: a big that was a big song for Kenny Um.

547
00:27:56,080 --> 00:27:58,240
Speaker 1: At the same on the same cycle they had Girl Crush,

548
00:27:58,800 --> 00:28:03,600
Speaker 1: and so I think they got over it pretty fast. Yeah,

549
00:28:03,800 --> 00:28:07,879
Speaker 1: that probably we were nominated at every awards show against

550
00:28:07,960 --> 00:28:11,000
Speaker 1: Girl Crush with American Kids. I mean, of course Girl

551
00:28:11,040 --> 00:28:14,000
Speaker 1: Crush was you know, a steamroller and and I could

552
00:28:14,000 --> 00:28:16,879
Speaker 1: say that it's the best song of the century. I

553
00:28:16,920 --> 00:28:21,280
Speaker 1: mean I worshiped that song, you know. Um. So it's

554
00:28:21,320 --> 00:28:23,680
Speaker 1: certainly in the end, not that you couldn't they couldn't

555
00:28:23,720 --> 00:28:26,280
Speaker 1: have had both, but you know, it's just funny the

556
00:28:26,400 --> 00:28:29,560
Speaker 1: way that that worked out. You mentioned Sam, and which

557
00:28:29,600 --> 00:28:34,280
Speaker 1: song did you mentioned from Sam? Take Your Time, No Steel, Freedom,

558
00:28:35,240 --> 00:28:41,360
Speaker 1: I Don't Change. This wasn't his first single, so we

559
00:28:41,480 --> 00:28:45,240
Speaker 1: actually wrote the first single after that song. But that

560
00:28:45,520 --> 00:28:51,480
Speaker 1: song was when something happened where it was like, this

561
00:28:51,720 --> 00:28:55,240
Speaker 1: is a sound. It took five years of him being

562
00:28:55,520 --> 00:28:57,480
Speaker 1: in town writing. He had a lot of hits on

563
00:28:57,560 --> 00:29:01,440
Speaker 1: other people, but it was just that that phrasing in

564
00:29:01,520 --> 00:29:05,560
Speaker 1: the beginning, the talking it. For some reason he could

565
00:29:05,600 --> 00:29:07,920
Speaker 1: do it, and we felt it in the room, Josh

566
00:29:07,960 --> 00:29:09,760
Speaker 1: and I. When Sam was doing it, it was like,

567
00:29:09,920 --> 00:29:12,880
Speaker 1: this doesn't feel goofy, but if joshua I tried to

568
00:29:12,920 --> 00:29:15,800
Speaker 1: sing it, it would be hilarious. And Josh does sing

569
00:29:15,880 --> 00:29:17,880
Speaker 1: it in rounds and I think it's a mistake, but

570
00:29:20,520 --> 00:29:23,080
Speaker 1: I always joke when he starts it always go I

571
00:29:23,120 --> 00:29:25,720
Speaker 1: don't know if you're looking at me. It makes me laugh.

572
00:29:26,000 --> 00:29:28,680
Speaker 1: Sam says it and it sounds perfect, and it's it's

573
00:29:28,760 --> 00:29:32,560
Speaker 1: that sort of lane when someone finds that lane that

574
00:29:33,040 --> 00:29:36,000
Speaker 1: nobody else can sing these songs. You know, no people

575
00:29:36,080 --> 00:29:38,160
Speaker 1: could say that could cut take your time, but it

576
00:29:38,240 --> 00:29:41,680
Speaker 1: wouldn't be the same. And that was when the spark

577
00:29:41,720 --> 00:29:45,000
Speaker 1: happened of how a record should be made on Sam, like,

578
00:29:45,120 --> 00:29:48,200
Speaker 1: what's the sound whatever that is that Sam hunt And

579
00:29:48,280 --> 00:29:50,680
Speaker 1: so even though we knew you couldn't lead with that,

580
00:29:50,880 --> 00:29:55,040
Speaker 1: because it was the little shocking uh, we felt like

581
00:29:55,160 --> 00:29:57,200
Speaker 1: that was the pinnacle of what and it and it

582
00:29:57,320 --> 00:30:00,440
Speaker 1: proved to be true. Usually these things don't that out

583
00:30:00,520 --> 00:30:02,680
Speaker 1: like that with him, it did. And so you lead

584
00:30:02,760 --> 00:30:06,560
Speaker 1: with if I'm remembering my Sam chronic because because we

585
00:30:06,640 --> 00:30:08,320
Speaker 1: would have Samon earlier, I thought it thought he was

586
00:30:08,400 --> 00:30:12,880
Speaker 1: so like crazy weirdly awesome. And it was like, hey, guy,

587
00:30:12,920 --> 00:30:14,720
Speaker 1: I don't even really know you. And you played the

588
00:30:14,840 --> 00:30:17,760
Speaker 1: hard you know, he played David Busters, and we were like, dude,

589
00:30:18,040 --> 00:30:20,400
Speaker 1: come on the show because you just played David Busters

590
00:30:20,800 --> 00:30:24,240
Speaker 1: and that's really unique and I need to hear it.

591
00:30:24,320 --> 00:30:26,240
Speaker 1: And he would come in and play anybody like And

592
00:30:26,360 --> 00:30:28,360
Speaker 1: I remember being shocked when he played it live because

593
00:30:28,360 --> 00:30:30,960
Speaker 1: I was like, like, I thought he was talking to

594
00:30:31,080 --> 00:30:35,680
Speaker 1: me when the first almost are you talking to me?

595
00:30:35,720 --> 00:30:38,600
Speaker 1: Are you? But it was so different where you're like, huh,

596
00:30:38,720 --> 00:30:41,440
Speaker 1: it's hard to cut not just music, anything creative. It

597
00:30:41,600 --> 00:30:43,360
Speaker 1: is hard to have something that cuts through a period

598
00:30:43,840 --> 00:30:45,960
Speaker 1: in a world of a million lights, it's hard for

599
00:30:46,080 --> 00:30:50,400
Speaker 1: your one little to shine. And that was a light

600
00:30:50,480 --> 00:30:52,680
Speaker 1: that just shined. Well that was this, I mean, that

601
00:30:52,800 --> 00:30:56,200
Speaker 1: is what Take your Time did and and we we're

602
00:30:56,360 --> 00:30:59,840
Speaker 1: very lucky that we also then went on to write

603
00:31:00,160 --> 00:31:03,600
Speaker 1: The Night on He Had, which came out before you

604
00:31:03,640 --> 00:31:05,320
Speaker 1: wrote it in the opposite order. But Leave the Night

605
00:31:05,400 --> 00:31:08,240
Speaker 1: I came later. Yeah, I was the first single, but

606
00:31:08,320 --> 00:31:12,840
Speaker 1: you wrote it later. That's right. Wow, that's interesting. And

607
00:31:12,920 --> 00:31:18,240
Speaker 1: this is a more digestible first almost it could almost

608
00:31:18,320 --> 00:31:20,320
Speaker 1: blend with some other things someone else could have cut. It.

609
00:31:21,480 --> 00:31:23,840
Speaker 1: Just got him enough attention so that then he could

610
00:31:23,880 --> 00:31:25,840
Speaker 1: come and take your time. So leave the Night on,

611
00:31:26,000 --> 00:31:29,040
Speaker 1: take your time? Um. Break Up in a Small Town? Yeah,

612
00:31:31,640 --> 00:31:35,840
Speaker 1: where this fall in the nick? It was written after

613
00:31:36,120 --> 00:31:39,720
Speaker 1: those two songs. Um. It was probably one of the

614
00:31:39,800 --> 00:31:42,880
Speaker 1: last things written for Monta Vallo and uh, he had

615
00:31:42,920 --> 00:31:46,440
Speaker 1: the whole chorus written. He sat down with Zach Crowl

616
00:31:46,520 --> 00:31:49,800
Speaker 1: and I and he's sang that the whole chorus, and

617
00:31:50,000 --> 00:31:54,240
Speaker 1: I thought it sounded so country, the whole hook of

618
00:31:54,320 --> 00:31:57,240
Speaker 1: break Up in a Small Town. Um. I had no

619
00:31:57,360 --> 00:31:59,280
Speaker 1: idea that what we would end up writing was the

620
00:32:00,280 --> 00:32:03,240
Speaker 1: most left thing on the record around that but just

621
00:32:03,320 --> 00:32:06,760
Speaker 1: on acoustic guitar or that you get there. I can't

622
00:32:06,760 --> 00:32:08,480
Speaker 1: even attempt to sing right now, but but you know

623
00:32:08,800 --> 00:32:11,240
Speaker 1: that melody was just a great country and then you

624
00:32:11,320 --> 00:32:13,280
Speaker 1: gotta move or move on. I just thought this, this

625
00:32:13,440 --> 00:32:15,840
Speaker 1: is so, this is such a great story. I've never

626
00:32:15,960 --> 00:32:18,400
Speaker 1: heard it, and it's it's funny how you said, how

627
00:32:18,440 --> 00:32:20,240
Speaker 1: one artist can take it and do something. For example,

628
00:32:20,280 --> 00:32:22,360
Speaker 1: and Sam did I met a girl and on the mixtape,

629
00:32:22,440 --> 00:32:25,120
Speaker 1: so that's where I knew I met a girl from girl.

630
00:32:25,440 --> 00:32:29,040
Speaker 1: She made me smile, she made me wait. And then well, y'all,

631
00:32:29,080 --> 00:32:31,920
Speaker 1: Michael Morgan does it, I met a girl. You can't

632
00:32:31,960 --> 00:32:35,120
Speaker 1: sound any country, right, I mean that's you know what

633
00:32:35,240 --> 00:32:37,360
Speaker 1: you get this and that I've heard you say things

634
00:32:37,440 --> 00:32:39,440
Speaker 1: like this that at the end of the day, this

635
00:32:39,600 --> 00:32:43,320
Speaker 1: song would it. It said something a little bit different,

636
00:32:44,160 --> 00:32:47,560
Speaker 1: but it said something somebody's felt. And I do think

637
00:32:47,600 --> 00:32:51,560
Speaker 1: that that that's the bottom line of great songs. You know,

638
00:32:52,160 --> 00:32:54,040
Speaker 1: Sam did it the way he would do it, and uh,

639
00:32:54,800 --> 00:32:57,040
Speaker 1: this one here though, it's this one here is just

640
00:32:57,160 --> 00:33:01,960
Speaker 1: a game changer. It's as a game change. Even I

641
00:33:02,120 --> 00:33:06,560
Speaker 1: cannot believe what is happening with the song. I was

642
00:33:06,600 --> 00:33:08,360
Speaker 1: talking on the radio about it and I was like, hey, listen,

643
00:33:09,200 --> 00:33:12,600
Speaker 1: you know, and just full disclosure here, Sam and are

644
00:33:12,720 --> 00:33:16,280
Speaker 1: managed by the same people, like we have the same

645
00:33:16,360 --> 00:33:20,480
Speaker 1: umbrel and so and I was like, you know, I

646
00:33:20,760 --> 00:33:24,320
Speaker 1: don't think that for Sam, it's like the number one

647
00:33:24,360 --> 00:33:27,320
Speaker 1: priorty to cross over all the time. He definitely doesn't.

648
00:33:27,480 --> 00:33:28,960
Speaker 1: He definitely does not set out to do that. But

649
00:33:29,080 --> 00:33:32,800
Speaker 1: what I said was, you almost can't control this. It's

650
00:33:32,840 --> 00:33:35,160
Speaker 1: gonna get so big that you can find it. Or

651
00:33:35,200 --> 00:33:36,760
Speaker 1: you can say, you know, I don't care, or I'm

652
00:33:36,840 --> 00:33:40,480
Speaker 1: in different or I this is the song that Okay,

653
00:33:40,520 --> 00:33:44,360
Speaker 1: good luck trying to hold it back. I have to

654
00:33:44,440 --> 00:33:50,160
Speaker 1: say this song had many forms. Sam Is those verses

655
00:33:50,760 --> 00:33:54,120
Speaker 1: that seems so simple got from the South Side. There

656
00:33:54,160 --> 00:33:58,280
Speaker 1: are probably forty versions of it. He knew the way,

657
00:33:58,560 --> 00:34:01,480
Speaker 1: the playfulness that had to be there to set up

658
00:34:01,960 --> 00:34:04,080
Speaker 1: a hook like that, you know what I mean? He

659
00:34:04,240 --> 00:34:07,600
Speaker 1: just knew, and we we worked on it. By far,

660
00:34:07,800 --> 00:34:09,799
Speaker 1: this is the most we've ever worked on a song,

661
00:34:09,920 --> 00:34:21,400
Speaker 1: and it sounds the simplest myth. I mean, you just

662
00:34:21,480 --> 00:34:22,640
Speaker 1: you're just not gonna be able to hold down. Not

663
00:34:22,719 --> 00:34:24,560
Speaker 1: that you'd want to, but if you wanted to know,

664
00:34:24,680 --> 00:34:26,480
Speaker 1: I'm with you. I mean, listen, I hear that one

665
00:34:26,520 --> 00:34:28,560
Speaker 1: as a fan. It comes on and I'm just the

666
00:34:29,160 --> 00:34:33,280
Speaker 1: process of writing that song was was so sort of tangled.

667
00:34:33,680 --> 00:34:37,279
Speaker 1: You would not believe how simple. You can't imagine that

668
00:34:37,360 --> 00:34:39,399
Speaker 1: a simple song that came out of it. I hear

669
00:34:39,480 --> 00:34:42,719
Speaker 1: it and I don't really remember the process. I hear

670
00:34:42,760 --> 00:34:44,759
Speaker 1: it as a fan. I'm like that happens sometimes where

671
00:34:44,760 --> 00:34:46,239
Speaker 1: you hear and you're like, I just love this song.

672
00:34:46,680 --> 00:34:49,840
Speaker 1: I mean, I'm so glad that I'm a writer on it,

673
00:34:49,920 --> 00:34:52,360
Speaker 1: But I really don't even remember that part of it

674
00:34:52,400 --> 00:34:55,000
Speaker 1: because there's so many versions of it. The weird thing too,

675
00:34:55,160 --> 00:34:58,399
Speaker 1: And it's tough because again, I worked. I was born

676
00:34:58,400 --> 00:35:00,959
Speaker 1: and raised in Arkansas, so I grew up on even

677
00:35:01,080 --> 00:35:03,239
Speaker 1: older country than I was supposed to listen to because

678
00:35:03,239 --> 00:35:04,719
Speaker 1: my grandma, my grandma raised me to adopt me for

679
00:35:04,760 --> 00:35:06,160
Speaker 1: a while when I was a kid, and so for me,

680
00:35:06,280 --> 00:35:09,239
Speaker 1: it was the I got another really old stuff before

681
00:35:09,239 --> 00:35:11,000
Speaker 1: I got to know the McGraw and the Guards stuff,

682
00:35:11,040 --> 00:35:14,359
Speaker 1: which but then you know, I was an alternative nut

683
00:35:14,440 --> 00:35:15,840
Speaker 1: and the night I was a grunge kin in the

684
00:35:15,960 --> 00:35:19,000
Speaker 1: nineties and I loved hip hop, and so for me,

685
00:35:19,120 --> 00:35:20,879
Speaker 1: I've been able to work all these formats just because

686
00:35:20,880 --> 00:35:22,799
Speaker 1: I love music, just straight up. I just love music.

687
00:35:22,920 --> 00:35:25,040
Speaker 1: And when I was at pop and I was doing

688
00:35:25,040 --> 00:35:27,680
Speaker 1: I spent ten years like building a syndication company at pop,

689
00:35:28,280 --> 00:35:32,560
Speaker 1: and the only real artist that would crossover were for

690
00:35:32,680 --> 00:35:38,040
Speaker 1: the most part, female ish driven Taylor's Lady A. Because

691
00:35:38,120 --> 00:35:39,880
Speaker 1: Hillary was the lead, you wouldn't have a lot of

692
00:35:39,960 --> 00:35:43,720
Speaker 1: male crossover vocally, I I understand that, and even Rascal

693
00:35:43,800 --> 00:35:47,920
Speaker 1: Flats they don't sound super masculine because Gary's voice is

694
00:35:47,960 --> 00:35:50,759
Speaker 1: a high voice, and so this is gonna be one

695
00:35:50,800 --> 00:35:52,920
Speaker 1: of those songs. It's an interesting thing. You just nailed it.

696
00:35:53,000 --> 00:35:57,440
Speaker 1: I mean, he he sounds very masculine. He sounds I

697
00:35:57,520 --> 00:36:00,080
Speaker 1: don't know if you just cannot put your finger on

698
00:36:00,160 --> 00:36:04,279
Speaker 1: those things. Like he just has something that appeals and

699
00:36:04,440 --> 00:36:06,200
Speaker 1: you know, like when he talks and people say, oh

700
00:36:06,640 --> 00:36:09,520
Speaker 1: you like, can you really sing? The tone of his

701
00:36:09,680 --> 00:36:12,719
Speaker 1: voice on a microphone? Is you know, there's luck to

702
00:36:12,840 --> 00:36:15,839
Speaker 1: John Mayer's like the people that Adele has that it's

703
00:36:15,920 --> 00:36:19,840
Speaker 1: it's yes, they're great singers, but there's something in the

704
00:36:20,000 --> 00:36:23,600
Speaker 1: tone of their voice that is so distinct and so warm.

705
00:36:23,880 --> 00:36:25,840
Speaker 1: You just said, I mean that that that word. It

706
00:36:25,960 --> 00:36:28,160
Speaker 1: feels like they're talking to you. It's warm. And that's

707
00:36:28,160 --> 00:36:30,840
Speaker 1: why it's gonna be able to cross over is because

708
00:36:32,640 --> 00:36:37,120
Speaker 1: popped a very female format and they don't. They're not

709
00:36:37,160 --> 00:36:39,240
Speaker 1: going to take a lot of those super masculine countries

710
00:36:39,239 --> 00:36:41,720
Speaker 1: that is not And I actually think Honestly, we always

711
00:36:41,800 --> 00:36:44,840
Speaker 1: joke about the way Sam looks, but the truth is

712
00:36:45,360 --> 00:36:47,960
Speaker 1: that was a hurdle. It will be. It's a help

713
00:36:48,080 --> 00:36:51,800
Speaker 1: now because people find him legit. But in the beginning,

714
00:36:51,880 --> 00:36:55,919
Speaker 1: the way he looked, he had a moment of people

715
00:36:56,040 --> 00:36:59,000
Speaker 1: taking him seriously. Well, because if you're really good looking,

716
00:36:59,040 --> 00:37:01,160
Speaker 1: you expect things are given you and your a polished product.

717
00:37:01,880 --> 00:37:05,440
Speaker 1: That's why. And that's really and that's not an unfair

718
00:37:05,680 --> 00:37:08,160
Speaker 1: observation because most of the time when we see that

719
00:37:08,280 --> 00:37:10,480
Speaker 1: inside of music, I do the same thing. Someone's beautiful,

720
00:37:10,520 --> 00:37:13,880
Speaker 1: we go, okay, they're beautiful, but really work And it

721
00:37:13,960 --> 00:37:16,680
Speaker 1: takes a minute to let so kin to say that's

722
00:37:16,719 --> 00:37:18,719
Speaker 1: just part of him. I mean, that's just the way

723
00:37:18,760 --> 00:37:22,279
Speaker 1: he looks, but it's it is no indication of how

724
00:37:22,360 --> 00:37:25,400
Speaker 1: hard he's worked or or that he was meant to

725
00:37:25,480 --> 00:37:28,759
Speaker 1: do this. You know. Let's move over to Casey Musgraves,

726
00:37:29,120 --> 00:37:30,640
Speaker 1: who I've said a bunch of times like if I

727
00:37:30,680 --> 00:37:33,720
Speaker 1: had to pick an artist like my favorite artist Casey

728
00:37:34,320 --> 00:37:36,839
Speaker 1: and so I mean you worked with Casey a lot. Yeah,

729
00:37:37,400 --> 00:37:40,359
Speaker 1: she was a big part of me, not just being

730
00:37:40,520 --> 00:37:42,560
Speaker 1: seen as enough that there's anything wrong with this, but

731
00:37:42,640 --> 00:37:45,600
Speaker 1: I had ambitions to do more than just song right. Um.

732
00:37:46,000 --> 00:37:48,000
Speaker 1: I wanted to be more involved in the development of

733
00:37:48,080 --> 00:37:51,880
Speaker 1: the production of uh just. I wanted to be a

734
00:37:52,040 --> 00:37:55,600
Speaker 1: part of an artist's career because my artist's career didn't

735
00:37:55,600 --> 00:37:58,480
Speaker 1: work out, but I still had I don't know something

736
00:37:58,520 --> 00:38:01,040
Speaker 1: about developing that color or you know, it's like a

737
00:38:01,200 --> 00:38:03,239
Speaker 1: real lane. I would look back at the people I loved,

738
00:38:03,280 --> 00:38:07,080
Speaker 1: like Dolly Parton, like Willie Nelson, and they were so distinct,

739
00:38:07,520 --> 00:38:10,200
Speaker 1: you know, and the people around them. Usually it was

740
00:38:10,280 --> 00:38:13,160
Speaker 1: a small group that sort of helped to develop. And

741
00:38:13,280 --> 00:38:16,320
Speaker 1: Casey was a great vehicle in that way because she

742
00:38:16,680 --> 00:38:19,799
Speaker 1: trusted me and Luke laired and we wrote a lot

743
00:38:19,880 --> 00:38:21,920
Speaker 1: of songs together and started just doing demos in Luke

744
00:38:21,960 --> 00:38:26,080
Speaker 1: studio and that's how same trailer started to be put together.

745
00:38:26,200 --> 00:38:30,880
Speaker 1: Casey knew herself well enough that she didn't go looking

746
00:38:31,000 --> 00:38:32,880
Speaker 1: for a big, hot producer at the time because Luke

747
00:38:32,920 --> 00:38:35,440
Speaker 1: and I had not done anything. So she just looks like,

748
00:38:35,560 --> 00:38:37,040
Speaker 1: this is the way it's supposed to sound. You know.

749
00:38:40,880 --> 00:38:43,520
Speaker 1: This record was so good. I mean, it's still one

750
00:38:43,520 --> 00:38:50,360
Speaker 1: of my favorite records period nine years. It's just a

751
00:38:50,520 --> 00:38:52,759
Speaker 1: it's a ride. It's why we make records, you know.

752
00:38:54,640 --> 00:38:56,480
Speaker 1: So with this song, and I can remember playing follow

753
00:38:56,520 --> 00:38:59,080
Speaker 1: your Earrow every hour just because I remember. I remember

754
00:38:59,080 --> 00:39:01,400
Speaker 1: when you played it, and I was some I was like,

755
00:39:01,480 --> 00:39:05,040
Speaker 1: you know what, everybody just screw off. And I came

756
00:39:05,040 --> 00:39:06,719
Speaker 1: into this running a little hot, and I know I

757
00:39:06,840 --> 00:39:08,640
Speaker 1: was a little bull in the china shop, and but

758
00:39:08,880 --> 00:39:11,920
Speaker 1: still I was just like, if we're really gonna get mad,

759
00:39:12,440 --> 00:39:14,520
Speaker 1: let's get mad. It's until worth getting mad about. Because

760
00:39:14,520 --> 00:39:16,600
Speaker 1: there were people that were upset of the song so

761
00:39:16,880 --> 00:39:19,759
Speaker 1: and it's so funny. We that was so unintentional. I mean,

762
00:39:19,840 --> 00:39:22,840
Speaker 1: given her personality, a lot of people think that was

763
00:39:22,960 --> 00:39:25,680
Speaker 1: just so calculated, like I'm just gonna, you know, flip

764
00:39:25,760 --> 00:39:29,040
Speaker 1: off the industry everybody. It was just it was so

765
00:39:29,400 --> 00:39:32,560
Speaker 1: not without thought. We just never knew that was gonna

766
00:39:32,680 --> 00:39:36,799
Speaker 1: do that. You know. It was so weird that people

767
00:39:36,840 --> 00:39:40,000
Speaker 1: would be mad. I would and again I become a

768
00:39:40,040 --> 00:39:41,719
Speaker 1: real dick about it because I was like, how are

769
00:39:41,760 --> 00:39:43,360
Speaker 1: how are you gonna be mad about something like that

770
00:39:46,160 --> 00:39:50,640
Speaker 1: went to number of which is it still pisses me off, dude.

771
00:39:50,800 --> 00:39:53,399
Speaker 1: But you know, we also saw such a great there

772
00:39:53,520 --> 00:39:56,040
Speaker 1: is a what a silver lining in that song that

773
00:39:56,600 --> 00:39:58,560
Speaker 1: that the c m A named the Song of the

774
00:39:58,680 --> 00:40:02,000
Speaker 1: year and shocked everybody in the room, including us. I

775
00:40:02,080 --> 00:40:04,040
Speaker 1: mean we were so shocked by that. That was like

776
00:40:04,120 --> 00:40:07,719
Speaker 1: one of the greatest moments to be truly truly like

777
00:40:08,440 --> 00:40:10,400
Speaker 1: punched in the gut in a great way where you

778
00:40:10,520 --> 00:40:12,279
Speaker 1: just had no idea. I mean I was looking at

779
00:40:12,480 --> 00:40:15,040
Speaker 1: the whole row of songwriters, like nobody was worried about

780
00:40:15,040 --> 00:40:21,120
Speaker 1: follow your arrow? What was it up against? Um? We automatic?

781
00:40:22,000 --> 00:40:25,200
Speaker 1: Because that was the year. That's what I remember thinking

782
00:40:25,239 --> 00:40:29,759
Speaker 1: the most, that like, yeah, um gosh, you know what,

783
00:40:29,840 --> 00:40:32,040
Speaker 1: I get confused of what was where I don't remember

784
00:40:32,280 --> 00:40:34,080
Speaker 1: they all started to blend. You're right about that. They

785
00:40:34,120 --> 00:40:36,400
Speaker 1: all started fine, But yeah, that that was a that

786
00:40:36,719 --> 00:40:39,600
Speaker 1: was a jam. I'm gonna play step off like this

787
00:40:40,400 --> 00:40:43,479
Speaker 1: step off and I think this should have been a single.

788
00:40:43,560 --> 00:40:46,960
Speaker 1: I think I think it might have. At the time

789
00:40:47,440 --> 00:40:50,000
Speaker 1: that that change right there is so kind of bizarre,

790
00:40:50,160 --> 00:40:53,719
Speaker 1: sort of circusy, and I kind of was under the end.

791
00:40:53,800 --> 00:40:55,480
Speaker 1: I thought that I don't know that that would work.

792
00:40:55,560 --> 00:40:57,840
Speaker 1: But looking back, I think if people had seen her

793
00:40:57,880 --> 00:41:00,719
Speaker 1: as a bit more playful on that record, that maybe

794
00:41:00,800 --> 00:41:05,799
Speaker 1: she would have had more commercial success. I don't jam,

795
00:41:06,200 --> 00:41:08,200
Speaker 1: I love it. I want to run through some songs

796
00:41:08,520 --> 00:41:12,319
Speaker 1: and Uh, let's just talk. We'll do like a quick

797
00:41:12,920 --> 00:41:16,440
Speaker 1: fire and answer here. I'll play this one um Shane

798
00:41:16,600 --> 00:41:20,719
Speaker 1: about Urban. By the way, I have a wall here

799
00:41:21,000 --> 00:41:23,440
Speaker 1: and so on my wall when people come in. These

800
00:41:23,480 --> 00:41:25,840
Speaker 1: are like the artists that I've like directly been involved,

801
00:41:26,080 --> 00:41:28,919
Speaker 1: Like these are my people, and Urban's one of them.

802
00:41:29,600 --> 00:41:32,239
Speaker 1: Maren obviously girl Crushed because I was a big controversy

803
00:41:32,440 --> 00:41:35,040
Speaker 1: for me. I was on that train with you, by

804
00:41:35,080 --> 00:41:37,360
Speaker 1: the way. I know we're not really talking about that now.

805
00:41:37,400 --> 00:41:40,800
Speaker 1: We talked about everyone girl Crush was. I was literally

806
00:41:41,320 --> 00:41:43,560
Speaker 1: not that, not that this should even make a difference.

807
00:41:43,560 --> 00:41:46,360
Speaker 1: I was doing whatever I could. I was posting pictures

808
00:41:46,440 --> 00:41:49,239
Speaker 1: of my kids and those girl Crush hats, and you

809
00:41:49,320 --> 00:41:54,600
Speaker 1: know literally that I was that song. I called all

810
00:41:54,680 --> 00:41:57,919
Speaker 1: three songwriters the day I heard it. I had never

811
00:41:58,200 --> 00:42:02,719
Speaker 1: been so blown away by an idea, a cut, the

812
00:42:02,760 --> 00:42:06,520
Speaker 1: sound of a vocal. That song is a perfect record.

813
00:42:07,719 --> 00:42:09,440
Speaker 1: They were doing an album release party and I heard

814
00:42:09,440 --> 00:42:11,520
Speaker 1: the night before the album came out, and and um

815
00:42:12,800 --> 00:42:14,960
Speaker 1: day Drinking wasn't wasn't number one yet, but it was

816
00:42:14,960 --> 00:42:17,200
Speaker 1: about to is that it was that weak And I

817
00:42:17,280 --> 00:42:18,520
Speaker 1: heard this song and I'm like, I'm putting this on

818
00:42:18,560 --> 00:42:20,800
Speaker 1: the radio the next day, and I put and I

819
00:42:20,920 --> 00:42:23,480
Speaker 1: got in so much trouble, so much trouble, Shane that

820
00:42:25,000 --> 00:42:29,160
Speaker 1: program directors were complaining to my bosses of my stations

821
00:42:29,239 --> 00:42:32,400
Speaker 1: right because like, oh it's a lesbian song, okay, so

822
00:42:33,160 --> 00:42:34,759
Speaker 1: so whatever, you know, it's all great, it's all so

823
00:42:34,840 --> 00:42:37,480
Speaker 1: whatever song. I continue to play it, right, I continue

824
00:42:37,480 --> 00:42:41,040
Speaker 1: to play it. And what happens is my company then

825
00:42:41,080 --> 00:42:42,360
Speaker 1: it's like, okay, we have to see it. This is

826
00:42:42,440 --> 00:42:44,640
Speaker 1: trouble because they then they reached my company since research

827
00:42:44,680 --> 00:42:47,359
Speaker 1: on the show. You know, we're the big national show,

828
00:42:47,440 --> 00:42:49,360
Speaker 1: and so they want to make sure and do research

829
00:42:49,440 --> 00:42:51,360
Speaker 1: and see what people people are feeling. They have to

830
00:42:51,440 --> 00:42:53,960
Speaker 1: test me talking about the song without my knowledge to

831
00:42:54,000 --> 00:42:56,760
Speaker 1: see if people were getting upset about it, and they weren't.

832
00:42:57,920 --> 00:43:01,320
Speaker 1: And my companies like, okay, well people aren't doing what

833
00:43:01,600 --> 00:43:04,239
Speaker 1: every not every what A lot of program directors are

834
00:43:04,280 --> 00:43:06,239
Speaker 1: complaining about it's not real. And then I have a

835
00:43:06,480 --> 00:43:08,359
Speaker 1: and so I played it, played that played. It wasn't

836
00:43:08,360 --> 00:43:10,160
Speaker 1: a single yet still had a friend of the Washington

837
00:43:10,200 --> 00:43:14,279
Speaker 1: Post whatever whatever, it began, a controversy, whatever, whatever, next thing,

838
00:43:14,320 --> 00:43:17,239
Speaker 1: you know, love it, like I was so happy for them.

839
00:43:17,480 --> 00:43:19,480
Speaker 1: I was so I in my room. I don't keep

840
00:43:19,520 --> 00:43:21,680
Speaker 1: a lot of stuff because then it just gets into it.

841
00:43:22,440 --> 00:43:26,320
Speaker 1: But I have, you know, Liz and Hillary and Laurie

842
00:43:26,640 --> 00:43:28,800
Speaker 1: did their handwrote the lyrics to Girl Crushing, wrote a

843
00:43:28,880 --> 00:43:30,880
Speaker 1: note and have that frame. And that's so of all

844
00:43:30,920 --> 00:43:32,480
Speaker 1: the things that I have, like that one's really important

845
00:43:32,520 --> 00:43:35,160
Speaker 1: to me because again I'm just a fan of music

846
00:43:35,560 --> 00:43:37,439
Speaker 1: and I just put on stuff I like. I gotta

847
00:43:37,520 --> 00:43:39,719
Speaker 1: tell you something real funny about the domino effect of

848
00:43:39,800 --> 00:43:42,759
Speaker 1: what happened with Girl Crust that affected me. This is

849
00:43:42,840 --> 00:43:44,320
Speaker 1: so funny that we're sitting here talking about it. You

850
00:43:44,360 --> 00:43:47,080
Speaker 1: don't even know some of the vibrations that are put

851
00:43:47,160 --> 00:43:50,520
Speaker 1: out there. So when that record came out, I had

852
00:43:50,560 --> 00:43:52,920
Speaker 1: a couple of songs on that record. One of them

853
00:43:53,080 --> 00:43:56,879
Speaker 1: was um Quit breaking Up with Me was the first

854
00:43:56,960 --> 00:44:00,120
Speaker 1: song on the record. It was in contention to the

855
00:44:00,160 --> 00:44:06,080
Speaker 1: first single, really strange song wrote Natalie himby um and

856
00:44:06,280 --> 00:44:11,320
Speaker 1: so it was going to be the second single, and

857
00:44:11,400 --> 00:44:13,560
Speaker 1: then their plan was that Girl Crush would be third.

858
00:44:13,800 --> 00:44:15,959
Speaker 1: But Girl Crush started having this life and the record

859
00:44:16,040 --> 00:44:19,880
Speaker 1: came out and it started selling. So the reason this

860
00:44:20,160 --> 00:44:22,640
Speaker 1: all these different things happened is I was actually in

861
00:44:22,840 --> 00:44:26,840
Speaker 1: Texas with Casey. We were writing for pageant material, and

862
00:44:27,000 --> 00:44:30,200
Speaker 1: Jason is her manager and Little Big Towns manager, and

863
00:44:30,320 --> 00:44:32,640
Speaker 1: so Jason and Natalie and I are together in Texas

864
00:44:33,160 --> 00:44:36,440
Speaker 1: and Jason calls and says, I gotta tell you guys something.

865
00:44:36,880 --> 00:44:38,880
Speaker 1: We're gonna have to change the single to girl Crush

866
00:44:39,160 --> 00:44:43,319
Speaker 1: because radio has you know, taken off and so we're

867
00:44:43,360 --> 00:44:46,680
Speaker 1: not gonna go with quit breaking up with me. And

868
00:44:46,840 --> 00:44:52,800
Speaker 1: so at the same time that this was happening, Miranda

869
00:44:52,840 --> 00:44:55,200
Speaker 1: had recorded a song of Natalie and Eyes called Smoking

870
00:44:55,239 --> 00:44:58,520
Speaker 1: and Drinking and they were going to put it out

871
00:44:58,640 --> 00:45:01,840
Speaker 1: as her second single off the record, the record that

872
00:45:01,920 --> 00:45:08,120
Speaker 1: was out at the time, and so Jason not meaning to,

873
00:45:08,480 --> 00:45:10,439
Speaker 1: of course, but at the time, Girl Crush was gonna

874
00:45:10,440 --> 00:45:12,040
Speaker 1: be a struggle. It was gonna be hard. This was

875
00:45:12,080 --> 00:45:14,520
Speaker 1: not gonna be They knew they were in for a fight,

876
00:45:15,160 --> 00:45:17,920
Speaker 1: so they asked Miranda to not put out Smoking and

877
00:45:18,000 --> 00:45:22,680
Speaker 1: Drinking so that Little Big Town wouldn't be competing against themselves, right,

878
00:45:22,840 --> 00:45:25,000
Speaker 1: So we ended up getting the fourth single off that

879
00:45:25,080 --> 00:45:27,640
Speaker 1: record that did nothing. So we Natalie and I in

880
00:45:27,760 --> 00:45:31,080
Speaker 1: one swoop of the strong handed girl Crush lost two

881
00:45:31,080 --> 00:45:36,200
Speaker 1: singles I Cost You and U or I Cost You

882
00:45:36,960 --> 00:45:38,920
Speaker 1: never actually told that story like that. But when you

883
00:45:39,000 --> 00:45:41,600
Speaker 1: were saying that that that Natalie and I were both like, wow,

884
00:45:42,320 --> 00:45:44,920
Speaker 1: this is happening. We were walking down this road in Texas.

885
00:45:44,960 --> 00:45:47,320
Speaker 1: I'm not joking, this gravel road, and we were like

886
00:45:47,520 --> 00:45:50,560
Speaker 1: working it out, walking like we just lost two singles

887
00:45:50,960 --> 00:45:52,960
Speaker 1: in one swoop. And you know, at that time we

888
00:45:53,000 --> 00:45:55,520
Speaker 1: didn't really know. We we were hopeful that those songs

889
00:45:55,560 --> 00:45:58,719
Speaker 1: would both have a chance. Eventually the quick breaking up

890
00:45:58,760 --> 00:46:00,680
Speaker 1: with me didn't. But it may be at Wilson Day,

891
00:46:00,719 --> 00:46:03,239
Speaker 1: but smoking and drinking sort of got you know, we

892
00:46:03,560 --> 00:46:06,320
Speaker 1: came after like Little Red Wagon that radio had already

893
00:46:06,960 --> 00:46:09,759
Speaker 1: sort of you know, put the brakes on that record.

894
00:46:09,840 --> 00:46:13,440
Speaker 1: So it's just funny at all. No, I'm not mad

895
00:46:13,480 --> 00:46:16,200
Speaker 1: at you at all. He looked away when he said that.

896
00:46:16,280 --> 00:46:18,279
Speaker 1: By the way, I'm a big body language reader. And

897
00:46:18,320 --> 00:46:20,319
Speaker 1: when he said that, his eyes completely might you see

898
00:46:20,400 --> 00:46:25,520
Speaker 1: him mind and they completely diverted. Um, what what what

899
00:46:25,680 --> 00:46:27,920
Speaker 1: have here? Mike? I'll talk about Blue Apron for just

900
00:46:28,080 --> 00:46:31,520
Speaker 1: one second, and Blue Apron comes to the house, actually

901
00:46:31,520 --> 00:46:34,680
Speaker 1: comes to the door, and inside the box it's a

902
00:46:34,760 --> 00:46:37,360
Speaker 1: lot of ingredients and not just random ingredients, but ingredients

903
00:46:37,600 --> 00:46:39,480
Speaker 1: to make these awesome meals. There's a you can get

904
00:46:39,520 --> 00:46:41,880
Speaker 1: into recipe every week. They put them up Blue Apron

905
00:46:42,000 --> 00:46:43,880
Speaker 1: as a culinary team, and you can even check it.

906
00:46:43,920 --> 00:46:45,719
Speaker 1: They'll be like, well, they'll be surprising that they're so

907
00:46:45,800 --> 00:46:48,759
Speaker 1: good or so different. Recipes are not repeated within a year,

908
00:46:48,800 --> 00:46:51,680
Speaker 1: you'll never get bored. And for less than ten dollars

909
00:46:51,760 --> 00:46:55,440
Speaker 1: per person per mell, Blue Apron delivered seasonal recipes along

910
00:46:55,480 --> 00:47:00,080
Speaker 1: with preportioned ingredients to make delicious home cooked meals. And

911
00:47:00,239 --> 00:47:03,479
Speaker 1: again they're preportioned so you're not buying a big box

912
00:47:03,600 --> 00:47:05,120
Speaker 1: or something when you only need just a little cut

913
00:47:05,200 --> 00:47:07,680
Speaker 1: of it, so it's guaranteed to be fresh. And there's

914
00:47:07,680 --> 00:47:09,359
Speaker 1: a recipe card that comes with the two so step

915
00:47:09,400 --> 00:47:12,480
Speaker 1: by step directions. Blue Apron. Just do this. Go to

916
00:47:12,560 --> 00:47:16,000
Speaker 1: Blue Apron dot com slash Bobby cast get your first

917
00:47:16,040 --> 00:47:19,440
Speaker 1: three meals for free. Right boom, Blue Apron dot com

918
00:47:19,600 --> 00:47:22,080
Speaker 1: slash Bobby cast. You love how get it fills and

919
00:47:22,160 --> 00:47:25,600
Speaker 1: tastes Blue Apron dot com slash Bobby cast. I love

920
00:47:25,640 --> 00:47:27,959
Speaker 1: Blue Apron. Blue Apron is a better way to cook,

921
00:47:28,239 --> 00:47:30,200
Speaker 1: all right, So we have some more songs here. Let's

922
00:47:30,200 --> 00:47:33,760
Speaker 1: see how about man I love it when my friends

923
00:47:33,880 --> 00:47:37,320
Speaker 1: like have great things right and these these my buds

924
00:47:37,360 --> 00:47:40,719
Speaker 1: here stay a little long upper Brothers I was born.

925
00:47:41,520 --> 00:47:45,520
Speaker 1: Oh god, this is this is one of those nice

926
00:47:45,520 --> 00:47:49,360
Speaker 1: surprises I used to always talk about to Ashley Gourley

927
00:47:49,840 --> 00:47:51,800
Speaker 1: because he would write these songs with these artists and

928
00:47:52,440 --> 00:47:54,960
Speaker 1: then they would just after fifty weeks of being on

929
00:47:55,040 --> 00:47:56,279
Speaker 1: the chart, they would go to number one, and I

930
00:47:56,320 --> 00:47:58,399
Speaker 1: would say that never happens to me like that either

931
00:47:58,520 --> 00:48:00,959
Speaker 1: die in the forties or they're on a big artist

932
00:48:01,000 --> 00:48:03,960
Speaker 1: and you know they're going. And I love Brothers all more.

933
00:48:04,000 --> 00:48:08,040
Speaker 1: I mean, two of the greatest guys. They're just root

934
00:48:08,160 --> 00:48:11,799
Speaker 1: for them absolutely. And John and I are a lot

935
00:48:11,840 --> 00:48:14,279
Speaker 1: closer than than t J. But as because Lucy and

936
00:48:14,360 --> 00:48:17,279
Speaker 1: I are at John's wife. We're really regular good friends.

937
00:48:17,640 --> 00:48:22,160
Speaker 1: But man, you talk about just the talented dudes, they're

938
00:48:22,200 --> 00:48:26,640
Speaker 1: just and t J's voice, I think he's he's my favorite.

939
00:48:26,680 --> 00:48:30,399
Speaker 1: I mean, I love his voice. And uh so, yeah,

940
00:48:30,440 --> 00:48:31,879
Speaker 1: that one was that one was just one of those

941
00:48:31,880 --> 00:48:33,960
Speaker 1: really fun ones because the fact when it started to

942
00:48:34,040 --> 00:48:36,000
Speaker 1: catch and you started to see it happening, and it

943
00:48:36,120 --> 00:48:39,880
Speaker 1: had been out for twenty weeks before it went top thirty,

944
00:48:40,400 --> 00:48:42,200
Speaker 1: and then it started to catching like oh my god.

945
00:48:42,239 --> 00:48:44,439
Speaker 1: And when that's the kind of stung that you knew

946
00:48:44,480 --> 00:48:47,480
Speaker 1: if people heard it they would like it because it's

947
00:48:47,560 --> 00:48:50,200
Speaker 1: just so They just sound so good. You know how

948
00:48:50,480 --> 00:48:53,840
Speaker 1: this one here your wrote different for girls? Was this

949
00:48:53,920 --> 00:48:59,960
Speaker 1: red is a duet? No, it was. Actually there were

950
00:49:00,040 --> 00:49:02,160
Speaker 1: a huge contemplation of when we wrote it, if we

951
00:49:02,280 --> 00:49:05,840
Speaker 1: put a girl singing the demo or a guy. I

952
00:49:06,000 --> 00:49:08,520
Speaker 1: ended up singing the demo because we thought it was

953
00:49:08,520 --> 00:49:10,759
Speaker 1: a little edgier for a guy to say. So, did

954
00:49:10,800 --> 00:49:12,440
Speaker 1: you want a guy to sing it? When you all

955
00:49:12,480 --> 00:49:14,600
Speaker 1: said down, if you wrote it, yeah, you did want it.

956
00:49:14,719 --> 00:49:16,839
Speaker 1: I thought it would have more effect if a guy

957
00:49:16,920 --> 00:49:18,520
Speaker 1: said it. I didn't think a guy would say it,

958
00:49:18,960 --> 00:49:23,600
Speaker 1: but I thought it would be a better risk, you know,

959
00:49:23,719 --> 00:49:26,200
Speaker 1: like a bigger payoff if a guy said it. If

960
00:49:26,239 --> 00:49:28,520
Speaker 1: a girl says it, girls say that a lot, it

961
00:49:28,640 --> 00:49:33,000
Speaker 1: sounds a little more like they're complaining something, yeah, and

962
00:49:33,160 --> 00:49:35,560
Speaker 1: guy sounds like they're respecting. A lot of people had

963
00:49:35,600 --> 00:49:37,520
Speaker 1: to have a problem with this song. I mean, look,

964
00:49:37,560 --> 00:49:39,359
Speaker 1: when you live in the bubble of our I'm sure

965
00:49:39,400 --> 00:49:42,880
Speaker 1: you get this. There are things that I read or

966
00:49:42,960 --> 00:49:46,200
Speaker 1: go on boards and things and see people talking about songs.

967
00:49:46,560 --> 00:49:49,280
Speaker 1: So I know things that the average person wouldn't notice

968
00:49:49,280 --> 00:49:51,200
Speaker 1: about different for girls. But a lot of people thought,

969
00:49:51,880 --> 00:49:55,840
Speaker 1: you know, that that that song was stereo typing girls,

970
00:49:55,880 --> 00:49:58,200
Speaker 1: and girls would say, I'm I'm not like that. I

971
00:49:58,480 --> 00:50:00,399
Speaker 1: don't you know, I'm not sitting crying in the corner.

972
00:50:00,440 --> 00:50:02,600
Speaker 1: And the truth was, we didn't. We didn't think it

973
00:50:02,680 --> 00:50:05,720
Speaker 1: was about every girl. We just thought in general, girls

974
00:50:05,800 --> 00:50:08,640
Speaker 1: have a harder in some ways, they have it easier

975
00:50:08,680 --> 00:50:11,160
Speaker 1: because they are vulnerable and they will say the way

976
00:50:11,200 --> 00:50:14,160
Speaker 1: they feel. We were really trying to shed a good

977
00:50:14,280 --> 00:50:18,560
Speaker 1: light on that. You know. Anyway, how about this one?

978
00:50:19,360 --> 00:50:25,359
Speaker 1: Couldn't you you smile a little more on this one? Yeah?

979
00:50:25,680 --> 00:50:29,040
Speaker 1: This song? I wrote this with Matt Ramsey and Trevor

980
00:50:29,160 --> 00:50:32,720
Speaker 1: Rosen from Old Dominion, who are two of my best friends,

981
00:50:32,760 --> 00:50:35,400
Speaker 1: and it was it was the first time the three

982
00:50:35,440 --> 00:50:36,920
Speaker 1: of us that had to hit together and we've written

983
00:50:37,280 --> 00:50:41,320
Speaker 1: for years and uh, yeah, this song, I don't know,

984
00:50:41,400 --> 00:50:43,960
Speaker 1: it's just what's funny is the the idea And you

985
00:50:44,040 --> 00:50:46,279
Speaker 1: can probably hear this in hearing it. I wrote this

986
00:50:46,520 --> 00:50:50,200
Speaker 1: and stay a little longer, very close in time together

987
00:50:50,880 --> 00:50:55,799
Speaker 1: and uh, the initial idea they on my like pad

988
00:50:55,880 --> 00:50:59,279
Speaker 1: of paper in my phone where I put notes. They're

989
00:50:59,320 --> 00:51:02,560
Speaker 1: in the same uh the say you do goes into

990
00:51:03,160 --> 00:51:06,640
Speaker 1: a thing about one thing leads to another, leads to

991
00:51:06,680 --> 00:51:08,520
Speaker 1: another leadst or another. They ended up being two songs

992
00:51:08,719 --> 00:51:10,800
Speaker 1: that they kind of you know, they're kind of cousins.

993
00:51:11,040 --> 00:51:12,719
Speaker 1: You do that a lot. You just take your phone

994
00:51:12,760 --> 00:51:16,080
Speaker 1: and go, oh, this could be something. Jot down, because

995
00:51:16,080 --> 00:51:17,440
Speaker 1: I do that with stand up and go there's a

996
00:51:17,440 --> 00:51:19,520
Speaker 1: concept right down because I don't forget it, and you

997
00:51:19,600 --> 00:51:22,120
Speaker 1: know you will and then I'll come back to it later.

998
00:51:22,680 --> 00:51:23,880
Speaker 1: So is that the same thing as you do with

999
00:51:23,920 --> 00:51:25,880
Speaker 1: a songwriter. Yes. And the most annoying part for me

1000
00:51:25,960 --> 00:51:29,000
Speaker 1: is that my my most creative moment is right before

1001
00:51:29,040 --> 00:51:30,680
Speaker 1: I fall asleep. I don't know if you have that.

1002
00:51:31,040 --> 00:51:34,040
Speaker 1: It's sort of like like you ever wake up, I'm

1003
00:51:34,040 --> 00:51:36,279
Speaker 1: asleep and go, I gotta record this right now, and

1004
00:51:36,360 --> 00:51:39,680
Speaker 1: we don't want to like get up and go. Yeah, yes,

1005
00:51:39,840 --> 00:51:43,040
Speaker 1: so I do that. My phone is full of ideas

1006
00:51:43,080 --> 00:51:45,120
Speaker 1: and sayings and things people say a lot of times

1007
00:51:45,200 --> 00:51:46,759
Speaker 1: it's just I don't even know what it means. When

1008
00:51:46,800 --> 00:51:47,920
Speaker 1: I go back and read it, I have to put

1009
00:51:47,960 --> 00:51:50,320
Speaker 1: a note by it. It's all try to remember what

1010
00:51:50,400 --> 00:51:53,440
Speaker 1: I was thinking. I do that I'll wake up. Especially

1011
00:51:53,560 --> 00:51:56,560
Speaker 1: with the Radioto is different because it's we're talking about

1012
00:51:56,640 --> 00:51:59,120
Speaker 1: things happening in the world. I want to do stand up.

1013
00:51:59,160 --> 00:52:00,880
Speaker 1: Those are concept I as much like a song. So

1014
00:52:00,920 --> 00:52:02,440
Speaker 1: it's like I have a bad idea write down. But

1015
00:52:02,480 --> 00:52:04,839
Speaker 1: when I was writing the kids album, um I did

1016
00:52:04,880 --> 00:52:06,640
Speaker 1: a kids album and it was the number one kids Haplumen,

1017
00:52:06,719 --> 00:52:09,400
Speaker 1: which was crazy because what do I know. And so

1018
00:52:09,600 --> 00:52:12,120
Speaker 1: I wake up and I'm like, okay, and I recorded

1019
00:52:12,160 --> 00:52:13,640
Speaker 1: on my phone and it sounds like this, it goes

1020
00:52:14,320 --> 00:52:18,280
Speaker 1: I grow Up, and I was like, I called Deerk Passley.

1021
00:52:18,280 --> 00:52:21,040
Speaker 1: I said, dude, this is gonna be terrible. This is

1022
00:52:21,040 --> 00:52:22,720
Speaker 1: you're gonna I'm gonna send you this thing, but it's terrible.

1023
00:52:22,960 --> 00:52:24,560
Speaker 1: But I was asleep and I have this idea called

1024
00:52:24,600 --> 00:52:28,120
Speaker 1: when I grow Up and it's and so Eric and

1025
00:52:28,400 --> 00:52:30,600
Speaker 1: I and he brought Phil Barton over because Phil had

1026
00:52:30,600 --> 00:52:32,920
Speaker 1: written for Thomas Tank and he had done so we

1027
00:52:32,960 --> 00:52:34,320
Speaker 1: all sit around and wrote when I grow Up. But

1028
00:52:34,360 --> 00:52:37,799
Speaker 1: it started with the worst one am voice memo ever

1029
00:52:37,920 --> 00:52:41,880
Speaker 1: of me just going I want to be farming. And

1030
00:52:41,920 --> 00:52:43,640
Speaker 1: I was like, dude, it sounds like Bob Dylan is

1031
00:52:43,960 --> 00:52:47,480
Speaker 1: have drunk. But you know, with that to me, reads

1032
00:52:47,560 --> 00:52:50,560
Speaker 1: like I always say that songs are already written, like

1033
00:52:50,800 --> 00:52:52,840
Speaker 1: they're always say they're in the rocks and you have

1034
00:52:52,920 --> 00:52:55,080
Speaker 1: to chisel everything else out of the way. That's what

1035
00:52:55,200 --> 00:52:57,719
Speaker 1: it is. Those memos are. To me, it's almost like

1036
00:52:57,760 --> 00:53:01,360
Speaker 1: there's a blanket over the song and you it's like

1037
00:53:01,400 --> 00:53:02,840
Speaker 1: if you could just you know what I mean, and

1038
00:53:02,920 --> 00:53:05,520
Speaker 1: it sounds like you're like, I mean, you're kind of

1039
00:53:05,760 --> 00:53:09,359
Speaker 1: it's almost like somebody's covering up the clear thought because

1040
00:53:09,400 --> 00:53:11,160
Speaker 1: you have to go in there and find it. That's

1041
00:53:11,200 --> 00:53:13,680
Speaker 1: the weirdest thing, because songs float, I feel, I feel

1042
00:53:13,719 --> 00:53:16,480
Speaker 1: like they're like alive and they're like, you know, kind

1043
00:53:16,480 --> 00:53:18,759
Speaker 1: of floating around, just waiting for someone to reach up

1044
00:53:18,800 --> 00:53:21,080
Speaker 1: and grab them. That it's like people that have a

1045
00:53:21,160 --> 00:53:24,000
Speaker 1: sixth sense that can talk to people on the other side.

1046
00:53:24,200 --> 00:53:26,719
Speaker 1: Or I think that when you create and you have

1047
00:53:26,840 --> 00:53:29,839
Speaker 1: those kind of ideas, you have a sense of it's

1048
00:53:29,880 --> 00:53:31,080
Speaker 1: like part of the brain that you're not able to

1049
00:53:31,120 --> 00:53:33,440
Speaker 1: get to whenever you're all your senses are working, that

1050
00:53:33,480 --> 00:53:35,680
Speaker 1: when you shut down absolutely or or that that other

1051
00:53:35,719 --> 00:53:37,600
Speaker 1: part of your brain will say that's stupid, that's not

1052
00:53:37,719 --> 00:53:40,440
Speaker 1: a good idea. What song just fell out of you?

1053
00:53:43,760 --> 00:53:46,520
Speaker 1: It's like it shouldn't be this easy, like what song?

1054
00:53:46,719 --> 00:53:48,359
Speaker 1: And I don't look at it. I don't know, thinking

1055
00:53:48,440 --> 00:53:49,920
Speaker 1: of like I have them all. I got to be

1056
00:53:49,960 --> 00:53:52,759
Speaker 1: honest with you. Marry Go Around was written really fast, uh,

1057
00:53:53,760 --> 00:53:58,160
Speaker 1: because we had an idea. Actually, my mom said the line.

1058
00:53:58,800 --> 00:54:00,920
Speaker 1: She was talking about our neighbor, and she said it

1059
00:54:00,960 --> 00:54:03,360
Speaker 1: in front of Josh Osborne. Josh said, why are there

1060
00:54:03,440 --> 00:54:06,120
Speaker 1: so many cars at your neighbor's house? And my mom said,

1061
00:54:06,160 --> 00:54:08,080
Speaker 1: I don't know, Josh, they're selling Mary Kay or Mary

1062
00:54:08,160 --> 00:54:13,759
Speaker 1: Jane or something. And we laughed. But then Josh and

1063
00:54:13,760 --> 00:54:15,239
Speaker 1: I were in the car and we were driving out

1064
00:54:15,280 --> 00:54:16,840
Speaker 1: to the ranch where we were gonna beet Casey and

1065
00:54:16,880 --> 00:54:20,320
Speaker 1: I said, man, but all the all the things that

1066
00:54:20,360 --> 00:54:23,800
Speaker 1: are symbolized by the word Mary, from Mary Christmas to

1067
00:54:23,880 --> 00:54:26,879
Speaker 1: the Virgin Mary. You know, we always used the name

1068
00:54:26,960 --> 00:54:31,320
Speaker 1: Mary as a placeholder and Merry Go Round, and so

1069
00:54:31,840 --> 00:54:34,279
Speaker 1: we just listed all these things when we actually sat

1070
00:54:34,320 --> 00:54:35,719
Speaker 1: down to write it, and Casey was the one who

1071
00:54:35,800 --> 00:54:39,759
Speaker 1: heard it as a sad song. Um it did. I don't.

1072
00:54:39,880 --> 00:54:41,600
Speaker 1: I would say it took us less than two hours.

1073
00:54:43,000 --> 00:54:45,120
Speaker 1: Which song was like that there was a hit was

1074
00:54:45,200 --> 00:54:47,440
Speaker 1: like just you said you mentioned body like a background.

1075
00:54:47,480 --> 00:54:49,600
Speaker 1: That one, that's the one. It's the one that was

1076
00:54:49,680 --> 00:54:52,160
Speaker 1: like you just it took a long time. Well, it

1077
00:54:52,280 --> 00:54:54,520
Speaker 1: was because he had an idea that we just couldn't

1078
00:54:54,880 --> 00:54:57,320
Speaker 1: quite The way it sounds is exactly the way he

1079
00:54:57,320 --> 00:54:59,440
Speaker 1: always knew it was gonna sound, basically, but he couldn't.

1080
00:55:00,200 --> 00:55:03,840
Speaker 1: We were overwriting, overwriting, overwriting. You know, Josh and I

1081
00:55:04,239 --> 00:55:06,920
Speaker 1: and Zach did that track. It's unbelievable. Josh and I

1082
00:55:06,960 --> 00:55:10,200
Speaker 1: would just try to clever it to death. Body like

1083
00:55:10,320 --> 00:55:12,680
Speaker 1: a back road, like we were trying to make every

1084
00:55:13,440 --> 00:55:16,960
Speaker 1: metaphor for a woman's body and a back road, and

1085
00:55:17,200 --> 00:55:20,920
Speaker 1: all we ended up getting in there metaphorically was like, uh,

1086
00:55:22,280 --> 00:55:24,360
Speaker 1: with my eyes closed, driving with my eyes closed. I

1087
00:55:24,440 --> 00:55:26,480
Speaker 1: know every curve like the back of my hand. But

1088
00:55:26,719 --> 00:55:29,680
Speaker 1: beyond that it would get cheesy. But we still can't

1089
00:55:29,680 --> 00:55:33,160
Speaker 1: help but be songwriters and want to just make it

1090
00:55:33,680 --> 00:55:36,160
Speaker 1: just like, oh, we can just be so clever. Sam

1091
00:55:36,400 --> 00:55:40,319
Speaker 1: just kept editing those things out and saying, it's got

1092
00:55:40,400 --> 00:55:45,000
Speaker 1: to feel like a playful conversation. So I would say

1093
00:55:45,040 --> 00:55:47,120
Speaker 1: that was difficult because he he did most of the work,

1094
00:55:47,200 --> 00:55:50,560
Speaker 1: but time wise, I would I couldn't even tell you

1095
00:55:50,680 --> 00:55:53,799
Speaker 1: the number of hours spend on that song weeks. Where

1096
00:55:53,800 --> 00:55:55,120
Speaker 1: do you think you need to be in your life

1097
00:55:55,160 --> 00:55:57,480
Speaker 1: to write the best songs? Meaning what emotional state do

1098
00:55:57,560 --> 00:56:00,759
Speaker 1: you write the best songs in? I think for me, uh,

1099
00:56:01,800 --> 00:56:05,799
Speaker 1: it is it does happen when the collaboration is right,

1100
00:56:05,840 --> 00:56:07,640
Speaker 1: because I used to write songs by myself, but now

1101
00:56:07,680 --> 00:56:10,000
Speaker 1: I really don't. And if I'm sitting with someone and

1102
00:56:10,120 --> 00:56:15,600
Speaker 1: we have a real spiritual moment about something that either

1103
00:56:15,680 --> 00:56:17,920
Speaker 1: they're going through or I'm going through, that to me

1104
00:56:18,080 --> 00:56:20,000
Speaker 1: is when you can connect with something. I mean, I

1105
00:56:20,080 --> 00:56:25,880
Speaker 1: don't think my best songs get recorded. Um. Uh. One

1106
00:56:25,920 --> 00:56:27,520
Speaker 1: of my best songs has been recorded, but it wasn't

1107
00:56:27,560 --> 00:56:29,440
Speaker 1: a single. My a song called come Back to Me

1108
00:56:29,520 --> 00:56:33,799
Speaker 1: that Keith Urban recorded and what had happened was, Um,

1109
00:56:33,960 --> 00:56:36,239
Speaker 1: my husband had said to me a few years ago,

1110
00:56:36,680 --> 00:56:39,279
Speaker 1: he made a comment that I had never heard anyone say.

1111
00:56:39,680 --> 00:56:43,240
Speaker 1: We were joking talking about someone else being good looking,

1112
00:56:44,400 --> 00:56:47,480
Speaker 1: and he said, well, if there was somebody else that

1113
00:56:47,560 --> 00:56:50,360
Speaker 1: would make you happier, And he wasn't being an ass,

1114
00:56:51,200 --> 00:56:53,239
Speaker 1: he said, I would want you to have everything that

1115
00:56:53,360 --> 00:56:55,759
Speaker 1: you ever wanted. I mean, that's that's how much I

1116
00:56:55,840 --> 00:56:59,640
Speaker 1: love you. I don't adhere to that I do not

1117
00:56:59,760 --> 00:57:02,799
Speaker 1: have that big of us. I'm not that spiritually evaulved

1118
00:57:03,520 --> 00:57:06,320
Speaker 1: But I was telling Brandy Clark and Trevor Rose in

1119
00:57:06,440 --> 00:57:09,120
Speaker 1: that story and they were like, wow, I mean, what

1120
00:57:09,280 --> 00:57:11,840
Speaker 1: a thing to say. So there we went and listed

1121
00:57:11,880 --> 00:57:15,120
Speaker 1: these things of like if there's dance floors you you

1122
00:57:15,239 --> 00:57:17,280
Speaker 1: ain't made a move on, you know, and if there's

1123
00:57:17,760 --> 00:57:19,880
Speaker 1: if there's some saying that you ain't wrote your name in,

1124
00:57:20,560 --> 00:57:24,680
Speaker 1: and uh, go and do everything because the line in

1125
00:57:24,720 --> 00:57:27,360
Speaker 1: the courses, um, I want to hold you, but I

1126
00:57:27,360 --> 00:57:30,240
Speaker 1: don't want to hold you back. And uh, you know

1127
00:57:30,320 --> 00:57:32,720
Speaker 1: it's not a it's not where radio is those kind

1128
00:57:32,760 --> 00:57:37,720
Speaker 1: of songs, but it is where my favorite moments are

1129
00:57:37,840 --> 00:57:40,360
Speaker 1: something like that. It was a real we just had

1130
00:57:40,400 --> 00:57:43,480
Speaker 1: a really cool day, Brandy and Trevor not talking about

1131
00:57:44,080 --> 00:57:47,320
Speaker 1: wouldn't it be nice to love like that where you

1132
00:57:47,440 --> 00:57:50,160
Speaker 1: really couldn't let someone go for their good? Um, I

1133
00:57:50,160 --> 00:57:52,480
Speaker 1: would hold on for dear life and you know, probably

1134
00:57:52,560 --> 00:57:56,360
Speaker 1: like stalk but um, but anyway that I don't you know,

1135
00:57:56,400 --> 00:57:58,360
Speaker 1: I don't know if that was a long winded answer

1136
00:57:58,440 --> 00:58:01,280
Speaker 1: to your question of when you're songs written, it's just

1137
00:58:01,440 --> 00:58:03,440
Speaker 1: a I think a lot of times is just the

1138
00:58:03,520 --> 00:58:05,760
Speaker 1: magic in the room. We'll talk about a couple of

1139
00:58:05,840 --> 00:58:09,920
Speaker 1: my favorite artists that I mean, listen, on the talent scale,

1140
00:58:10,200 --> 00:58:12,120
Speaker 1: a pretty far more talented than I am. We do

1141
00:58:12,200 --> 00:58:13,520
Speaker 1: have a lot of similar taste, though I can say

1142
00:58:13,560 --> 00:58:17,040
Speaker 1: we're similarly. We have a lot of I'm a humongous

1143
00:58:17,120 --> 00:58:19,480
Speaker 1: Walker Hayes fan and when he was just making his

1144
00:58:19,560 --> 00:58:22,600
Speaker 1: own stuff and would know, but I've just been a

1145
00:58:22,600 --> 00:58:26,240
Speaker 1: Walking Hates fan forever. And so he's the most unique

1146
00:58:27,000 --> 00:58:33,040
Speaker 1: and the most prolific songwriter I've ever known. I mean it.

1147
00:58:33,800 --> 00:58:37,480
Speaker 1: He just it's hard for me to even get in

1148
00:58:37,680 --> 00:58:40,880
Speaker 1: his brain because if that makes sense, because a lot

1149
00:58:40,920 --> 00:58:42,360
Speaker 1: of times you can collaborate with someone you want to

1150
00:58:42,400 --> 00:58:45,040
Speaker 1: see the world they do. He just sees with different

1151
00:58:45,200 --> 00:58:47,960
Speaker 1: He has like a different box of crayons. I've written

1152
00:58:48,000 --> 00:58:52,200
Speaker 1: with them, and it's it's it's like talking to someone

1153
00:58:52,280 --> 00:58:54,480
Speaker 1: who is in eleventh grade when you're on a eight

1154
00:58:54,520 --> 00:58:56,919
Speaker 1: you're doing an eighth grade textbook. Absolutely, and I find

1155
00:58:57,000 --> 00:58:58,400
Speaker 1: it I'll be honest with you, and he, I mean, he,

1156
00:58:58,560 --> 00:59:01,200
Speaker 1: he knows this. It's difficult. I find it hard because

1157
00:59:02,200 --> 00:59:06,240
Speaker 1: I often find myself my ego gets involved and I

1158
00:59:06,320 --> 00:59:11,040
Speaker 1: feel a little stupid because he he can trick out

1159
00:59:11,080 --> 00:59:14,440
Speaker 1: a line and add something that I just would have settled,

1160
00:59:14,720 --> 00:59:16,440
Speaker 1: and I don't. And I have a very high standard.

1161
00:59:16,480 --> 00:59:18,240
Speaker 1: I mean, I consider my bar to be pretty high.

1162
00:59:18,280 --> 00:59:21,200
Speaker 1: But but he just he just has something. I think

1163
00:59:21,280 --> 00:59:23,360
Speaker 1: that that box of crayons analogy. I've never said that,

1164
00:59:23,440 --> 00:59:25,320
Speaker 1: but that is that is what I think. He's just

1165
00:59:25,600 --> 00:59:28,240
Speaker 1: he has more crayons in his box than the rest

1166
00:59:28,280 --> 00:59:32,240
Speaker 1: of us. Yeah, a lot, a lot. And Walker is out,

1167
00:59:32,560 --> 00:59:33,840
Speaker 1: you know, and I get to watch him every night

1168
00:59:33,880 --> 00:59:35,280
Speaker 1: and he just gets better and better better. He's if

1169
00:59:35,360 --> 00:59:37,720
Speaker 1: as a performer, but it is a songwriter and just

1170
00:59:37,840 --> 00:59:40,160
Speaker 1: a word smith, if that's even a thing. And the

1171
00:59:40,240 --> 00:59:43,520
Speaker 1: song he wrote for you, we wrote a song called

1172
00:59:43,600 --> 00:59:46,720
Speaker 1: namastate Agether. Yes, I love it. It is. I mean

1173
00:59:47,440 --> 00:59:49,800
Speaker 1: the fact that, y'all even when I saw the title,

1174
00:59:49,880 --> 00:59:51,800
Speaker 1: of course, I can't be surprised by any title he

1175
00:59:51,880 --> 00:59:55,880
Speaker 1: sends me. Yeah. So, and then this was the two

1176
00:59:55,960 --> 00:59:57,360
Speaker 1: he was like, I said, hey, dude, we were going

1177
00:59:57,400 --> 00:59:59,760
Speaker 1: back and for texting before we were writing, and grab

1178
01:00:00,320 --> 01:00:03,520
Speaker 1: we're going with we have a different he's so whatever,

1179
01:00:03,560 --> 01:00:05,200
Speaker 1: and I'm like, hey, let's add some funny stuff like

1180
01:00:05,320 --> 01:00:08,520
Speaker 1: beat it like Jackson like and so we write it.

1181
01:00:08,880 --> 01:00:10,560
Speaker 1: And I said, hey, dude, if you want this song,

1182
01:00:10,960 --> 01:00:13,080
Speaker 1: you can have it, because if you don't, like I know,

1183
01:00:13,160 --> 01:00:14,760
Speaker 1: he wrote it for me, but if you don't, I'm

1184
01:00:14,760 --> 01:00:16,840
Speaker 1: gonna use it. I'm gonna cut it. But if you

1185
01:00:16,920 --> 01:00:18,480
Speaker 1: want it, you can have it. And he's like, man,

1186
01:00:20,000 --> 01:00:23,880
Speaker 1: you take it for now, but but we'll see. And

1187
01:00:23,960 --> 01:00:26,960
Speaker 1: I was like, let me know. And so it's I mean,

1188
01:00:27,080 --> 01:00:29,520
Speaker 1: your girlfriend does a lot of yoga. I've heard you talking.

1189
01:00:29,560 --> 01:00:32,040
Speaker 1: Oh yeah, she does, and that's where and I was

1190
01:00:32,120 --> 01:00:35,960
Speaker 1: able to yes, it's a very real song. I mean,

1191
01:00:36,040 --> 01:00:37,880
Speaker 1: that's the thing he can. People have not even heard this.

1192
01:00:37,920 --> 01:00:39,720
Speaker 1: There's a song that Walking and I wrote called Namas

1193
01:00:39,800 --> 01:00:42,960
Speaker 1: Day and it's about I started doing yoga my girlfriend

1194
01:00:42,960 --> 01:00:45,880
Speaker 1: does because she does yoga, and and it was like

1195
01:00:46,080 --> 01:00:48,320
Speaker 1: no mistay, but it's like no, I'm gonna stay, Like no,

1196
01:00:48,440 --> 01:00:49,920
Speaker 1: I'm going to stay. It was like a dope. It

1197
01:00:50,000 --> 01:00:54,800
Speaker 1: was like a walker Hayes brains like. So I was like,

1198
01:00:55,680 --> 01:00:58,760
Speaker 1: did he I was talking about doing yoga and I

1199
01:00:58,920 --> 01:01:00,920
Speaker 1: was like hey, and I said, like three ideas and

1200
01:01:00,960 --> 01:01:02,480
Speaker 1: he comes back with this and then all of a sudden,

1201
01:01:02,480 --> 01:01:04,840
Speaker 1: he was like, dude, let's do a Namasta song. And

1202
01:01:04,880 --> 01:01:06,800
Speaker 1: I'm like okay, and it wasn't now I'm gonna stay.

1203
01:01:07,040 --> 01:01:09,320
Speaker 1: First it was like it seems like that's where it

1204
01:01:09,320 --> 01:01:12,360
Speaker 1: would have started, but that's where it ended up. And

1205
01:01:12,480 --> 01:01:13,880
Speaker 1: that was him was like, why don't we turn this

1206
01:01:14,000 --> 01:01:17,640
Speaker 1: into NA must stay? And I'm like, okay, got it.

1207
01:01:17,720 --> 01:01:21,320
Speaker 1: And then we just we wrote an hour forty five minutes,

1208
01:01:21,360 --> 01:01:24,919
Speaker 1: like we sat down. He said, I mean it's so good,

1209
01:01:25,520 --> 01:01:27,960
Speaker 1: and it was, um, yeah, we And I told him

1210
01:01:28,080 --> 01:01:30,400
Speaker 1: we were out last weekend. I was like, dude, you

1211
01:01:30,480 --> 01:01:33,400
Speaker 1: should come in and at least partially produced a song

1212
01:01:33,560 --> 01:01:35,640
Speaker 1: like it's so like oh and he and he's so,

1213
01:01:36,000 --> 01:01:38,600
Speaker 1: I mean, he knows how to do that, you know.

1214
01:01:39,040 --> 01:01:41,560
Speaker 1: The thing that brought that up was what I was

1215
01:01:41,600 --> 01:01:44,160
Speaker 1: referring to was the song pain that he wrote about

1216
01:01:44,160 --> 01:01:46,520
Speaker 1: hearing his song on the radio. I was in my

1217
01:01:46,680 --> 01:01:51,480
Speaker 1: hometown in Minnerl's, Texas. I was there for actually high

1218
01:01:51,520 --> 01:01:54,280
Speaker 1: school teacher of mine was the like she was the

1219
01:01:54,320 --> 01:01:57,440
Speaker 1: coming home queen this year, like she's eighty years old

1220
01:01:57,480 --> 01:01:59,560
Speaker 1: and it was some anniversary and I went and walked

1221
01:01:59,600 --> 01:02:02,800
Speaker 1: her and I was there. So I'm at the gym

1222
01:02:02,920 --> 01:02:05,120
Speaker 1: in my hometown working out, and he sent that song

1223
01:02:05,200 --> 01:02:10,200
Speaker 1: to me pain. I was literally I was dumbfounded. I

1224
01:02:10,240 --> 01:02:11,920
Speaker 1: mean I wish I had it playing because it's not

1225
01:02:11,960 --> 01:02:14,640
Speaker 1: available in the gym. Yeah, I mean just the fact

1226
01:02:14,720 --> 01:02:16,680
Speaker 1: that he I mean they put it as an email

1227
01:02:16,720 --> 01:02:19,200
Speaker 1: and insid of a newsletter, and that second verse when

1228
01:02:19,240 --> 01:02:22,440
Speaker 1: he it's just it's it's really it's almost hard to

1229
01:02:22,480 --> 01:02:24,360
Speaker 1: listen to. It's that. That's right. That's how good it is.

1230
01:02:24,520 --> 01:02:28,040
Speaker 1: That it makes you name is perfect. If something can

1231
01:02:28,120 --> 01:02:30,440
Speaker 1: make you uncomfortable, if it's something can just make you

1232
01:02:30,520 --> 01:02:32,240
Speaker 1: feel again, it's that million lights And how do you

1233
01:02:32,280 --> 01:02:34,040
Speaker 1: get used to shine through? If something can just make

1234
01:02:34,080 --> 01:02:37,760
Speaker 1: you feel period something it just feels something exactly. And

1235
01:02:38,160 --> 01:02:40,320
Speaker 1: I'll play a little bit of pain here. And by

1236
01:02:40,320 --> 01:02:42,280
Speaker 1: the way, why I talk about Walker is Walker is

1237
01:02:42,360 --> 01:02:46,680
Speaker 1: now on Monument, which is part of a label. You

1238
01:02:46,800 --> 01:02:49,400
Speaker 1: have an imprint that you're running right right, So Walker

1239
01:02:49,520 --> 01:02:58,560
Speaker 1: president of Monument Records and Walker first I was Factory Speakers,

1240
01:02:58,600 --> 01:03:01,080
Speaker 1: and on me Bobby Bone played a song and I

1241
01:03:01,160 --> 01:03:04,160
Speaker 1: wrote about I got two songs on one. I was like,

1242
01:03:04,280 --> 01:03:08,680
Speaker 1: that's an odd version of pain, uh, for all our technologies.

1243
01:03:10,840 --> 01:03:12,400
Speaker 1: It mixed. Yeah, I played a little bit more of this.

1244
01:03:12,480 --> 01:03:17,000
Speaker 1: Here we go two thousand sixteen seven something in the morning.

1245
01:03:17,280 --> 01:03:19,480
Speaker 1: I was driving when a dream come true came through

1246
01:03:19,520 --> 01:03:22,400
Speaker 1: my high the factory speakers and on me Bobby Bones

1247
01:03:22,440 --> 01:03:24,800
Speaker 1: played a song and I wrote about lonely beer and

1248
01:03:24,840 --> 01:03:27,520
Speaker 1: a fresh it's one of my doctors. What you hear

1249
01:03:27,600 --> 01:03:29,480
Speaker 1: is how it felt. From the Broken in My Heart

1250
01:03:29,680 --> 01:03:33,120
Speaker 1: was about addiction, love, loss and recovery. Trust me when

1251
01:03:33,160 --> 01:03:34,640
Speaker 1: we wrote it, because I had to get it out

1252
01:03:34,680 --> 01:03:37,720
Speaker 1: of me for Nashville, not for readio from nobody bought me.

1253
01:03:37,960 --> 01:03:41,080
Speaker 1: And maybe that trouble so pressing rewind wrestling demons like

1254
01:03:41,200 --> 01:03:44,000
Speaker 1: mine looking for a company in this design that doesn't

1255
01:03:44,000 --> 01:03:48,640
Speaker 1: really feel so grand all the time. Even if my

1256
01:03:48,720 --> 01:03:51,040
Speaker 1: name wasn't in it, I would be like, no, I mean,

1257
01:03:51,120 --> 01:03:55,760
Speaker 1: I can't I it never does it make it's because

1258
01:03:55,760 --> 01:03:57,800
Speaker 1: it's so freaking you know. And I know his story

1259
01:03:57,920 --> 01:04:01,439
Speaker 1: and and and a note, and I know I've been

1260
01:04:01,640 --> 01:04:05,120
Speaker 1: down in those ways and the way the music businesses.

1261
01:04:05,680 --> 01:04:08,000
Speaker 1: You put everything into it and it doesn't mean you're

1262
01:04:08,000 --> 01:04:10,000
Speaker 1: gonna get anything out of it. And he and he

1263
01:04:10,080 --> 01:04:12,040
Speaker 1: came in and he talked about that he's been dropped

1264
01:04:12,080 --> 01:04:14,480
Speaker 1: and picked up, dropped and stuff, and he told a

1265
01:04:14,560 --> 01:04:16,160
Speaker 1: story and if you're just listening to this one. You

1266
01:04:16,200 --> 01:04:17,800
Speaker 1: have to listen to the Walker Hayes when I encourage

1267
01:04:17,800 --> 01:04:20,160
Speaker 1: you to, because he told the story of him and

1268
01:04:20,240 --> 01:04:22,280
Speaker 1: there's did you have what the wine with the Walker? Yes? Well,

1269
01:04:22,320 --> 01:04:24,280
Speaker 1: he's like I was playing a puckets and this kid

1270
01:04:24,360 --> 01:04:26,040
Speaker 1: that idolized me come up to me and he had

1271
01:04:26,040 --> 01:04:28,480
Speaker 1: to ask Walker to ask him for a job. I know,

1272
01:04:28,640 --> 01:04:32,880
Speaker 1: I hadn't heard that story until the y'all's uh Bobby,

1273
01:04:33,080 --> 01:04:36,000
Speaker 1: Bobby Castles, who's called it? But um, he also you

1274
01:04:36,080 --> 01:04:37,760
Speaker 1: said something in and I wanted to bring up to you.

1275
01:04:37,840 --> 01:04:42,160
Speaker 1: It's really really great. I loved it, you said, um,

1276
01:04:42,320 --> 01:04:43,720
Speaker 1: and you said it off the cuff. You may not

1277
01:04:43,800 --> 01:04:46,560
Speaker 1: even remember saying it. You said because even falling forward

1278
01:04:46,720 --> 01:04:51,080
Speaker 1: is forward motion, and I you were talking about and

1279
01:04:51,200 --> 01:04:53,400
Speaker 1: I can't honestly remember even in context what you were

1280
01:04:53,440 --> 01:04:56,440
Speaker 1: talking about. You're talking about falling down, people doing the

1281
01:04:56,520 --> 01:05:01,240
Speaker 1: wrong thing. Quote. You know that that still it doesn't

1282
01:05:01,280 --> 01:05:04,280
Speaker 1: matter if you get knocked down. Falling forward is forward motion.

1283
01:05:04,840 --> 01:05:07,360
Speaker 1: I believe that, but I've never heard it said that way.

1284
01:05:07,480 --> 01:05:10,880
Speaker 1: It's really it was really I loved it. Thanks. And

1285
01:05:11,080 --> 01:05:12,600
Speaker 1: you have you have two artists right now. You have

1286
01:05:12,640 --> 01:05:14,960
Speaker 1: Walker and your Caitlin Smith, and it was like, you

1287
01:05:15,000 --> 01:05:18,200
Speaker 1: would have made a label with my favorite artist, like

1288
01:05:19,160 --> 01:05:23,160
Speaker 1: your Showigning the People. I love Caitlin so much. I

1289
01:05:23,560 --> 01:05:25,240
Speaker 1: took Caitlin on the road with this too. I love

1290
01:05:25,480 --> 01:05:30,320
Speaker 1: so much. I love her, her music, her void, everything.

1291
01:05:30,360 --> 01:05:34,280
Speaker 1: I just it's just amazing. Like it's like I texted Jason,

1292
01:05:34,320 --> 01:05:37,080
Speaker 1: I was like, I mean, can I buy part of

1293
01:05:37,120 --> 01:05:40,520
Speaker 1: this imprint? Like how do I may need investors? How

1294
01:05:40,560 --> 01:05:46,200
Speaker 1: do I invest into this? Because he said she's so good.

1295
01:05:47,000 --> 01:05:48,720
Speaker 1: I can't wait for the news and oh god, she

1296
01:05:48,880 --> 01:05:50,600
Speaker 1: and she just cut you probably know what she just

1297
01:05:50,680 --> 01:05:54,800
Speaker 1: cut five new things and uh, I mean this song.

1298
01:05:55,040 --> 01:05:58,400
Speaker 1: I can't. I have to be honest. I did not

1299
01:05:59,400 --> 01:06:02,600
Speaker 1: know a lot of about her until she was brought

1300
01:06:02,640 --> 01:06:05,640
Speaker 1: in for the monument thing. I knew her name, and

1301
01:06:05,680 --> 01:06:07,560
Speaker 1: I knew this town is killing me. I knew that song,

1302
01:06:07,680 --> 01:06:10,160
Speaker 1: and I had written, had actually written with Caitlin years ago.

1303
01:06:10,240 --> 01:06:14,640
Speaker 1: But but I but seeing that, I have to tell you,

1304
01:06:14,720 --> 01:06:18,440
Speaker 1: seeing the girls singing live is I mean, it's like

1305
01:06:18,520 --> 01:06:22,880
Speaker 1: you're seeing one of the great truly. Yep, It's like, okay,

1306
01:06:23,080 --> 01:06:25,240
Speaker 1: it's doesn't matter when it's gonna happen, right. There are

1307
01:06:25,280 --> 01:06:27,280
Speaker 1: some people you look at and go had to happen.

1308
01:06:27,400 --> 01:06:29,080
Speaker 1: Yet oh it will. Oh yeah, there's no I mean,

1309
01:06:29,080 --> 01:06:32,160
Speaker 1: there's no stopping it. She's nobody. God doesn't give someone

1310
01:06:32,200 --> 01:06:34,320
Speaker 1: a voice like that without I mean, that is a

1311
01:06:34,800 --> 01:06:39,040
Speaker 1: this we're talking like Adele Level saying, I mean, I

1312
01:06:39,160 --> 01:06:40,960
Speaker 1: use a del because she's are, you know, sort of

1313
01:06:41,120 --> 01:06:44,960
Speaker 1: the queen. But but when you look back over voices

1314
01:06:45,280 --> 01:06:48,920
Speaker 1: a wreatha um, Whitney Houston, I have no problem with

1315
01:06:48,960 --> 01:06:51,960
Speaker 1: you compared to the because those people. I mean, that's

1316
01:06:51,960 --> 01:06:53,840
Speaker 1: the thing. She sings just as good. She's just not

1317
01:06:53,960 --> 01:06:58,280
Speaker 1: famous yet and yet is the thing. And I remember, well,

1318
01:06:58,320 --> 01:07:00,800
Speaker 1: I'm just a huge fan and she's a sweetheart. I mean,

1319
01:07:01,400 --> 01:07:03,400
Speaker 1: I can't not love her. She's just a real girl.

1320
01:07:03,600 --> 01:07:06,040
Speaker 1: And isn't that the key I found the key for

1321
01:07:06,160 --> 01:07:07,720
Speaker 1: me in my life, in my life and my career.

1322
01:07:08,200 --> 01:07:14,680
Speaker 1: Just surround yourself one with really good people and people

1323
01:07:14,800 --> 01:07:17,080
Speaker 1: that they often have be motivated, but the kids. Just

1324
01:07:17,120 --> 01:07:19,080
Speaker 1: amound yourself because it makes you better. I think you

1325
01:07:19,160 --> 01:07:22,840
Speaker 1: attract I wish that I was. I don't think I'm

1326
01:07:23,080 --> 01:07:26,320
Speaker 1: necessarily the great judge of people right when I meet them,

1327
01:07:26,560 --> 01:07:29,959
Speaker 1: but I have consistently been put in the path people

1328
01:07:30,040 --> 01:07:33,480
Speaker 1: that are wonderful. And so I think because I know that,

1329
01:07:33,760 --> 01:07:36,280
Speaker 1: like I kind of trust people, probably too soon, because

1330
01:07:36,480 --> 01:07:40,360
Speaker 1: my experiences have been that I've just have angels around me.

1331
01:07:40,400 --> 01:07:41,920
Speaker 1: I mean that's I say that all the time in

1332
01:07:42,000 --> 01:07:46,720
Speaker 1: the in the friendship and relationships of working, you know,

1333
01:07:46,920 --> 01:07:49,240
Speaker 1: in music, it's all it all blends family. It's not

1334
01:07:49,360 --> 01:07:52,320
Speaker 1: the greatest people around me, and uh so I just

1335
01:07:52,480 --> 01:07:54,440
Speaker 1: I'll just get in that flow. I don't, you know,

1336
01:07:55,360 --> 01:07:58,280
Speaker 1: for me, it's been accidental, but what what a great

1337
01:07:58,800 --> 01:08:01,400
Speaker 1: it's been a charmed a charmed path in that regard.

1338
01:08:02,960 --> 01:08:05,240
Speaker 1: Caitlin is such a good writer too. I'm just thinking

1339
01:08:05,280 --> 01:08:08,280
Speaker 1: because I'm as and I about to go to my

1340
01:08:08,320 --> 01:08:11,200
Speaker 1: girlfriends out. She's putting out a record, and so um,

1341
01:08:11,600 --> 01:08:14,320
Speaker 1: Caitlyn wrote one, Lindsay wrote most songs, and she picked

1342
01:08:14,400 --> 01:08:16,599
Speaker 1: up two outside songs. One is from a Caitlin song

1343
01:08:17,160 --> 01:08:19,280
Speaker 1: and one to Ryan heard song two of my friends.

1344
01:08:19,960 --> 01:08:22,320
Speaker 1: And it's just weird how this town is just well,

1345
01:08:22,360 --> 01:08:25,200
Speaker 1: it's it also seems like Caitlin like the fact that

1346
01:08:25,280 --> 01:08:26,760
Speaker 1: Lindsay Sharker is coming out right now, and there's a

1347
01:08:26,800 --> 01:08:29,520
Speaker 1: couple of other records coming out with Kitlin, Sonny and Smokeler,

1348
01:08:29,800 --> 01:08:33,639
Speaker 1: you have songs. Yeah, it's good. It's a good moment.

1349
01:08:33,840 --> 01:08:37,679
Speaker 1: And and Walker also is starting to have a cool

1350
01:08:37,840 --> 01:08:39,960
Speaker 1: you know, I was gonna say when when he when

1351
01:08:40,000 --> 01:08:42,639
Speaker 1: Payne was playing, he talks about Beer in the Fridge

1352
01:08:43,160 --> 01:08:45,840
Speaker 1: and Keith Urban texted me the day you played that,

1353
01:08:46,520 --> 01:08:47,880
Speaker 1: I didn't even know you were gonna play it. And

1354
01:08:47,960 --> 01:08:49,800
Speaker 1: this is so nobody ever knows anything I wanna play

1355
01:08:49,920 --> 01:08:52,680
Speaker 1: well in. Walker didn't know either, clearly. Keith texted me,

1356
01:08:52,720 --> 01:08:55,880
Speaker 1: they'll check this out. This is crazy. He texted me

1357
01:08:55,960 --> 01:08:57,720
Speaker 1: and said, I just heard a song called Beer in

1358
01:08:57,760 --> 01:09:01,080
Speaker 1: the Fridge on the radio. I would bet money you

1359
01:09:01,200 --> 01:09:03,560
Speaker 1: have something to do with it. And I took it

1360
01:09:03,640 --> 01:09:06,920
Speaker 1: as such an insane compliment, and I was like, why

1361
01:09:06,960 --> 01:09:08,519
Speaker 1: would you think that? And he was just like, I

1362
01:09:08,560 --> 01:09:10,720
Speaker 1: don't know. I just felt like something and it was

1363
01:09:10,800 --> 01:09:13,680
Speaker 1: your kind of story, and he was right, And I

1364
01:09:13,880 --> 01:09:16,280
Speaker 1: was like that I take that such a compliment because

1365
01:09:16,800 --> 01:09:20,599
Speaker 1: that song is so special to Walker. But the fact

1366
01:09:20,680 --> 01:09:23,680
Speaker 1: that Keith heard any any of my influence in that,

1367
01:09:23,760 --> 01:09:26,160
Speaker 1: you know what I mean, He didn't know Walker or

1368
01:09:26,200 --> 01:09:29,000
Speaker 1: what I mean. He probably has heard his name, but um,

1369
01:09:29,280 --> 01:09:32,000
Speaker 1: he obviously listens to you and loves you and I

1370
01:09:32,080 --> 01:09:34,559
Speaker 1: love Keith Urban two. He's certainly one of my people

1371
01:09:34,720 --> 01:09:38,599
Speaker 1: like that. I was and and we'll we'll wrap it um.

1372
01:09:38,760 --> 01:09:43,040
Speaker 1: But that Urban dude like he I was in Australia

1373
01:09:43,439 --> 01:09:45,240
Speaker 1: and he textic goes, are you in Australia? Come to

1374
01:09:45,320 --> 01:09:48,000
Speaker 1: my house? And I'm like, why it's Christmas Eve too,

1375
01:09:48,000 --> 01:09:50,120
Speaker 1: I'm I might coming to a Christmas I'm not coming.

1376
01:09:50,120 --> 01:09:51,559
Speaker 1: I said, I'm not coming to your house with Christmas

1377
01:09:51,600 --> 01:09:53,400
Speaker 1: Eve and he's like, it's just Nick and not some

1378
01:09:53,479 --> 01:09:56,760
Speaker 1: of our family, like you Unlensy come over and I

1379
01:09:56,920 --> 01:10:01,599
Speaker 1: was like, okay, I know, like it's it's right. It's bizarre.

1380
01:10:01,960 --> 01:10:03,920
Speaker 1: It's like they're a little big talent. Keith, there are

1381
01:10:03,920 --> 01:10:07,200
Speaker 1: these people and you're like, why what, I'm just an

1382
01:10:07,200 --> 01:10:09,560
Speaker 1: idiot on the radio. But I I feel like the

1383
01:10:09,720 --> 01:10:11,640
Speaker 1: person in the corner just being so glad that they

1384
01:10:11,680 --> 01:10:13,840
Speaker 1: even listened to my songs. And I never went across

1385
01:10:13,840 --> 01:10:17,639
Speaker 1: the line. I feel like me, but they just they

1386
01:10:17,880 --> 01:10:21,120
Speaker 1: literally pull you over the line. They're like, so we're

1387
01:10:21,120 --> 01:10:24,040
Speaker 1: are friends. This is I'm a normal person. But I

1388
01:10:24,120 --> 01:10:27,200
Speaker 1: still it's hard for me to accept it. And it

1389
01:10:27,240 --> 01:10:28,920
Speaker 1: has been a really enjoyable talk for me. The same.

1390
01:10:29,400 --> 01:10:32,280
Speaker 1: I hope you've enjoyed it. For me, it was like,

1391
01:10:32,360 --> 01:10:35,760
Speaker 1: I'm not kidding. One of my friends who is is

1392
01:10:36,040 --> 01:10:37,920
Speaker 1: does pr for me. She worked at green Room, and

1393
01:10:38,040 --> 01:10:39,280
Speaker 1: so she text me. She goes, hey, you know you

1394
01:10:39,280 --> 01:10:41,120
Speaker 1: should get on the Bobby Cast And I'm like, who

1395
01:10:41,160 --> 01:10:43,600
Speaker 1: shows Shane. I'm not kidding. She goes Shane mcinally. I

1396
01:10:43,640 --> 01:10:46,360
Speaker 1: said he's coming over like thirty minutes, seriously not kidding,

1397
01:10:46,439 --> 01:10:49,040
Speaker 1: and she's like no. I was like, he's he's on

1398
01:10:49,080 --> 01:10:50,439
Speaker 1: the way. He had stick class week, He's coming over

1399
01:10:50,520 --> 01:10:53,040
Speaker 1: this week. And she was like, oh my good. Anyway,

1400
01:10:53,080 --> 01:10:55,000
Speaker 1: it's just weird, like look at this here hold On

1401
01:10:55,960 --> 01:10:58,080
Speaker 1: has Shane mcinlight the body guest he should that was

1402
01:10:58,120 --> 01:11:02,519
Speaker 1: set today at that is really weird, especially because we

1403
01:11:02,600 --> 01:11:04,040
Speaker 1: were gonna do it last week. So the fact that

1404
01:11:04,080 --> 01:11:06,280
Speaker 1: we did it today and I was like, uh see it,

1405
01:11:06,360 --> 01:11:09,040
Speaker 1: I'll tell you that's not like he should and he is.

1406
01:11:11,200 --> 01:11:13,800
Speaker 1: I've really enjoyed that much. For for everything you do

1407
01:11:15,160 --> 01:11:17,519
Speaker 1: for the I mean, it's just it's it is, you know,

1408
01:11:18,040 --> 01:11:21,160
Speaker 1: coincidental of how many things because of our taste that

1409
01:11:21,320 --> 01:11:24,920
Speaker 1: we work on that you have championed. But you really

1410
01:11:25,000 --> 01:11:27,439
Speaker 1: do have a lot to do with the things that

1411
01:11:27,560 --> 01:11:29,760
Speaker 1: I get involved with, and I'm afraid no one's ever

1412
01:11:29,800 --> 01:11:32,439
Speaker 1: going to hear them. Um, because you really do dig

1413
01:11:32,479 --> 01:11:35,280
Speaker 1: and find these things that, uh that I hope we're

1414
01:11:35,280 --> 01:11:37,240
Speaker 1: going to make a difference long term, and so thank

1415
01:11:37,280 --> 01:11:39,320
Speaker 1: you for doing that. I I just I think we

1416
01:11:39,439 --> 01:11:42,639
Speaker 1: both just do what we love and we feel awkward

1417
01:11:42,640 --> 01:11:44,880
Speaker 1: people thank us for doing something we love. I mean,

1418
01:11:44,920 --> 01:11:46,720
Speaker 1: you have to understand when when I'm working on these

1419
01:11:46,760 --> 01:11:48,840
Speaker 1: songs that don't quite fit, or working with these artists

1420
01:11:48,840 --> 01:11:51,040
Speaker 1: that don't quite fit, they have to have a live

1421
01:11:51,080 --> 01:11:52,960
Speaker 1: shown on them. And you're not afraid to do that.

1422
01:11:53,280 --> 01:11:55,640
Speaker 1: You don't wait for someone else to tell you that

1423
01:11:55,760 --> 01:11:58,920
Speaker 1: it's good. That's very unusual in this business, and you

1424
01:11:59,080 --> 01:12:01,240
Speaker 1: have to just know that it means a lot. Thank you.

1425
01:12:01,920 --> 01:12:03,640
Speaker 1: I feel very awkward, but I'm just gonna see you're

1426
01:12:03,640 --> 01:12:05,200
Speaker 1: welcome and move on. I do not do well with

1427
01:12:05,280 --> 01:12:08,439
Speaker 1: compliment at all. Uh, It's it's really been a pleasure.

1428
01:12:08,439 --> 01:12:10,439
Speaker 1: Thank you for coming by. I'm a huge fan. And

1429
01:12:11,000 --> 01:12:13,640
Speaker 1: now because I met your husband and love, we had

1430
01:12:13,680 --> 01:12:16,360
Speaker 1: a great time. He told me. I was I was like,

1431
01:12:16,479 --> 01:12:19,519
Speaker 1: I've met everybody in the whole world, but she so

1432
01:12:19,680 --> 01:12:22,599
Speaker 1: we have like thank you'll see each other all the time.

1433
01:12:22,640 --> 01:12:25,080
Speaker 1: Will be great. I'll see at the want of these games. Yeah,

1434
01:12:25,120 --> 01:12:29,599
Speaker 1: I'll see yeah. Shane mcinaley Here, episode what Mikelo just five?

1435
01:12:29,840 --> 01:12:35,000
Speaker 1: Episode five? Shane mcinale, You want to promote anything, right night? Twitter?

1436
01:12:35,160 --> 01:12:37,880
Speaker 1: And I think you promoted the show and promoting the

1437
01:12:37,920 --> 01:12:40,720
Speaker 1: crap out of me a Shane mcnealian. And we'll back

1438
01:12:41,280 --> 01:12:44,599
Speaker 1: next time Monday or next week. I think Aubrey Seller

1439
01:12:44,680 --> 01:12:49,280
Speaker 1: is coming in. Aubrey is awesome, and I mean yeah,

1440
01:12:49,360 --> 01:12:52,800
Speaker 1: and you mentioned her earlier. She's she's the best. So okay,

1441
01:12:53,439 --> 01:12:54,799
Speaker 1: I guess we're gonna go fin everybuddy,