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Speaker 1: This one's really interesting because this guy kind of changed

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Speaker 1: the sound of country music guitar wise. And it's episode

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Speaker 1: three thirty six. Adam Schoenfeld, which you may not know

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Speaker 1: his name, but you definitely know a lot of his work.

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Speaker 1: And these are some of my favorite ones to do.

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Speaker 1: So a few things. One he's played on over forty

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Speaker 1: number ones. UM, A lot of the audi and stuff,

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Speaker 1: A lot of the rock sound that has come to

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Speaker 1: country is because of Adam. He is now Tim mcgirl's

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Speaker 1: guitar player. He's been a guitar player for the last

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Speaker 1: nine years. He just put out a solo album. But

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Speaker 1: his sound is like the big, crunchy, loud opening stuff

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Speaker 1: for example, Save a Horse, Ride a Cowboy, which before

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Speaker 1: this there wasn't a lot of that kind of rock

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Speaker 1: country infuse sound, UM, very aggressive, like Jason Aldean's Hicktown

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Speaker 1: Here you Go. So he's really made a name for

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Speaker 1: himself by I do, Jason, that's what we're doing this

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Speaker 1: podcast with Adam show Unfeld. I do like the way

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Speaker 1: that sounds. UM. So this kind of rock influenced country

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Speaker 1: that's changed a part of the genre. And so it's

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Speaker 1: it's a really interesting one here and then we'll talk

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Speaker 1: about his music too, and um, let's let's do it.

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Speaker 1: He just got back from playing the Houston Rodeo with

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Speaker 1: Tim McGaw. I think he got on a four a

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Speaker 1: UM flight to come back and do this podcast, which

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Speaker 1: I must say I'm very thankful for UM. And then

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Speaker 1: he's also written massive songs. So here we go, Adam

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Speaker 1: show Unfeld. I hope you listen to this one and

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Speaker 1: you learn a little something, and you learn a little

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Speaker 1: something about somebody you didn't know, and that's the deal,

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Speaker 1: and that's that on that all right, let's go. How

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Speaker 1: are you? I'm good man, how are you? Where did

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Speaker 1: you come from? Blairstown, New Jersey? Meaning like you were

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Speaker 1: born there? I was born Long Island, Okay, Long Island,

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Speaker 1: then moved the Blairstown at the ripe age of three.

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Speaker 1: I guess I meant, where did you come from before

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Speaker 1: you came literally over here? Yes, would be Blair's town

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Speaker 1: and Drew, Yeah, yeah, were you out? We're on the

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Speaker 1: road with McGraw this weekend right now. Yeah, today night

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Speaker 1: got the rodeo, got it? Got it? So you played

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Speaker 1: the rodeo with McGraw, got up at four thirty this morning,

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Speaker 1: Where where did you wake up a four thirty here

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Speaker 1: or in Houston? Houston popped on the place. Well, I

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Speaker 1: wanted to see you. Yeah, I appreciate that. It's just

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Speaker 1: like I wake up at four thirty, but I have

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Speaker 1: to do that norm It still sucks. Yeah, it sucks

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Speaker 1: every day I have to wake up a four thirty.

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Speaker 1: But so to play the Houston Rodeo, that's pretty massive,

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Speaker 1: like probably one of the more massive scenes, right, totally.

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Speaker 1: How many people they fit in there? I don't know

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Speaker 1: if it's fifty. I think it's a lot, right, Uh So,

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Speaker 1: so many questions, and I want to get to your

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Speaker 1: influence on the sound of today's country music. We'll talk

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Speaker 1: about your record, but just starting with the McGraw stuff,

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Speaker 1: since that's that's what we're here. You ever play and

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Speaker 1: you know you hit a wrong note and you look

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Speaker 1: around to wonder it, Well, I wonder if anyone else

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Speaker 1: noticed I hit a wrong note, because as good as

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Speaker 1: you are, even even Lebron misses, you know, a ten

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Speaker 1: foot or occasionally? Does that ever happen? Oh? Yeah? Well,

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Speaker 1: the thing is we have so many people up there

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Speaker 1: on that stage that most people in the audience, I

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Speaker 1: don't think notice. No, I don't even notice yet, but

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Speaker 1: the guys in the band, if they have you in

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Speaker 1: their mix, they notice, and we usually give a smile.

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Speaker 1: I usually raise my hand when it's me that I

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Speaker 1: commit of the foul? Do you does McGraw or is

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Speaker 1: he so into it? If, like say the drum or Dino,

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Speaker 1: who you know we've been friends with a long time.

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Speaker 1: Let's say somebody does something that's just slightly different or off,

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Speaker 1: will he look at you and be like, okay, I

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Speaker 1: caught that. Well? Yeah, I mean, whether it's good or bad,

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Speaker 1: he will turn around and give you one of those.

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Speaker 1: So if it's really good too, Let's say you're just

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Speaker 1: like feeling it one night. Yeah, if you're crushing it

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Speaker 1: and he notices, he'll he'll he'll give you that look.

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Speaker 1: And if you're crushing it in a bad way, it'll

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Speaker 1: give you that look. Yeah. But it's never that he

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Speaker 1: never finds you, like James Brown used to do, find

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Speaker 1: everybody you know in our studio on our radio show.

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Speaker 1: You know, we have my desk and everybody sits around me.

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Speaker 1: Similar environment where everybody's going. But if somebody's like really on,

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Speaker 1: you don't want to call it out and be like

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Speaker 1: you're killing it because you're almost Jinks in it. And

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Speaker 1: you also don't be like, hey, you're sucking today. But

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Speaker 1: there will be a glance if somebody's crushing it where

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Speaker 1: I'm like, hey, that's great. Yeah, probably the same thing

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Speaker 1: your team. Same thing is player on the team's killing it.

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Speaker 1: So you're a guitar story. Let's go back to where

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Speaker 1: you came from, uh to be such an excellent player,

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Speaker 1: because you've also played the drums or you do play

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Speaker 1: the drums a little bit guitar, Like, where did your

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Speaker 1: fascination with music and you know, instruments start? It started

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Speaker 1: with the records in my house as a kid, namely

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Speaker 1: like Peter Frampton comes alive, things like you have one

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Speaker 1: of the you ever played one of that? I do have.

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Speaker 1: I have one of those now, yeah I never For

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Speaker 1: years I didn't, and I always wondered what they look like,

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Speaker 1: how to use them, you know, and I still don't

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Speaker 1: even know if I know exactly how to use it

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Speaker 1: and put it in your mouth and your teeth start

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Speaker 1: falling out? What's it called talk box? Okay? Yeah? And

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Speaker 1: so for those that don't know, on Frampton comes alive,

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Speaker 1: he's playing and it's obviously live and he starts and

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Speaker 1: then like, I think about that too. When I think

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Speaker 1: like this, I guess the seventies that's the music. Frampton

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Speaker 1: Comes Alive as an album that I really think about.

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Speaker 1: So you were listening to that because parents were, well, yeah,

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Speaker 1: I was in the house. Um, you know, my brother

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Speaker 1: had l O's greatest hits. Def Leppard by Romania was

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Speaker 1: like the first vinyl I remember Beatles records, you know,

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Speaker 1: but the audience on the Frampton Comes Alive and Clapton

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Speaker 1: just one night record my dad brought home to me.

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Speaker 1: The audience spoke to me like that attracted me to

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Speaker 1: like I got chills from the sound of the audience,

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Speaker 1: and so that kind of kind of makes sense because

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Speaker 1: I love the in front of a crowd. Did you

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Speaker 1: have people in your house that also played music that

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Speaker 1: could um, you know, preliminarily leyt direction Not really, not really.

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Speaker 1: My brother was a drummer, but he passed away early.

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Speaker 1: I was eleven, he was fourteen, So I didn't really

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Speaker 1: have this ultra cool musical influence to keep me from

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Speaker 1: listening to some less cool music that I listened to

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Speaker 1: in the eighties. Unfortunately, you know, with your brother being

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Speaker 1: a drummer in him passing away, was your family at all, Like, hey,

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Speaker 1: maybe you don't do music. No, my my parents always

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Speaker 1: supported me. They got behind me every everything I wanted

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Speaker 1: to do. So when did you What did you get first?

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Speaker 1: You played drums or you played guitar? Guitar? Yeah? Did

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Speaker 1: you play so you could play with your brother and

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Speaker 1: have like a mini little house? No, I just I

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Speaker 1: mean it happened the same Christmas. He got his drum

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Speaker 1: set the same year I got a guitar. Is it

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Speaker 1: because he wanted drums more than so you got a guitar?

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Speaker 1: So yeah, I was always a yeah, yeah, you know.

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Speaker 1: Unfortunately I don't have many memories of my brother. I

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Speaker 1: was only eleven, so memories go away. You get to

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Speaker 1: look at pictures to have some of that stuff come back.

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Speaker 1: You know a lot when you first start playing, do

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Speaker 1: you because my story is not like yours at all,

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Speaker 1: because I am terrible. I played for comedy purposes, right,

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Speaker 1: But I went and bought a chord sheet at Walmart

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Speaker 1: from the post there should be posters the big box.

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Speaker 1: You slap them and said, I'll take that poster. But

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Speaker 1: there's a court seat from Walmart and I learned how

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Speaker 1: to do my hands. You where did it start for you?

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Speaker 1: As far as learning how to actually play. I took

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Speaker 1: lessons from a friend named Scott Pince at he was eighteen.

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Speaker 1: He was the he was the teacher in town and

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Speaker 1: I was five, So I took lessons from him till

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Speaker 1: I was five, started until about fourteen. Then when I

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Speaker 1: was fifteen or sixteen, I took from a Berkeley guy

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Speaker 1: for about a year. I should be way better at

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Speaker 1: what I do as a five year old taking lessons.

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Speaker 1: What I think of is when I was nineteen trying

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Speaker 1: to train myself even I was like, ow my fingers,

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Speaker 1: How are you five? And you're still bad at at something?

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Speaker 1: Yet you continue because playing guitar is not something you

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Speaker 1: just go, hey, I'm pretty good at this. Yeah, I

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Speaker 1: don't know. I I don't remember maybe five years old

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Speaker 1: sticking with anything at five? You know? So when did

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Speaker 1: you actually start to play music that people could understand?

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Speaker 1: I guess that would be chords, Yeah, well and be

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Speaker 1: my uh. I think by the time I was ten

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Speaker 1: or something, I was making sense of it. I was

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Speaker 1: in bands at the age of fourteen. That's wild that

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Speaker 1: you were ten and you're already pretty good at playing guitar. Yeah,

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Speaker 1: I was decent When I was fourteen. My first band

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Speaker 1: was with the seventeen eights and year old. Were you

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Speaker 1: the kid that was known as the musical Kid? Yeah,

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Speaker 1: I mean that was that kids athletic. Yeah, most of

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Speaker 1: the other kids were older. There weren't many my age

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Speaker 1: that I remember. Well, I guess there were a tunnel

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Speaker 1: vision man. I just went for it my whole life.

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Speaker 1: So electric guitar, acoustic, electric, Well, the first one was acoustic,

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Speaker 1: but the electric came real quick, like a year or

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Speaker 1: two after and thing with the electric when I started

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Speaker 1: to tinker, it's a different It's the same instrument, but

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Speaker 1: it's a different instrument because I basically only play acoustic

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Speaker 1: now because my shows. Who cares, I'm doing comedy. Um,

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Speaker 1: But the first couple times I picked up an electric,

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Speaker 1: I was like, wow, these notes will stay longer. Yeah,

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Speaker 1: like you hit it and it doesn't go away. And

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Speaker 1: so as a kid, did you I did it? Once

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Speaker 1: you started playing the electric guitar, is did you identify

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Speaker 1: with it more? As like this instrument speaks to me

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Speaker 1: a little more? I think so. Yeah. I think just

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Speaker 1: the fact that you could turn it up and crank it.

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Speaker 1: My first band, it was a metal band. You know,

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Speaker 1: we're playing Slayer and Metallica. First cover song I think

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Speaker 1: I did was Detroit Rock City and it was just

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Speaker 1: that that rush here in the drums and trying to

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Speaker 1: turn your amp up over the drums and all that.

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Speaker 1: It's just amazing. So what's the goal when you're sixteen

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Speaker 1: or seventeen years old to be an artist? You know,

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Speaker 1: do you want you want to lead a band, do

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Speaker 1: you want to be a solo artist? I just wanted

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Speaker 1: the rock man to be a rock star. So then

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Speaker 1: what do you do when? And when do you do it?

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Speaker 1: Do you move at eighteen nineteen? Pretty much? You know,

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Speaker 1: we were We were in a band that moved down

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Speaker 1: here because the manager wanted to make us stars. And

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Speaker 1: it was kind of a rock band, more like Billy

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Speaker 1: Joel meets a soul blues thing. The lead singer played

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Speaker 1: piano and saying but yeah, the guy wanted to make

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Speaker 1: us stars. And we didn't have any thought in our

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Speaker 1: head of well, it's Nashville. We can't go down there.

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Speaker 1: We're not country, So we just came down. You know,

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Speaker 1: So who is this guy? Where? How did he find

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Speaker 1: you guys. His name was Terry Sasser. I don't know

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Speaker 1: where he is um now, but he told me I'd

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Speaker 1: never work again in this town when I quit that band. Ok,

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Speaker 1: I want to get to that. But how does he

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Speaker 1: find you? Got? It was? It was a bass player,

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Speaker 1: um so a friend of ours, Justin Toccer, who was

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Speaker 1: a great producer down in Louisiana. He came up and

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Speaker 1: played bass on our first recording in our singers basement.

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Speaker 1: But where does this guy find? But who? Like, how

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Speaker 1: do you guys get together? Like, I'm just curious about

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Speaker 1: this first band. Oh the band? Yeah, Like, how do

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Speaker 1: you know these guys? Man? It was um I think

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Speaker 1: if I remember correctly, I met the singer Nathan because Scott,

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Speaker 1: who was my teacher, was also played with me at

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Speaker 1: that point. I don't think I was taking lessons anymore.

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Speaker 1: I think we're just playing together and he knew his father,

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Speaker 1: I think. And that's how we organically. Yeah, it was total,

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Speaker 1: total organic. And you want the singer I was not

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Speaker 1: Did you do background vocals? I did a little bit.

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Speaker 1: Did you have were you younger than the other guys? No,

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Speaker 1: we were all the same age that band. Did you

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Speaker 1: want to sing I always wanted to sing. Yeah, yeah,

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Speaker 1: I mean if I was like, yeah, I have always

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Speaker 1: for years, you know. Um, I just wasn't that good

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Speaker 1: at it and wasn't that comfortable with it. So when

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Speaker 1: do you guys start playing and making twenty bucks or so? Um?

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Speaker 1: Never really he didn't really. I mean we went into

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Speaker 1: New York City and played the Bitter End, but that

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Speaker 1: wasn't to make any money that I remember. Maybe Nathan's

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Speaker 1: dad pocketed it. I don't know. You know, so, how

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Speaker 1: does this sassir find you or here? So it was

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Speaker 1: just and he came up played on a recording, but

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Speaker 1: he had already moved down here. Um, and he was

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Speaker 1: road base player for an act and this guy was

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Speaker 1: managing her and he played him the recordings. Now was

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Speaker 1: this guy he's already in management. But do you feel

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Speaker 1: like he actually heard something or he just wanted to

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Speaker 1: expand his brand a little bit with the band? I

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Speaker 1: think he heard something. Yeah, we definitely had something, you know,

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Speaker 1: when we were young and good looking, and you know,

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Speaker 1: I will some of us were. So you all moved

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Speaker 1: down he lived together. Yeah, Shelby Street, East, Nashville. Five guys,

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Speaker 1: one house, less than a hundred dollars each in rent

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Speaker 1: Boy the five guys thing though, And I'm assuming that

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Speaker 1: you're splitting it five ways almost equally, I mean equally,

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Speaker 1: just depending on what the band is. Uh, not a

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Speaker 1: lot of money there, No five dollars a month. It

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Speaker 1: was great, you know, some of we were waiting tables

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Speaker 1: doing stuff like that, you know, bartending. You moved down

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Speaker 1: and do you go right to a studio? Um? You

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Speaker 1: know we did. You're talking about that band because because

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Speaker 1: you move we started playing. Um. I don't know if

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Speaker 1: we did any recordings. I jumped into recording with some

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Speaker 1: other people and my own blues stuff at the time

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Speaker 1: because I wanted to sing, you know. But we played

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Speaker 1: Jack's guitar bar. I don't know if you remember that place.

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Speaker 1: UM and Keith Urban used to play there, and I

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Speaker 1: think lusen to Williams, Kim Richie, Steve Earle, they were

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Speaker 1: all staples there. Bullet hole in the windows on Nolinsville Road,

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Speaker 1: right by four or forty. So this band obviously didn't

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Speaker 1: work out, yeah, or you wouldn't be here in this

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Speaker 1: capacity now. Um. And then so why does the guy

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Speaker 1: say you'll never work in this town again? I think

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Speaker 1: I was the second to quit, and he was frustrated.

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Speaker 1: I think, who says that though you'll never work in

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Speaker 1: this town again? That guy, I think I think he's

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Speaker 1: hiding out on an island. Yeah, I mean that's just

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Speaker 1: maybe that's just such anole thing to say. Um, yeah,

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Speaker 1: it was. Were you scared that you may never work

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Speaker 1: in this town again? So then what do you do?

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Speaker 1: You're here, you're here, and you've got to know some folks.

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Speaker 1: You kind of understand the culture a little bit. The

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Speaker 1: band is not you quit the band, So what do

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Speaker 1: you do? Well? You know, I played with everybody that

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Speaker 1: I could play with, whether it was for free or

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Speaker 1: paid twenty five bucks here and there, and then just

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Speaker 1: started to grab gigs and most importantly landed the job

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Speaker 1: at Woodland Studios in East Nashville. And that job was playing.

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Speaker 1: The job was answering phones. But but we could use

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Speaker 1: any of the three studios we wanted to on our

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Speaker 1: own music if we had an engineer with us. And um,

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Speaker 1: the owner, Bob Solomon, he had a publishing company, and

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Speaker 1: he used me and my friends as the band, the

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Speaker 1: house band. So that's how we cut our teeth as

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Speaker 1: session musicians. So he let you use the studio and

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Speaker 1: as long as you had an engineer and as long

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Speaker 1: as we answered the phone, but you still got paid money. Yeah,

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Speaker 1: Franks on the phone. Yeah he was pretty he was awesome.

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Speaker 1: He was a great gig. It was awesome for someone

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Speaker 1: in music that's starting out. It was the best thing

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Speaker 1: that ever happened to me. So you talked about the

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Speaker 1: publishing and you would be the house band. So somebody

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Speaker 1: writes a song doing demos, Yeah, exactly did you remember?

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Speaker 1: And again, I'm gonna kind of tickle the memory a

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Speaker 1: little bit. Did you ever cut any demos that turned

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Speaker 1: out to be something pretty cool? Way later? We there

306
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Speaker 1: was nothing of note in that batch. Unfortunately. I wish

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Speaker 1: there was for Bob, but but there wasn't that that

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Speaker 1: I remember. So you do that for how long? Um?

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Speaker 1: A few years? A few years, and then started to

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Speaker 1: grab little gigs here and there, and some of the

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Speaker 1: guys I met through there, UM started to hire me

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Speaker 1: and and um and then yeah, gigs. I'd take a gig,

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Speaker 1: I'd come back, I'd take a gig, I'd come back.

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Speaker 1: Then I worked at a music store for a little

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Speaker 1: while downtown that's not there anymore. And UM, gig World

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Speaker 1: midnight window. It was called gig gig World, and we

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Speaker 1: had a midnight window. Like I would stay there after hours.

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Speaker 1: If somebody broke broke strings drumsticks on Broadway, they'd come

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Speaker 1: running down to the window and give me five bucks

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Speaker 1: and a hand him there. You know. It was. It

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Speaker 1: was a cool little thing. You know, when you're saying

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Speaker 1: you're playing gigs, are you going out and playing guitar

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Speaker 1: for for people that need one pretty quickly? Local? Well locally? Um.

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Speaker 1: I never did like crazy fast pickup gigs because I

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Speaker 1: never did a lot of cover songs. It was usually

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Speaker 1: people's original music and you know, stuff with a couple

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Speaker 1: of rehearsals and a couple of shows. You know. One

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Speaker 1: of my favorite ones was Millard Powers. Um, he's Counting

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Speaker 1: Crows bass player. Now power pop dude, really really awesome.

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Speaker 1: That was fun. So what was he assault? Was he

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Speaker 1: an artist? He was? He was like he had this

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Speaker 1: he had this record. I don't think he ever put

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Speaker 1: it out, but he played every instrument in himself and

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Speaker 1: it was just really cool power pop stuff. At this stage,

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Speaker 1: you've worked in a studio and you've you know, introduce

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Speaker 1: yourself to that world. I mean, you kind of That's

337
00:16:40,960 --> 00:16:44,080
Speaker 1: that's you were more than introduced, Like I mean, you

338
00:16:44,080 --> 00:16:46,800
Speaker 1: were kind of running you know that spot because you're

339
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Speaker 1: you're getting to use it yourself, you're working with other people. Uh,

340
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Speaker 1: do you start to go, hey, maybe I want to

341
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Speaker 1: like really dial into be a guitar player more than

342
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Speaker 1: an artist. Yeah, I did, and and that kind of

343
00:16:59,120 --> 00:17:01,520
Speaker 1: swept me away him there, because I would get inspired

344
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Speaker 1: hearing these guitar players through the wall. You know, it's

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Speaker 1: the first time I heard Ja Joyce. You know, I

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Speaker 1: think I think he was working It was either Flaming

347
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Speaker 1: Ready he was working on, or Radney Foster See What

348
00:17:11,520 --> 00:17:14,240
Speaker 1: you want to See, both two of my favorite albums

349
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Speaker 1: ever Um And that's you know, the first place I

350
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Speaker 1: heard Jay and and I I hadn't even heard of

351
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Speaker 1: Iodine because I was a little late to Nashville for

352
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Speaker 1: that his his rock band, Um. But yeah, that that

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Speaker 1: place was definitely the launching pad. What do you remember

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Speaker 1: about seeing Ja Joyce before he became J Joyce the

355
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Speaker 1: uh was super successful producer. Yeah. I remember a lesson

356
00:17:37,400 --> 00:17:40,520
Speaker 1: he taught me, and that was, you know, after hours,

357
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Speaker 1: I'd go in and peek at the gear and see,

358
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Speaker 1: you know what he had and he was in the

359
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Speaker 1: kitchen one morning. I was like, hey, ja, miss, so

360
00:17:47,080 --> 00:17:49,159
Speaker 1: what are you using that pedal for? And this pedal?

361
00:17:49,600 --> 00:17:51,959
Speaker 1: He looks at me and he's like, hey man, just

362
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Speaker 1: get your own thing. And I was part partially a

363
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Speaker 1: little crushed, but I kind of took it to heart

364
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Speaker 1: and I was like, Okay, I'm cool to do my thing.

365
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Speaker 1: And I got to use that on somebody, a younger

366
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Speaker 1: player later in life, so that was cool. And him

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Speaker 1: saying do your own thing or use your own thing

368
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Speaker 1: was him saying, identify what you do and what you're

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Speaker 1: good at doing and what you can get better at

370
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Speaker 1: and do that. Yeah. And I think that's why I

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Speaker 1: kind of got where I went is I just did

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Speaker 1: what I do. And I think that's kind of what

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Speaker 1: gets new session guys in the door and girls too.

374
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Speaker 1: The session experience as wild because you guys are so

375
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Speaker 1: good and I'll remove myself and remove you from you know,

376
00:18:33,119 --> 00:18:34,760
Speaker 1: the McGraw stuff, And I do want to get back

377
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Speaker 1: to being a guitar player on a stage of playing

378
00:18:37,720 --> 00:18:41,720
Speaker 1: live music, but the session stuff is tough because you've

379
00:18:41,720 --> 00:18:44,800
Speaker 1: got to be the best of the best, because the

380
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Speaker 1: best is that on the road playing with pretty good acts.

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00:18:49,840 --> 00:18:53,040
Speaker 1: The best of the best stays in Nashville. You don't

382
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Speaker 1: travel very far and go to studio to studio, and

383
00:18:56,600 --> 00:18:59,960
Speaker 1: they can do that because they are elite. Yeah, it's great.

384
00:19:00,040 --> 00:19:02,840
Speaker 1: I feel like I'm in an impostor. I was on

385
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Speaker 1: the phone with a friend the other day. He goes,

386
00:19:04,400 --> 00:19:07,400
Speaker 1: do you have imposter syndrome? Like I do? I'm like, yeah,

387
00:19:07,440 --> 00:19:10,120
Speaker 1: I do. What how did I get here? There's so

388
00:19:10,160 --> 00:19:14,040
Speaker 1: many guys that are brilliant, technically amazing, and you know,

389
00:19:14,400 --> 00:19:17,119
Speaker 1: I think I've heard the room. The secret of the

390
00:19:17,200 --> 00:19:19,560
Speaker 1: room full of the best musicians in the world is

391
00:19:19,600 --> 00:19:23,160
Speaker 1: they all think they're the worst, which for the most part,

392
00:19:23,160 --> 00:19:24,639
Speaker 1: I think it's true, except for a few guys I

393
00:19:24,680 --> 00:19:28,639
Speaker 1: won't name that. It sounds to this point like you

394
00:19:28,680 --> 00:19:32,840
Speaker 1: are living a musician life, kind of balancing around learning,

395
00:19:32,880 --> 00:19:36,840
Speaker 1: getting better, slowly climbing whatever the wild ladder is of

396
00:19:36,840 --> 00:19:40,240
Speaker 1: of a creative But when did this is a word

397
00:19:40,240 --> 00:19:43,600
Speaker 1: that doesn't really exist in either one of our lives,

398
00:19:43,640 --> 00:19:47,359
Speaker 1: But when did any sort of stability start to happen?

399
00:19:47,520 --> 00:19:50,000
Speaker 1: That would be the Big and Rich days, you know

400
00:19:50,440 --> 00:19:53,080
Speaker 1: a little before that, you know, John and John Rich

401
00:19:53,119 --> 00:19:55,280
Speaker 1: and Big Kenny started hiring me on all their demos.

402
00:19:55,320 --> 00:19:58,359
Speaker 1: I was in a rock band with Big Kenny called

403
00:19:58,400 --> 00:20:01,320
Speaker 1: love Joy met John to that start. He had his

404
00:20:01,400 --> 00:20:04,280
Speaker 1: publishing deal with Warner Chapel. They used me on all

405
00:20:04,320 --> 00:20:07,280
Speaker 1: their demos. I started getting on records because I was

406
00:20:07,320 --> 00:20:10,359
Speaker 1: on these demos of John's UM. And then they had

407
00:20:10,359 --> 00:20:14,920
Speaker 1: the big Enrich record, so the don and I'll play

408
00:20:14,920 --> 00:20:23,359
Speaker 1: it now here you go, so two thousand four to

409
00:20:23,359 --> 00:20:27,639
Speaker 1: Save a Horse Ride Cowboy now um. Having friends that

410
00:20:27,640 --> 00:20:31,240
Speaker 1: are are good guitar players, you know, tone is it's

411
00:20:31,280 --> 00:20:33,359
Speaker 1: like the it's the thing. You want to have your

412
00:20:33,359 --> 00:20:35,199
Speaker 1: own tone. You wanna have a specific tone. It's the

413
00:20:35,200 --> 00:20:38,480
Speaker 1: tone just slightly off. It ain't right, but there's a

414
00:20:38,520 --> 00:20:41,719
Speaker 1: distinct tone to this UM. And I don't think I

415
00:20:41,720 --> 00:20:45,480
Speaker 1: had heard it prior in popular country music. Yeah, I

416
00:20:45,480 --> 00:20:48,919
Speaker 1: think it was new for country music for sure. Yeah.

417
00:20:49,280 --> 00:20:51,040
Speaker 1: Did you come out of the box and go, hey,

418
00:20:51,080 --> 00:20:54,919
Speaker 1: I think this is the tone? Like what what's that? Man?

419
00:20:55,440 --> 00:20:57,800
Speaker 1: You know? John actually had that riff and that was

420
00:20:57,840 --> 00:21:01,719
Speaker 1: just me playing it, you know, And that was a

421
00:21:01,760 --> 00:21:04,240
Speaker 1: common tone for me that I used when I was

422
00:21:04,600 --> 00:21:06,480
Speaker 1: just playing rock and roll. You know. I hadn't really

423
00:21:06,480 --> 00:21:08,960
Speaker 1: done much country music at that time, But the riff

424
00:21:08,960 --> 00:21:13,520
Speaker 1: and the tone are different, meaning you can have the riff,

425
00:21:13,560 --> 00:21:15,359
Speaker 1: but you may not have the tone. You can have

426
00:21:15,480 --> 00:21:18,880
Speaker 1: something light, or you could have something uh, you know so,

427
00:21:18,920 --> 00:21:21,960
Speaker 1: but that is a it's hard to explain what that

428
00:21:22,000 --> 00:21:26,960
Speaker 1: tone is. But that's a little grittier then I think

429
00:21:27,000 --> 00:21:30,120
Speaker 1: I had heard leading up to that point. Yeah, and

430
00:21:30,359 --> 00:21:33,960
Speaker 1: it also gives that song. The riff is great, but

431
00:21:34,040 --> 00:21:36,720
Speaker 1: the tone of that that that opening riff gives that

432
00:21:36,760 --> 00:21:42,040
Speaker 1: song such texture. And you cut the song. Do you

433
00:21:42,080 --> 00:21:43,879
Speaker 1: cut the demo with that? I guess, or did it

434
00:21:44,000 --> 00:21:45,560
Speaker 1: change when you actually go into the studio. I think

435
00:21:45,600 --> 00:21:47,680
Speaker 1: that was the demo. I think that the demo became

436
00:21:47,720 --> 00:21:49,399
Speaker 1: the record. I don't think we ever did an actual

437
00:21:49,560 --> 00:21:53,480
Speaker 1: demoly Horse. You know a lot of those John and

438
00:21:53,560 --> 00:21:57,200
Speaker 1: Kenny songs were demos that were really the record. I think.

439
00:21:57,800 --> 00:22:00,359
Speaker 1: I don't think we did a version of that had time.

440
00:22:00,640 --> 00:22:02,720
Speaker 1: Like Redneck Woman, we did a demo and I didn't

441
00:22:02,720 --> 00:22:05,360
Speaker 1: play in the record, but and then like Hicktown jump

442
00:22:05,400 --> 00:22:07,919
Speaker 1: into another song I played on the demo, which is

443
00:22:08,000 --> 00:22:10,959
Speaker 1: why I played on that record. For al Dean, this

444
00:22:11,040 --> 00:22:15,359
Speaker 1: is like the baby that grows into the adult later. Yeah,

445
00:22:15,440 --> 00:22:17,439
Speaker 1: you know, because this is the first space you kind

446
00:22:17,440 --> 00:22:24,880
Speaker 1: of hear it. I'll play a couple more of these.

447
00:22:24,920 --> 00:22:28,040
Speaker 1: This is Mississippi Girl by Faith Hill and you co

448
00:22:28,119 --> 00:22:34,199
Speaker 1: wrote this with John Richard. Yeah, and we'll get to

449
00:22:34,280 --> 00:22:37,240
Speaker 1: some al Dean in depth later. But here is Hicktown

450
00:22:37,359 --> 00:22:42,880
Speaker 1: two thousand five um heavy rock influence. I think when

451
00:22:42,960 --> 00:22:46,719
Speaker 1: I think of al Dean without knowing it until recently

452
00:22:46,760 --> 00:22:48,840
Speaker 1: when I started to read more about you, I should

453
00:22:48,840 --> 00:22:51,960
Speaker 1: think about you more because a lot of what you

454
00:22:52,040 --> 00:22:56,040
Speaker 1: have done with him is what defines him. Yeah. I

455
00:22:56,080 --> 00:22:59,200
Speaker 1: mean a big percentage of the guitars on those records

456
00:22:59,280 --> 00:23:01,680
Speaker 1: or me, you know, and I do am the quote

457
00:23:01,720 --> 00:23:04,520
Speaker 1: band leader on the sessions, but you know, everybody puts

458
00:23:04,560 --> 00:23:07,200
Speaker 1: their input and it's at some of all parts for sure.

459
00:23:08,040 --> 00:23:12,240
Speaker 1: So let's see here a lot of Aldine give me lights,

460
00:23:12,280 --> 00:23:16,280
Speaker 1: come on, Mike. I mean that right again. You hear

461
00:23:16,320 --> 00:23:19,760
Speaker 1: that immediately. It's not just the riff, it's also that

462
00:23:19,880 --> 00:23:22,640
Speaker 1: the kind of dark rocky tone of it. When someone

463
00:23:22,720 --> 00:23:24,159
Speaker 1: hired like an Audi and says, hey, come back in,

464
00:23:24,240 --> 00:23:25,879
Speaker 1: we want you to do this, do they expect that's

465
00:23:25,920 --> 00:23:28,440
Speaker 1: what you're bringing now? Yeah? You think? Yeah? I mean

466
00:23:28,520 --> 00:23:30,399
Speaker 1: for a while I felt like people thought I was

467
00:23:30,440 --> 00:23:33,119
Speaker 1: just the guy that did power chords in country music,

468
00:23:33,200 --> 00:23:35,359
Speaker 1: you know, and and didn't think I did anything else,

469
00:23:35,880 --> 00:23:39,520
Speaker 1: you know. And granted I gravitate towards that for sure,

470
00:23:39,840 --> 00:23:44,800
Speaker 1: you know. Um, but yeah, it definitely you get known

471
00:23:44,880 --> 00:23:48,640
Speaker 1: for what you first do, I think, or you get Yes,

472
00:23:48,720 --> 00:23:51,440
Speaker 1: you definitely get known for what you first do, especially

473
00:23:51,480 --> 00:23:55,159
Speaker 1: what you first do that that works, that works wonderfully

474
00:23:55,359 --> 00:23:59,160
Speaker 1: right right. Um? But like J Joyce said to you,

475
00:23:59,160 --> 00:24:02,640
Speaker 1: you know, do your thing. Yeah yeah, So how would

476
00:24:02,680 --> 00:24:05,480
Speaker 1: you describe your thing as a as a player? I

477
00:24:05,520 --> 00:24:07,760
Speaker 1: think I just played for the song. Like, I don't

478
00:24:07,800 --> 00:24:11,840
Speaker 1: feel comfortable if I feel like I've played something before. Um,

479
00:24:11,920 --> 00:24:14,040
Speaker 1: if I'm doing a part, I know for sure i've played.

480
00:24:14,080 --> 00:24:16,880
Speaker 1: I try to change it and do something different. If

481
00:24:16,960 --> 00:24:20,240
Speaker 1: a songwriter or an artist sings me a lick and

482
00:24:20,280 --> 00:24:22,359
Speaker 1: wants me to play it, it's something I heard before,

483
00:24:22,359 --> 00:24:24,520
Speaker 1: I tell them, you know. And I think that's what

484
00:24:24,600 --> 00:24:26,879
Speaker 1: most of the session guys and girls do as they

485
00:24:26,880 --> 00:24:29,639
Speaker 1: played for the song, for sure, you know. So you

486
00:24:29,680 --> 00:24:34,480
Speaker 1: will say to an artist, I don't think so if

487
00:24:34,520 --> 00:24:37,040
Speaker 1: I really know for a fact I've heard it, or

488
00:24:37,200 --> 00:24:39,480
Speaker 1: or if I really have a deep feeling that there

489
00:24:39,560 --> 00:24:42,080
Speaker 1: might be a better thing or a cooler thing if

490
00:24:42,119 --> 00:24:45,679
Speaker 1: someone meets you with I do think so? Um, I

491
00:24:45,760 --> 00:24:49,800
Speaker 1: think so. But nothing too stressful. Yeah, yeah, nothing too stressful.

492
00:24:49,920 --> 00:24:59,680
Speaker 1: Let's run through some of these Aldine burning it down

493
00:25:00,359 --> 00:25:06,400
Speaker 1: and this song was again a slight pivot for Audine musically. Yes,

494
00:25:06,840 --> 00:25:08,960
Speaker 1: I mean, how responsible are you for being a part

495
00:25:08,960 --> 00:25:11,960
Speaker 1: of that that that brain No, I'm not. I mean,

496
00:25:12,000 --> 00:25:14,639
Speaker 1: that's Knox with his song picking and you know, and

497
00:25:14,680 --> 00:25:16,520
Speaker 1: a lot of times we do bass what we're doing

498
00:25:16,640 --> 00:25:19,560
Speaker 1: off the demo, that song in particular, if I remember

499
00:25:19,560 --> 00:25:24,040
Speaker 1: correctly that that mod part on the right, mamam, I

500
00:25:24,080 --> 00:25:26,199
Speaker 1: had I played that for the whole take, you know,

501
00:25:26,240 --> 00:25:28,120
Speaker 1: you could have looped it. But I think I think

502
00:25:28,160 --> 00:25:31,600
Speaker 1: that's Kurt doing the left guitar and then me on

503
00:25:31,640 --> 00:25:32,960
Speaker 1: the right through it. You can hear it left and

504
00:25:32,960 --> 00:25:38,320
Speaker 1: all right. I mean, yeah, yeah, but that's the thing.

505
00:25:38,400 --> 00:25:41,760
Speaker 1: Kurt and I have really gotten a cool magic thing down.

506
00:25:42,000 --> 00:25:44,199
Speaker 1: You know, it's like we've it's been him and I

507
00:25:44,400 --> 00:25:47,280
Speaker 1: since Hicktown was the only one I played electrical in

508
00:25:47,280 --> 00:25:50,399
Speaker 1: the first record, but record two through ten it was

509
00:25:50,480 --> 00:25:53,119
Speaker 1: him and I. It's typically him left me right, and

510
00:25:53,119 --> 00:25:55,480
Speaker 1: then I stay and add stuff you know, I'll add

511
00:25:55,560 --> 00:25:58,000
Speaker 1: extra beef or most of the solos. He's done a

512
00:25:58,000 --> 00:26:00,639
Speaker 1: couple of solos um, So yeah, I kind of know.

513
00:26:01,840 --> 00:26:04,520
Speaker 1: If it's left, it's you the main part. On the left,

514
00:26:04,520 --> 00:26:07,679
Speaker 1: it's sometimes him, usually him, you know, sometimes I'll double it.

515
00:26:07,840 --> 00:26:09,879
Speaker 1: You know, I feel like you can't enjoy music anymore.

516
00:26:10,000 --> 00:26:12,040
Speaker 1: I'll tell you why. That's why I'm singing my own

517
00:26:12,080 --> 00:26:15,359
Speaker 1: songs again. I know, because man, I'm kind of tired

518
00:26:15,400 --> 00:26:17,520
Speaker 1: of guitar, to be honest with you, Yeah, and also

519
00:26:17,560 --> 00:26:19,360
Speaker 1: having a world, but tired of it. Since you are

520
00:26:19,480 --> 00:26:22,080
Speaker 1: in that part of it, I think you probably hear

521
00:26:22,119 --> 00:26:27,240
Speaker 1: everything and you are listening to a little and switches

522
00:26:27,320 --> 00:26:30,520
Speaker 1: and right here, left here, that it's probably hard for

523
00:26:30,560 --> 00:26:32,600
Speaker 1: you to separate and just go I'm just gonna take

524
00:26:32,640 --> 00:26:37,120
Speaker 1: this whole blanket of music as is. Yeah, well, you know, yeah,

525
00:26:37,160 --> 00:26:39,639
Speaker 1: there's a construction to it, and I'm so aware of

526
00:26:39,680 --> 00:26:42,199
Speaker 1: it when it comes to this genre. You know, I

527
00:26:42,320 --> 00:26:45,560
Speaker 1: actually don't listen to the genre I play most that

528
00:26:45,880 --> 00:26:48,640
Speaker 1: that often, you know, I've listened to stuff that just

529
00:26:48,720 --> 00:26:51,000
Speaker 1: completely speaks to me. I'm more I'm more of a

530
00:26:51,680 --> 00:26:55,280
Speaker 1: more attached to like you two style of writing. Left brain,

531
00:26:55,960 --> 00:26:58,600
Speaker 1: you know, poetic kind of writing rather than a story

532
00:26:58,640 --> 00:27:02,000
Speaker 1: about a truck and no offense. Country music. That's just

533
00:27:02,040 --> 00:27:05,840
Speaker 1: what pulls me. And in that music, I'm more thrilled

534
00:27:05,840 --> 00:27:08,199
Speaker 1: with the things I hear because it's usually not of

535
00:27:08,280 --> 00:27:11,200
Speaker 1: the formula that we kind of use here in Nashville

536
00:27:11,760 --> 00:27:16,640
Speaker 1: and probably recreates or influence is what you do, which

537
00:27:16,680 --> 00:27:19,199
Speaker 1: is what makes you different and successful. I mean, I

538
00:27:19,240 --> 00:27:22,000
Speaker 1: don't listen to other radio shows, right, I mean I

539
00:27:22,040 --> 00:27:25,800
Speaker 1: don't and probably don't listen to your own radio show never. Never.

540
00:27:25,880 --> 00:27:30,520
Speaker 1: I mean I would not do you never, God, because

541
00:27:30,600 --> 00:27:32,280
Speaker 1: but what I do listen to. I listen to different

542
00:27:32,320 --> 00:27:35,280
Speaker 1: kind of podcasts that don't have to live the same structure.

543
00:27:35,640 --> 00:27:37,399
Speaker 1: And what I can do is pull things out of

544
00:27:37,440 --> 00:27:41,040
Speaker 1: what other people do wonderfully into what I do. I

545
00:27:41,080 --> 00:27:42,560
Speaker 1: think if I listened to other people do what I

546
00:27:42,600 --> 00:27:45,000
Speaker 1: do all the time, I would just stay doing exactly

547
00:27:45,520 --> 00:27:48,199
Speaker 1: what is being done exactly. And so I feel like

548
00:27:48,200 --> 00:27:51,320
Speaker 1: that's what you're doing as well, and what you have

549
00:27:51,400 --> 00:27:54,840
Speaker 1: done to kind of reshape you know, the music of

550
00:27:54,920 --> 00:27:57,520
Speaker 1: popular country music right now is that you never chased

551
00:27:57,960 --> 00:28:01,360
Speaker 1: being popular country music. No, and I never did. Man,

552
00:28:01,480 --> 00:28:03,680
Speaker 1: I think that's that's the key right with trend setters,

553
00:28:04,000 --> 00:28:06,040
Speaker 1: they're not trying to set a trend. They just are

554
00:28:06,080 --> 00:28:07,919
Speaker 1: so good at what they're doing that's a bit different.

555
00:28:08,200 --> 00:28:10,560
Speaker 1: It then becomes the trend. Do you hear people and

556
00:28:10,640 --> 00:28:12,400
Speaker 1: don't say, you know, I'm saying any names. I feel

557
00:28:12,440 --> 00:28:13,920
Speaker 1: like people are kind of joking your style a little

558
00:28:13,920 --> 00:28:17,679
Speaker 1: bit at times. Well, you know, it's inevitable in this town.

559
00:28:18,240 --> 00:28:24,800
Speaker 1: You know, you you'll take like, uh, for instance, she's country. Um,

560
00:28:24,840 --> 00:28:27,960
Speaker 1: I think Rob McNelly played on the demo I played

561
00:28:27,960 --> 00:28:29,560
Speaker 1: on the record. We changed the lick a little bit

562
00:28:29,600 --> 00:28:31,640
Speaker 1: on the record, partly because I couldn't figure out one

563
00:28:31,680 --> 00:28:34,440
Speaker 1: part of it. You know. So you get this thing

564
00:28:34,520 --> 00:28:37,200
Speaker 1: where you're playing one guy's licks from a demo on

565
00:28:37,240 --> 00:28:39,320
Speaker 1: a record, he's playing your licks from a demo in

566
00:28:39,320 --> 00:28:41,640
Speaker 1: a record. We all start playing each other's stuff, So

567
00:28:41,960 --> 00:28:46,080
Speaker 1: inevitably you're gonna start playing a little bit like your

568
00:28:46,480 --> 00:28:48,760
Speaker 1: your friends, don't you feel like though? There are some

569
00:28:48,800 --> 00:28:50,360
Speaker 1: producers that go, you should listen at them, and then

570
00:28:50,360 --> 00:28:52,120
Speaker 1: we're gonna do that. You're gonna do that today? Yeah,

571
00:28:52,120 --> 00:28:54,840
Speaker 1: I mean people will you know, people will tell me

572
00:28:54,960 --> 00:28:57,880
Speaker 1: they want like a Buka bac thing, you know, and

573
00:28:58,200 --> 00:29:00,160
Speaker 1: so it happens to all of us. You know, it's

574
00:29:00,200 --> 00:29:03,360
Speaker 1: just it's not It could be on purpose, but you know,

575
00:29:03,400 --> 00:29:05,520
Speaker 1: it is what it is. It's just if it works

576
00:29:05,560 --> 00:29:08,320
Speaker 1: and that person is not. There's an old saying one

577
00:29:08,360 --> 00:29:10,840
Speaker 1: of the first guys I worked with in town, Ronnie Godfrey,

578
00:29:10,920 --> 00:29:14,120
Speaker 1: piano player. I think he was in a Marshall Tucker band. Um.

579
00:29:14,200 --> 00:29:18,160
Speaker 1: He said. Right now, they're saying who's at him? And

580
00:29:18,160 --> 00:29:20,080
Speaker 1: in a little while they're gonna say, you gotta get

581
00:29:20,120 --> 00:29:22,920
Speaker 1: at him, And they're gonna say, you can't get at him,

582
00:29:22,920 --> 00:29:28,360
Speaker 1: he's too busy. And then they're gonna say, who's at him? How?

583
00:29:28,640 --> 00:29:31,440
Speaker 1: How how often are you doing studio work? Now? It's

584
00:29:31,480 --> 00:29:35,000
Speaker 1: a little less because you know, I'm balanced tour. Um,

585
00:29:35,200 --> 00:29:39,400
Speaker 1: I'm producing stuff. I'm doing my own records, my own projects. Um.

586
00:29:39,520 --> 00:29:42,560
Speaker 1: My kids are about five hours from here, and I

587
00:29:42,600 --> 00:29:45,480
Speaker 1: go visit them as much as I can. Um. So, yeah,

588
00:29:45,560 --> 00:29:46,880
Speaker 1: not as much as it used to be, but I'm

589
00:29:46,880 --> 00:29:49,680
Speaker 1: still working. I still get the calls, which is nice. Yeah,

590
00:29:49,720 --> 00:29:51,560
Speaker 1: you know, I mean you get the calls, and you

591
00:29:51,560 --> 00:29:53,800
Speaker 1: get those calls, you gotta be pretty freaking good because,

592
00:29:53,800 --> 00:29:56,640
Speaker 1: like I said, the elite gets to work in a

593
00:29:56,640 --> 00:29:59,200
Speaker 1: studio in the air conditioning. The elite and the impostors

594
00:29:59,280 --> 00:30:01,560
Speaker 1: like me. Well, I think we all have a little

595
00:30:01,560 --> 00:30:04,520
Speaker 1: bit of that. You're married to Katie Cook. I sure am.

596
00:30:04,560 --> 00:30:08,360
Speaker 1: I did not know lottery from CC. Yeah, I love

597
00:30:08,400 --> 00:30:10,880
Speaker 1: her too. I did not know that. Uh. I think

598
00:30:10,880 --> 00:30:15,160
Speaker 1: that's why you're most famous to me. Now, Cook, do

599
00:30:15,640 --> 00:30:20,560
Speaker 1: um you like you were influenced by jazz a bit? Yeah?

600
00:30:21,120 --> 00:30:24,360
Speaker 1: Do you feel like that, I'll just use the same word,

601
00:30:25,000 --> 00:30:28,440
Speaker 1: influence your guitar style at all? A little bit, because

602
00:30:28,440 --> 00:30:31,920
Speaker 1: I did learn a bit of improvisation from horn players

603
00:30:31,960 --> 00:30:34,840
Speaker 1: at my my high school that we had actual jazz

604
00:30:34,840 --> 00:30:37,520
Speaker 1: guys from New York and Delaware Water Gap as part

605
00:30:37,560 --> 00:30:40,040
Speaker 1: of our music department. So I did get a little

606
00:30:40,040 --> 00:30:42,480
Speaker 1: bit of that in my in my blood. Always fascinated

607
00:30:42,480 --> 00:30:46,000
Speaker 1: with people who like to play jazz, because you gotta

608
00:30:46,040 --> 00:30:49,080
Speaker 1: be good, and you've gotta be good at just rolling

609
00:30:49,160 --> 00:30:51,640
Speaker 1: with it. Yeah. I wish I was really good at it.

610
00:30:51,680 --> 00:30:54,880
Speaker 1: I'm I'm what I consider a faker at jazz, and

611
00:30:55,280 --> 00:30:58,240
Speaker 1: most people are unless they live it, you know, So

612
00:30:58,840 --> 00:31:02,000
Speaker 1: just play a couple of half note half steps and

613
00:31:02,040 --> 00:31:04,440
Speaker 1: you'll play jazz, you know, just end up on the

614
00:31:04,520 --> 00:31:08,000
Speaker 1: right note. And you're good, you're you know, first sense

615
00:31:08,040 --> 00:31:10,160
Speaker 1: of stability was big and rich. Do you go on

616
00:31:10,160 --> 00:31:12,720
Speaker 1: the road with him for a while? I did? Yeah. Yeah,

617
00:31:13,920 --> 00:31:16,040
Speaker 1: it was a party, but I signed a paper so

618
00:31:16,120 --> 00:31:19,480
Speaker 1: I'm not allowed to say that. Oh my god, No,

619
00:31:19,680 --> 00:31:23,360
Speaker 1: it was. It was a lot of fun. It had

620
00:31:23,400 --> 00:31:27,640
Speaker 1: to be so much fun that it wasn't fun because

621
00:31:27,640 --> 00:31:32,720
Speaker 1: you're tired of over stimulation. Well, I learned about whiskey, yes,

622
00:31:32,920 --> 00:31:39,320
Speaker 1: and uh, never mind, I just have I have other

623
00:31:39,680 --> 00:31:41,480
Speaker 1: friends or people that I know that app toward with

624
00:31:41,560 --> 00:31:45,960
Speaker 1: them or toward and it's just a lot. I don't

625
00:31:46,000 --> 00:31:48,880
Speaker 1: remember a lot, you know. I mean, it seems like

626
00:31:48,960 --> 00:31:51,480
Speaker 1: quite the party. Yeah, it was a party. It was great.

627
00:31:51,560 --> 00:31:55,520
Speaker 1: Are you with them until they break up? Well, I

628
00:31:55,600 --> 00:31:59,400
Speaker 1: kind of was. It was interesting, it was It was

629
00:31:59,480 --> 00:32:01,720
Speaker 1: two thousand and end of two thousand seven or the

630
00:32:01,760 --> 00:32:04,480
Speaker 1: beginning of two thousand eight. I told Kenny I was quitting,

631
00:32:05,000 --> 00:32:08,520
Speaker 1: and then Kenny kind of was going in that direction

632
00:32:08,560 --> 00:32:10,760
Speaker 1: to him and John were kind of falling apart all

633
00:32:10,760 --> 00:32:14,800
Speaker 1: at the same time. Um and uh. But then they

634
00:32:14,800 --> 00:32:17,960
Speaker 1: were still touring in in two thousand nine, they asked

635
00:32:17,960 --> 00:32:20,200
Speaker 1: me to go back out with him to cover that tour,

636
00:32:20,280 --> 00:32:23,280
Speaker 1: so I went back out for that one year. Um,

637
00:32:23,480 --> 00:32:25,719
Speaker 1: but yeah, I saw it all, every every part of it.

638
00:32:26,160 --> 00:32:32,240
Speaker 1: So you discontinue the playing with big, big and rich

639
00:32:32,440 --> 00:32:37,440
Speaker 1: Johnny Kenny. Um, when did the al Dean? When? When

640
00:32:37,520 --> 00:32:41,480
Speaker 1: did that happen? Well, that all happened kind of simultaneously. Um,

641
00:32:41,520 --> 00:32:44,400
Speaker 1: you know, because I ended up being in al Dean's

642
00:32:44,400 --> 00:32:49,000
Speaker 1: showcase band because Knox knew me from John's demo sessions

643
00:32:49,040 --> 00:32:52,560
Speaker 1: from Warner Chapel and by showcase for those and just

644
00:32:52,600 --> 00:32:56,000
Speaker 1: to make sure I'm right, al Dean was showcasing himself

645
00:32:56,000 --> 00:32:58,560
Speaker 1: for a record deal maybe or and he was. So

646
00:32:58,640 --> 00:33:01,040
Speaker 1: you guys were playing in front of a executives, Yes,

647
00:33:01,080 --> 00:33:03,080
Speaker 1: we were, And then we got offered a deal as

648
00:33:03,120 --> 00:33:06,320
Speaker 1: a duo, which I turned down. Huh Yeah, And Jason

649
00:33:06,360 --> 00:33:07,760
Speaker 1: likes to poke at me on that one. You and

650
00:33:07,840 --> 00:33:10,720
Speaker 1: Jason were offered, that's my claim the fame. You were

651
00:33:10,760 --> 00:33:12,320
Speaker 1: gonna be the original Dan and j and I know

652
00:33:12,560 --> 00:33:15,400
Speaker 1: we would. We would have been, you know, big and

653
00:33:15,520 --> 00:33:17,760
Speaker 1: Riches competition in Brooks and Done. I think we would

654
00:33:17,760 --> 00:33:22,320
Speaker 1: have won much better looking. So you and al Dean

655
00:33:22,920 --> 00:33:25,760
Speaker 1: are offered a deal as a duo, What did al

656
00:33:25,880 --> 00:33:28,480
Speaker 1: Dean think about it? He was ready to go. And

657
00:33:28,600 --> 00:33:30,360
Speaker 1: I had a rock band at the time, and I

658
00:33:31,040 --> 00:33:35,440
Speaker 1: think maybe I was. I'm trying to the timelines a

659
00:33:35,480 --> 00:33:37,960
Speaker 1: little blurry, but I had a rock band, a little

660
00:33:37,960 --> 00:33:39,360
Speaker 1: bit of the big and rich stuff, But I was

661
00:33:40,040 --> 00:33:42,400
Speaker 1: I just didn't want to do because I I wasn't

662
00:33:42,440 --> 00:33:45,600
Speaker 1: a country artist in my mind. I still I didn't

663
00:33:45,640 --> 00:33:50,360
Speaker 1: buy into me being a country musician. So was the duo.

664
00:33:51,920 --> 00:33:53,440
Speaker 1: I'm trying to think of who to compare it to

665
00:33:53,600 --> 00:33:56,560
Speaker 1: and nothing I like musically, But bear with me for

666
00:33:56,560 --> 00:34:00,960
Speaker 1: a second. In F G. L. Tyler sings, b K

667
00:34:01,680 --> 00:34:05,520
Speaker 1: occasionally sings, but mostly plays. Or were you you and

668
00:34:05,600 --> 00:34:08,279
Speaker 1: Jason both gonna be front facing singing? Who knows it? No,

669
00:34:08,400 --> 00:34:11,520
Speaker 1: it was literally I did this showcase with him as

670
00:34:11,560 --> 00:34:16,840
Speaker 1: a background singer, playing acoustic guitar, singing high vocals, and somebody,

671
00:34:16,920 --> 00:34:20,560
Speaker 1: I think it's Clay Bradley came back after that showcase

672
00:34:20,560 --> 00:34:22,440
Speaker 1: and offered us to deal. There was a try and no,

673
00:34:22,520 --> 00:34:25,080
Speaker 1: it was just it was just an offer on the table.

674
00:34:25,120 --> 00:34:26,879
Speaker 1: We got a deal for you on the table right now,

675
00:34:26,960 --> 00:34:28,440
Speaker 1: you know, And you didn't want to do it. No,

676
00:34:28,640 --> 00:34:31,000
Speaker 1: And and the funny thing is, I, you know, talked

677
00:34:31,000 --> 00:34:33,280
Speaker 1: to Jason, you know, Like I said, he likes to

678
00:34:33,320 --> 00:34:35,319
Speaker 1: poke at me about it. But we were on one

679
00:34:35,360 --> 00:34:37,319
Speaker 1: of the last records were working on. He brought it

680
00:34:37,400 --> 00:34:39,680
Speaker 1: up and I said, man, it would just be the

681
00:34:39,800 --> 00:34:42,240
Speaker 1: same as it is now. I should have I should

682
00:34:42,239 --> 00:34:45,600
Speaker 1: have taken it pretty much because you'd sing. I might

683
00:34:45,640 --> 00:34:47,719
Speaker 1: have sang some background vocals, but I'll just stay and

684
00:34:47,760 --> 00:34:49,279
Speaker 1: do all the guitars. That's the way. It would be

685
00:34:49,320 --> 00:34:52,279
Speaker 1: exactly the same, except we both be rich, you guys, Nope,

686
00:34:52,440 --> 00:34:57,200
Speaker 1: I'd be half as rich, may be less rich. Yeah,

687
00:34:57,440 --> 00:35:00,440
Speaker 1: so you've played on um I was trying account it

688
00:35:00,440 --> 00:35:02,680
Speaker 1: seems like over forty or fifty number one songs, just

689
00:35:02,719 --> 00:35:06,600
Speaker 1: as a player I was talking to. Was it Dan

690
00:35:08,120 --> 00:35:10,200
Speaker 1: he was talking about because he had played on so

691
00:35:10,239 --> 00:35:13,560
Speaker 1: many songs that he would just he would hear a

692
00:35:13,600 --> 00:35:15,600
Speaker 1: guitar part and go, yeah, that's a really good and go, oh,

693
00:35:15,600 --> 00:35:20,920
Speaker 1: that's mine, like he just played. That happened to me recently. Yeah,

694
00:35:20,960 --> 00:35:23,120
Speaker 1: he had played so many and he would and he

695
00:35:23,160 --> 00:35:25,239
Speaker 1: would play them without the rest of the song. And

696
00:35:25,560 --> 00:35:27,160
Speaker 1: I'm not sure if the story he was telling me

697
00:35:27,280 --> 00:35:30,120
Speaker 1: was Paula Abdul, but he heard it and he was like, oh,

698
00:35:30,120 --> 00:35:31,440
Speaker 1: that song is good. That guitar parts good, and it

699
00:35:31,560 --> 00:35:33,560
Speaker 1: was like, no, you played that? Yeah, how did that

700
00:35:33,600 --> 00:35:36,080
Speaker 1: happen with you? It was recently actually, because I did

701
00:35:36,120 --> 00:35:39,440
Speaker 1: go through a zone where I couldn't tell what guitars

702
00:35:39,440 --> 00:35:43,200
Speaker 1: were me anymore on stuff. But um, I was in

703
00:35:43,239 --> 00:35:46,240
Speaker 1: Florida at a water park, wasting time between a hotel

704
00:35:46,280 --> 00:35:48,560
Speaker 1: and a flight on vacation last year and I hear

705
00:35:48,640 --> 00:35:51,640
Speaker 1: the intro Do was a tennial Arts song and it

706
00:35:51,760 --> 00:35:54,279
Speaker 1: was her recent number one. I hear the guitar, I'm like,

707
00:35:54,480 --> 00:35:59,280
Speaker 1: that's actually sounds pretty cool, like rock man, like oh wait, wait,

708
00:35:59,280 --> 00:36:01,839
Speaker 1: wait what yeah, oh that's me. So it was nice

709
00:36:01,840 --> 00:36:03,920
Speaker 1: to have that happen again after so long, because it

710
00:36:04,040 --> 00:36:06,840
Speaker 1: was so exciting at first when you start hearing yourself,

711
00:36:07,120 --> 00:36:09,000
Speaker 1: and also you gotta feel like you're pretty good. I

712
00:36:09,080 --> 00:36:11,400
Speaker 1: doubt myself all the time with things I do. If

713
00:36:11,440 --> 00:36:12,640
Speaker 1: I were to hear something I didn't know I did

714
00:36:12,680 --> 00:36:14,399
Speaker 1: and be like that's good, I'd be like, well, maybe

715
00:36:14,400 --> 00:36:16,000
Speaker 1: I am good. Maybe that would be like a confident,

716
00:36:16,239 --> 00:36:20,239
Speaker 1: like a non egotistical car confident. It is it is, Yeah,

717
00:36:20,280 --> 00:36:25,040
Speaker 1: it's it's a reminder. Um. I see a lot of

718
00:36:25,080 --> 00:36:29,439
Speaker 1: nominations for Guitarist of the Year. Have you won any

719
00:36:29,480 --> 00:36:33,920
Speaker 1: of that seven nominations? Never won? What the heck, Nashville,

720
00:36:33,960 --> 00:36:36,040
Speaker 1: Come on, why are they holding it against you? What

721
00:36:36,200 --> 00:36:38,719
Speaker 1: you do? Listen? I get black ball from some all

722
00:36:38,760 --> 00:36:40,399
Speaker 1: the time, like, but I know what I did. That's

723
00:36:40,400 --> 00:36:43,600
Speaker 1: the difference. Probably turned down the wrong record deal. Probably. Um,

724
00:36:43,680 --> 00:36:48,239
Speaker 1: so you're with al Dean playing in his showcase band.

725
00:36:48,280 --> 00:36:51,319
Speaker 1: Does that ever mature into you going on the road

726
00:36:51,360 --> 00:36:54,000
Speaker 1: as part of his actual band? No. In fact, when

727
00:36:54,040 --> 00:36:55,960
Speaker 1: I quit Big and Rich, she asked me if I'd

728
00:36:55,960 --> 00:36:57,959
Speaker 1: go on the road with him, because I think Jack

729
00:36:58,040 --> 00:37:00,799
Speaker 1: could quit for a little bit or some the or

730
00:37:00,880 --> 00:37:03,000
Speaker 1: no who he had somebody else he I think he

731
00:37:03,040 --> 00:37:08,520
Speaker 1: had Danny radar Out. I can't remember. It was Urban now. No,

732
00:37:08,719 --> 00:37:13,200
Speaker 1: he's now out with Chesney. He's been session Google last years.

733
00:37:13,200 --> 00:37:15,920
Speaker 1: But um, yeah, So Jason asked me to go out

734
00:37:15,920 --> 00:37:17,200
Speaker 1: in the road with him when I get off the

735
00:37:17,280 --> 00:37:19,359
Speaker 1: road with Big Rich, and I said, now, man, I'm

736
00:37:19,400 --> 00:37:21,880
Speaker 1: just gonna stay home and work on my my session

737
00:37:21,920 --> 00:37:24,759
Speaker 1: career and you know, be with my kids. And he like,

738
00:37:24,880 --> 00:37:27,560
Speaker 1: all right. And then two or three years later, I

739
00:37:27,600 --> 00:37:30,080
Speaker 1: take the McGraw gig because I was bored and I

740
00:37:30,120 --> 00:37:33,360
Speaker 1: heard he was looking. I see Aldan backstage at the

741
00:37:33,400 --> 00:37:35,400
Speaker 1: A C m C. M Age goes, I thought you

742
00:37:35,520 --> 00:37:39,920
Speaker 1: were going to going to ruin Solve you jump in

743
00:37:40,040 --> 00:37:42,520
Speaker 1: with McGraw when that happens. Do you have to audition

744
00:37:42,640 --> 00:37:44,560
Speaker 1: for that? No? You know, it was cool. You know,

745
00:37:44,640 --> 00:37:46,440
Speaker 1: my our first tour with Big and Rich was opening

746
00:37:46,520 --> 00:37:48,840
Speaker 1: for him and and I wrote Mississippi Girl. So I

747
00:37:48,880 --> 00:37:51,360
Speaker 1: had a rapport with him, and and I had his email,

748
00:37:51,400 --> 00:37:52,759
Speaker 1: and I heard that he was looking, and I just

749
00:37:52,800 --> 00:37:55,840
Speaker 1: sent him an email and he said cool. And he

750
00:37:55,960 --> 00:37:58,200
Speaker 1: called me, he said cool, My people will call you.

751
00:37:58,800 --> 00:38:01,560
Speaker 1: I'm like, all right, rock on. It was that easy.

752
00:38:01,920 --> 00:38:05,000
Speaker 1: It was so awesome. What is it like being with

753
00:38:05,120 --> 00:38:12,040
Speaker 1: a A list country artist front man Alpha? Do you

754
00:38:13,480 --> 00:38:15,640
Speaker 1: do you guys roll together much at all? Or does

755
00:38:15,680 --> 00:38:17,719
Speaker 1: he kind of join you? Got No. I mean he's

756
00:38:17,800 --> 00:38:21,239
Speaker 1: so busy, you know, and he can't travel at a

757
00:38:21,520 --> 00:38:25,400
Speaker 1: regular airport or he be hounded, you know, So you know,

758
00:38:25,480 --> 00:38:27,959
Speaker 1: he he rolls on his own time. We get hanged time.

759
00:38:28,320 --> 00:38:30,719
Speaker 1: If it's a full tour, we'll hang every day working

760
00:38:30,760 --> 00:38:32,960
Speaker 1: out and do what I can work out. Yeah, I

761
00:38:33,000 --> 00:38:34,520
Speaker 1: mean every tour. At the end of the tour, I'm

762
00:38:34,520 --> 00:38:35,920
Speaker 1: in the best shape of my life. And then three

763
00:38:35,960 --> 00:38:38,320
Speaker 1: months later, I'm going, where did that guy go? You know,

764
00:38:38,600 --> 00:38:40,120
Speaker 1: does he ever go? You know what, I'm in a

765
00:38:40,200 --> 00:38:41,560
Speaker 1: good mood. I'm taking two of you and you get

766
00:38:41,600 --> 00:38:43,000
Speaker 1: on the jet and fly home with us. What he

767
00:38:43,480 --> 00:38:46,160
Speaker 1: took us all to his island which they don't have anymore?

768
00:38:46,160 --> 00:38:50,759
Speaker 1: I think, yeah, yeah, we didn't. Actually you do, I'd

769
00:38:50,800 --> 00:38:54,279
Speaker 1: love to man. Actually I buried something by the first

770
00:38:54,320 --> 00:38:57,879
Speaker 1: palm tree by the dock to the left. But man,

771
00:38:57,920 --> 00:39:00,160
Speaker 1: that was cool. We didn't all go together as a man.

772
00:39:00,239 --> 00:39:04,000
Speaker 1: I think we all went on three separate occasions. Um again.

773
00:39:04,160 --> 00:39:06,640
Speaker 1: And you know, once in a while, you know, if

774
00:39:06,719 --> 00:39:09,120
Speaker 1: something important comes up, he'll let you hop on the

775
00:39:09,200 --> 00:39:11,560
Speaker 1: jet with him, you know. But he's he's pretty private.

776
00:39:11,640 --> 00:39:21,239
Speaker 1: He's just you know, he works his ass off. Do

777
00:39:21,480 --> 00:39:27,440
Speaker 1: you still practice? No, not, not really. Occasionally I might

778
00:39:27,600 --> 00:39:31,000
Speaker 1: like put something on a song that I've never learned

779
00:39:31,040 --> 00:39:33,080
Speaker 1: the guitar licks from and just kind of see what

780
00:39:33,239 --> 00:39:36,800
Speaker 1: they are and maybe put that into my arsenal a

781
00:39:36,880 --> 00:39:39,520
Speaker 1: little bit. But I don't really practice that much. What

782
00:39:39,800 --> 00:39:43,399
Speaker 1: years where you're most formative, where you practiced all the time,

783
00:39:44,320 --> 00:39:47,719
Speaker 1: That would be the early teens, would you just go

784
00:39:47,840 --> 00:39:50,480
Speaker 1: into a room or and just and you just wouldn't leave. Oh,

785
00:39:51,600 --> 00:39:55,200
Speaker 1: a sleeve of saltine crackers and a tall glass orange

786
00:39:55,280 --> 00:39:58,319
Speaker 1: juice and a four track recorder. And I was up

787
00:39:58,360 --> 00:40:01,520
Speaker 1: in my bedroom every day, you know, just shredding. I

788
00:40:01,719 --> 00:40:04,720
Speaker 1: was into like Ingvy Malmstein and you know, like the progue,

789
00:40:05,360 --> 00:40:08,560
Speaker 1: progressive neo classical guitar playing. I don't know if you know,

790
00:40:09,320 --> 00:40:13,680
Speaker 1: I don't know, Steve all the two hands happen that dude.

791
00:40:13,800 --> 00:40:17,560
Speaker 1: I was like, I was making epic recordings on my

792
00:40:17,719 --> 00:40:20,239
Speaker 1: four track or your parents that were like, hey, um,

793
00:40:20,640 --> 00:40:24,439
Speaker 1: what'd you go do something outside? Really, they didn't even

794
00:40:24,600 --> 00:40:27,719
Speaker 1: yell at me when I listened to King Diamond, and

795
00:40:27,920 --> 00:40:29,239
Speaker 1: I don't even know if you know who that is.

796
00:40:29,320 --> 00:40:32,440
Speaker 1: I don't. But it's not it's not wholesome music. That's

797
00:40:32,480 --> 00:40:37,080
Speaker 1: all I'll say about that. Okay, So you've been extremely

798
00:40:37,160 --> 00:40:40,560
Speaker 1: influential on the sound of other folks music. You've toured

799
00:40:40,600 --> 00:40:43,080
Speaker 1: with some of the biggest names in country music. But

800
00:40:43,200 --> 00:40:47,440
Speaker 1: then you you're putting your own music out. So let

801
00:40:47,480 --> 00:40:49,680
Speaker 1: me play some of the Sky is Falling Down, just

802
00:40:49,760 --> 00:40:51,839
Speaker 1: because it's the first track, and I'll start there. Mike,

803
00:40:51,880 --> 00:41:05,919
Speaker 1: if you'll hit that, please. So when you go into

804
00:41:06,040 --> 00:41:08,440
Speaker 1: a project, are you thinking, Okay, it all needs to

805
00:41:09,040 --> 00:41:10,400
Speaker 1: and I hate to use the turn fit into a

806
00:41:10,480 --> 00:41:14,920
Speaker 1: certain box. But are you looking for some some overall

807
00:41:16,239 --> 00:41:19,560
Speaker 1: aesthetic like what it needs to look this way, feel

808
00:41:19,680 --> 00:41:22,840
Speaker 1: this way say? Or is every track just completely different?

809
00:41:23,080 --> 00:41:25,520
Speaker 1: It's different? And I finally embraced that. That's what kept

810
00:41:25,560 --> 00:41:27,640
Speaker 1: me from doing this for so long, is that I

811
00:41:27,840 --> 00:41:30,080
Speaker 1: didn't know what I did, and I wrote so many

812
00:41:30,239 --> 00:41:33,720
Speaker 1: different songs. I didn't think I could put them all together.

813
00:41:34,400 --> 00:41:36,440
Speaker 1: And this was finally the first time in my life

814
00:41:36,520 --> 00:41:39,600
Speaker 1: I went, oh, these are all different, but they're all

815
00:41:39,680 --> 00:41:41,879
Speaker 1: me and I can stand behind every one of these.

816
00:41:42,480 --> 00:41:45,959
Speaker 1: What's the ultimate goal with putting out your own body?

817
00:41:46,160 --> 00:41:49,600
Speaker 1: Or I just want to add add what I do

818
00:41:49,719 --> 00:41:52,200
Speaker 1: as an artist into what I do for a career,

819
00:41:52,719 --> 00:41:55,600
Speaker 1: you know, just ever so slightly if I can, you know,

820
00:41:56,000 --> 00:41:58,920
Speaker 1: as I'm coming down from being the guitarist for everybody,

821
00:41:59,320 --> 00:42:00,920
Speaker 1: lift up a little little bit as an artist and

822
00:42:01,000 --> 00:42:03,759
Speaker 1: add it all together. You know, Hey, maybe when I

823
00:42:03,880 --> 00:42:05,919
Speaker 1: retire and be able to play it a hundred people

824
00:42:05,960 --> 00:42:07,640
Speaker 1: in the club that know my songs, that'd be cool.

825
00:42:08,280 --> 00:42:10,239
Speaker 1: Do you want to know more I'll take more. Do

826
00:42:10,320 --> 00:42:14,239
Speaker 1: you want to not be the guitarist anymore? I crave that. Yes.

827
00:42:14,800 --> 00:42:18,279
Speaker 1: I like singing. I like singing the songs. And occasionally

828
00:42:19,120 --> 00:42:22,439
Speaker 1: it's more inspiring to shred to one of my own

829
00:42:22,520 --> 00:42:25,000
Speaker 1: songs out of the blue. And it's a little more

830
00:42:25,320 --> 00:42:27,200
Speaker 1: free for me to play a solo on one of

831
00:42:27,239 --> 00:42:30,280
Speaker 1: my songs because I'm so busy thinking about the singing

832
00:42:30,719 --> 00:42:32,560
Speaker 1: that when it's finally time to play, it's a little

833
00:42:32,600 --> 00:42:35,840
Speaker 1: more free, you know, it's a little less restrained. So

834
00:42:36,000 --> 00:42:39,200
Speaker 1: my theory is, because it's all about my theories, that

835
00:42:39,280 --> 00:42:41,000
Speaker 1: you're so good at something you're not bored with it.

836
00:42:42,360 --> 00:42:45,359
Speaker 1: You could say that, yeah, that you have in your

837
00:42:45,440 --> 00:42:47,840
Speaker 1: mind mastered what you set out to do. Yeah, and

838
00:42:47,880 --> 00:42:49,560
Speaker 1: you still gotta pay the bills, and you still love

839
00:42:49,640 --> 00:42:51,920
Speaker 1: playing music, and you got a wife and you got

840
00:42:52,080 --> 00:42:59,000
Speaker 1: kids and we got real world. But okay, I did it. Yeah,

841
00:42:59,080 --> 00:43:01,160
Speaker 1: I mean, and I want to keep doing it. It's

842
00:43:01,200 --> 00:43:03,239
Speaker 1: not the boredom doesn't keep me from want to do it.

843
00:43:03,400 --> 00:43:05,880
Speaker 1: Wanting to do it, but you know, you've got to

844
00:43:05,920 --> 00:43:08,600
Speaker 1: find ways to keep it exciting. And honestly, doing my

845
00:43:08,680 --> 00:43:11,240
Speaker 1: own stuff reminds me that when I'm playing on somebody

846
00:43:11,280 --> 00:43:14,279
Speaker 1: else's stuff that it means as much to them behind

847
00:43:14,320 --> 00:43:16,839
Speaker 1: the glass mind does to me. And that's that's kind

848
00:43:16,880 --> 00:43:20,400
Speaker 1: of It's really helped me in all aspects doing my

849
00:43:20,480 --> 00:43:24,000
Speaker 1: own music. That's a really cool thought, because I bet

850
00:43:24,120 --> 00:43:25,680
Speaker 1: when you do it, and I do things over and

851
00:43:25,760 --> 00:43:28,360
Speaker 1: over to right, but I at times have to be

852
00:43:28,520 --> 00:43:34,279
Speaker 1: reminded that it means something special to somebody the first

853
00:43:34,320 --> 00:43:36,480
Speaker 1: time they're hearing it, or they wait. Even though I

854
00:43:36,560 --> 00:43:38,600
Speaker 1: do it ten thousand times, they may only hear it twice.

855
00:43:39,760 --> 00:43:42,600
Speaker 1: And so you doing your music, remind you how the

856
00:43:42,719 --> 00:43:46,800
Speaker 1: artist feels exactly, which probably eliminates that Okay, here we

857
00:43:46,880 --> 00:43:50,359
Speaker 1: go again somewhat, No, it totally does it totally does?

858
00:43:50,840 --> 00:43:53,319
Speaker 1: I only get that here we go again feeling when

859
00:43:53,360 --> 00:43:57,000
Speaker 1: it's really a bad day, which is rare in this town.

860
00:43:58,040 --> 00:44:01,480
Speaker 1: It's a little lesson rare for me. Something. Let me

861
00:44:01,719 --> 00:44:04,040
Speaker 1: play and I'll ask you a question about the lyrics here.

862
00:44:04,080 --> 00:44:22,040
Speaker 1: But this is eleven. She takes it too in So

863
00:44:22,239 --> 00:44:24,760
Speaker 1: taking it to eleven to me is a spinal tap reference,

864
00:44:26,160 --> 00:44:30,319
Speaker 1: because you know, it's think is that it's not necessarily

865
00:44:30,400 --> 00:44:32,640
Speaker 1: but yeah, I mean it is for sure. You know,

866
00:44:32,719 --> 00:44:34,319
Speaker 1: if that's kind of what put that on the map.

867
00:44:34,480 --> 00:44:38,480
Speaker 1: But um, you know that that's you chose to. Dino Brown,

868
00:44:38,600 --> 00:44:43,320
Speaker 1: Katie Cook, Adam Schoenfeld written songs. Um, Dino and I

869
00:44:43,880 --> 00:44:46,400
Speaker 1: will go walking on the road every morning, you know.

870
00:44:46,880 --> 00:44:49,440
Speaker 1: Sometimes it's just me and him, sometimes it's other people too,

871
00:44:49,960 --> 00:44:52,520
Speaker 1: but it's nothing for one of us will say something

872
00:44:52,640 --> 00:44:54,920
Speaker 1: silly and all of a sudden we have a song idea.

873
00:44:55,239 --> 00:44:57,000
Speaker 1: And him and I were walking one day and I went,

874
00:44:57,360 --> 00:45:02,360
Speaker 1: when do three people with plastic seven eighte plassen? And

875
00:45:02,480 --> 00:45:05,239
Speaker 1: that came out, you know, and we went with it.

876
00:45:05,640 --> 00:45:08,040
Speaker 1: It was it's just weird with face songs. Did you

877
00:45:08,120 --> 00:45:10,840
Speaker 1: write them for yourself or did you write them to

878
00:45:10,880 --> 00:45:12,120
Speaker 1: write them? And they go, wow, I think this is

879
00:45:12,160 --> 00:45:15,880
Speaker 1: actually for me. Um wrote them to wrote them to

880
00:45:16,040 --> 00:45:20,839
Speaker 1: write wrote them to wrote them, wrote them to write them. Um, yeah,

881
00:45:20,960 --> 00:45:23,120
Speaker 1: but I kinda. I think by the time we were

882
00:45:23,160 --> 00:45:26,359
Speaker 1: writing eleven, I knew we were actually both of those.

883
00:45:26,400 --> 00:45:28,759
Speaker 1: I knew we were writing for me. I'm gonna play

884
00:45:28,840 --> 00:45:30,920
Speaker 1: her song, which we talked about Katie, But is this

885
00:45:31,000 --> 00:45:33,040
Speaker 1: about Katie? All right? Here you go, here's her song.

886
00:45:33,280 --> 00:45:38,919
Speaker 1: That's been a left time looking for you. I knew

887
00:45:39,040 --> 00:45:45,480
Speaker 1: if I found you had do you. Some people never

888
00:45:45,800 --> 00:45:51,280
Speaker 1: found it fast for long, and I never take granting

889
00:45:51,480 --> 00:45:59,759
Speaker 1: that's your man. I spent a life time that as

890
00:45:59,800 --> 00:46:04,000
Speaker 1: her song. Uh the album All the Birds Sing. You

891
00:46:04,080 --> 00:46:06,960
Speaker 1: can get it now everywhere. You can get it right

892
00:46:09,080 --> 00:46:11,359
Speaker 1: through my website. You'll be able to get CD s soon.

893
00:46:11,960 --> 00:46:14,400
Speaker 1: It was just a digital release. And what's your website,

894
00:46:14,640 --> 00:46:17,000
Speaker 1: Adam Schoenfield dot com? And will you sell? Will you

895
00:46:17,080 --> 00:46:19,600
Speaker 1: sign them? I will make an extra nickel, but I

896
00:46:19,680 --> 00:46:22,279
Speaker 1: will sign this fact. I've started setting it up that way.

897
00:46:22,360 --> 00:46:27,040
Speaker 1: You're a genius. Do you have do you hear songs again?

898
00:46:27,080 --> 00:46:29,120
Speaker 1: You mentioned the tennil Arts song Do you hear songs

899
00:46:29,280 --> 00:46:31,879
Speaker 1: at times? And go, oh yeah, I forgot I even

900
00:46:31,960 --> 00:46:34,719
Speaker 1: did that song? Oh yeah all the time. I would

901
00:46:34,719 --> 00:46:36,600
Speaker 1: imagine when you do so many because again we're talking

902
00:46:36,600 --> 00:46:38,279
Speaker 1: about the big hits, but I'm sure you've played on

903
00:46:39,040 --> 00:46:41,480
Speaker 1: tons of album tracks and a lot of cuts out

904
00:46:41,480 --> 00:46:43,719
Speaker 1: there that just weren't huge hits. Yeah, I mean that

905
00:46:43,719 --> 00:46:45,799
Speaker 1: would be crazy to be like, oh wait, oh yeah,

906
00:46:45,960 --> 00:46:48,160
Speaker 1: I did I did do that, or someone goes how

907
00:46:48,200 --> 00:46:50,279
Speaker 1: you played on this and you're like, I don't remember that. Yeah.

908
00:46:50,320 --> 00:46:53,040
Speaker 1: The people that got the brunt of that was my kids.

909
00:46:53,760 --> 00:46:55,839
Speaker 1: One of my last memories of being with my daughter

910
00:46:56,080 --> 00:46:57,880
Speaker 1: when I heard a song I played on. We walked

911
00:46:57,920 --> 00:47:01,040
Speaker 1: into the orthodonist set down. As soon as we sat

912
00:47:01,080 --> 00:47:03,200
Speaker 1: down at Jason song comes on and I look at her.

913
00:47:03,640 --> 00:47:07,000
Speaker 1: She looks over at me and she goes, don't how

914
00:47:07,120 --> 00:47:09,080
Speaker 1: did you and to bring this back full circle of it?

915
00:47:09,160 --> 00:47:12,600
Speaker 1: But how did you pass the information or the advice

916
00:47:12,719 --> 00:47:15,080
Speaker 1: j Joyce gave you down onto a younger player? Oh?

917
00:47:15,320 --> 00:47:18,400
Speaker 1: You know what? This guy was playing actually on a

918
00:47:18,440 --> 00:47:20,480
Speaker 1: big and rich record, a later big and rich recording

919
00:47:20,520 --> 00:47:23,279
Speaker 1: with me, and I'm literally getting ready to play a

920
00:47:23,360 --> 00:47:27,040
Speaker 1: guitar solo and he is looking over the other side

921
00:47:27,080 --> 00:47:30,399
Speaker 1: of my pedal board and he asked me a question

922
00:47:30,440 --> 00:47:32,320
Speaker 1: about the pedals. She says, what are you doing with

923
00:47:32,440 --> 00:47:36,960
Speaker 1: this this pedal and this pedal? And I just looked up, man,

924
00:47:37,560 --> 00:47:41,080
Speaker 1: just get your own thing. And he's like, man, the

925
00:47:41,160 --> 00:47:43,680
Speaker 1: guy has a douche thing to say, but it's really

926
00:47:43,719 --> 00:47:47,880
Speaker 1: going to create my future. Yeah, what if you play?

927
00:47:49,000 --> 00:47:50,600
Speaker 1: And the artist goes, you know what, I have second

928
00:47:50,640 --> 00:47:52,640
Speaker 1: thoughts about this solo? Does any matter call you back

929
00:47:52,680 --> 00:47:56,319
Speaker 1: in to fix Usually it's on the spot, Yeah, yeah,

930
00:47:56,480 --> 00:47:58,640
Speaker 1: Usually it's right then and there they kind of make

931
00:47:58,719 --> 00:48:00,960
Speaker 1: the decision, but they want to call, like, you cut

932
00:48:01,000 --> 00:48:02,640
Speaker 1: it on Tuesday and they call you next Monday and go,

933
00:48:03,080 --> 00:48:05,040
Speaker 1: you know, we changed our mind, would you come back in?

934
00:48:05,440 --> 00:48:08,600
Speaker 1: I don't remember that happening, but it's probably because they

935
00:48:08,640 --> 00:48:11,440
Speaker 1: called somebody else, you know. I mean a lot of

936
00:48:11,480 --> 00:48:13,120
Speaker 1: times I'll do that. They'll be like, well, he didn't

937
00:48:13,160 --> 00:48:15,359
Speaker 1: quite get what we wanted. Why don't we try someone?

938
00:48:15,440 --> 00:48:17,640
Speaker 1: So what happens to all of us? Do you get

939
00:48:17,719 --> 00:48:20,359
Speaker 1: paid more if it's a single versus a cut? Much

940
00:48:20,440 --> 00:48:24,560
Speaker 1: like well there are royalties now a little bit of royalties,

941
00:48:24,640 --> 00:48:28,520
Speaker 1: but not enough to change your life. Um on number ones,

942
00:48:29,120 --> 00:48:32,560
Speaker 1: it's it's a nice chunk. Yeah, that's pretty cool. So

943
00:48:32,640 --> 00:48:36,600
Speaker 1: you hope to get the big artist calling. Absolutely if

944
00:48:36,640 --> 00:48:38,600
Speaker 1: Aldine goes to the studio, do you expect to call

945
00:48:39,640 --> 00:48:42,680
Speaker 1: uh at this point? Yeah, I mean, but then again,

946
00:48:42,960 --> 00:48:45,600
Speaker 1: you know, going into the next one would be record eleven.

947
00:48:46,440 --> 00:48:49,360
Speaker 1: So you know, if I don't, I'd probably be like,

948
00:48:49,600 --> 00:48:52,360
Speaker 1: I get it. They might be doing something new. You know,

949
00:48:52,680 --> 00:48:58,000
Speaker 1: what's the most expensive guitar that you have ever played? Mm? Hm, Well,

950
00:48:59,040 --> 00:49:01,719
Speaker 1: at the time I play did it wasn't that expensive,

951
00:49:01,760 --> 00:49:05,960
Speaker 1: but it technically would be say sixty one strap, but

952
00:49:06,080 --> 00:49:09,600
Speaker 1: I was playing it in the early nineties, so it

953
00:49:09,719 --> 00:49:13,000
Speaker 1: probably wasn't worth as much as it would be. Now, yeah,

954
00:49:13,000 --> 00:49:16,200
Speaker 1: again you're talking. I need to get Rosetta now that

955
00:49:16,320 --> 00:49:18,640
Speaker 1: I know, But I don't know how why sixty cool?

956
00:49:18,920 --> 00:49:22,919
Speaker 1: Whether they're early sixties, late fifties, all those guitars those years,

957
00:49:23,000 --> 00:49:24,920
Speaker 1: or where they're really valuable. And I'm you know what,

958
00:49:25,120 --> 00:49:27,600
Speaker 1: To be honest, I couldn't really give you too much

959
00:49:27,719 --> 00:49:30,239
Speaker 1: detail on that. I'm I'm the guy that like, what's

960
00:49:30,239 --> 00:49:32,440
Speaker 1: the rough price on that thing? Though? Right now, right now,

961
00:49:32,920 --> 00:49:36,680
Speaker 1: sixty one all close to original. This is a guess

962
00:49:36,719 --> 00:49:39,280
Speaker 1: because I'm really not a guitarnard. I'm going to guess

963
00:49:40,200 --> 00:49:43,560
Speaker 1: thirty forty grand. Maybe I could be wrong, but I

964
00:49:43,640 --> 00:49:47,239
Speaker 1: mean burst less Paul's fifty nine palls or like three

965
00:49:47,800 --> 00:49:51,680
Speaker 1: hundred thousand, but I've never played one of those. Would

966
00:49:51,680 --> 00:49:53,760
Speaker 1: you if someone say this guitar is a million dollar guitar,

967
00:49:54,120 --> 00:49:55,600
Speaker 1: would you say, let me play it, or no, don't,

968
00:49:55,600 --> 00:49:58,200
Speaker 1: I don't want touch it. I would I would probably

969
00:49:58,320 --> 00:50:02,520
Speaker 1: play it and go it's not worth million dollars. When

970
00:50:02,560 --> 00:50:04,360
Speaker 1: you were working at the guitar store and you'd hear

971
00:50:04,480 --> 00:50:06,759
Speaker 1: musicians come in. We are with somebody ever really really good.

972
00:50:06,840 --> 00:50:09,800
Speaker 1: There was a kid You're like, dang son, keep going, No,

973
00:50:10,040 --> 00:50:11,360
Speaker 1: I don't like it. At one time I went in

974
00:50:11,400 --> 00:50:13,440
Speaker 1: and I did that. You didn't tell me anything. I

975
00:50:13,560 --> 00:50:16,640
Speaker 1: play and I really try to get your attention. You're like, man,

976
00:50:17,000 --> 00:50:19,440
Speaker 1: like get a court ye from Walmart, go into radio

977
00:50:30,160 --> 00:50:34,279
Speaker 1: read it is now time for your one question? Oh

978
00:50:34,400 --> 00:50:36,759
Speaker 1: what do we got? Bro? So, if you're in a

979
00:50:36,920 --> 00:50:40,239
Speaker 1: room riding with others, um, do they consider to you

980
00:50:40,400 --> 00:50:43,080
Speaker 1: as pretty much like the guitar guy to come up

981
00:50:43,120 --> 00:50:45,719
Speaker 1: with the licks and stuff or are you pretty predominant

982
00:50:45,800 --> 00:50:50,000
Speaker 1: in Wow? Yeah, that's a great question. Um, it's kind

983
00:50:50,040 --> 00:50:56,759
Speaker 1: of changed through time. Um. Now I would say I

984
00:50:56,800 --> 00:50:59,840
Speaker 1: would say when we're writing country music, I'm more of

985
00:51:00,040 --> 00:51:04,279
Speaker 1: the producer writer, you know, like I come at it

986
00:51:04,400 --> 00:51:08,080
Speaker 1: from that aspect a little more. Um, when it's something

987
00:51:08,200 --> 00:51:10,840
Speaker 1: like I would put on my record, I'm kind of

988
00:51:11,440 --> 00:51:15,960
Speaker 1: I kind of almost bull take the alpha role a

989
00:51:16,000 --> 00:51:20,400
Speaker 1: little bit sometimes. Yeah. You know, when you got the

990
00:51:20,520 --> 00:51:23,360
Speaker 1: van and the place to rehearse, you can alpha. You

991
00:51:23,400 --> 00:51:25,520
Speaker 1: can push people around and get up on your box.

992
00:51:26,080 --> 00:51:29,480
Speaker 1: You know what do you put You play guitar obviously,

993
00:51:30,360 --> 00:51:32,399
Speaker 1: but you still play drums at allay, so I play

994
00:51:32,400 --> 00:51:34,000
Speaker 1: a little drums. I played drums on a few of

995
00:51:34,080 --> 00:51:38,520
Speaker 1: the songs on on There. I tried on the two

996
00:51:38,600 --> 00:51:41,480
Speaker 1: songs Sky's Falling Down to Leven, I tried to play drums,

997
00:51:41,920 --> 00:51:44,040
Speaker 1: and at the end I realized I had to fix

998
00:51:44,120 --> 00:51:46,440
Speaker 1: them too much, so I couldn't put something I had

999
00:51:46,440 --> 00:51:48,120
Speaker 1: to fix on there. I got a real drummer to

1000
00:51:48,520 --> 00:51:51,399
Speaker 1: lay them in there for me. Um. But so that's

1001
00:51:51,480 --> 00:51:53,600
Speaker 1: kind of self taught through the years. So if it's

1002
00:51:53,640 --> 00:51:55,840
Speaker 1: a simple groove, I played drums, I play some keyboards.

1003
00:51:55,880 --> 00:51:58,400
Speaker 1: I played bass. You know, if you play guitar at

1004
00:51:58,480 --> 00:52:02,879
Speaker 1: high level, can you play bass automatic? Lee? No, you can.

1005
00:52:03,040 --> 00:52:06,319
Speaker 1: I mean you can keep a simple baseline. But there's

1006
00:52:06,640 --> 00:52:09,960
Speaker 1: there's an art, you know, to doing a great bassline,

1007
00:52:10,280 --> 00:52:13,480
Speaker 1: And sometimes I think great bass players do it all

1008
00:52:13,480 --> 00:52:15,640
Speaker 1: the time. I once in a while come up with

1009
00:52:15,680 --> 00:52:18,239
Speaker 1: a cool bassline for my own stuff. If you're on

1010
00:52:18,360 --> 00:52:22,480
Speaker 1: the road and you're a bass player and McGraw's band

1011
00:52:22,520 --> 00:52:24,600
Speaker 1: goes down, like we need you to fill in on

1012
00:52:24,680 --> 00:52:28,879
Speaker 1: base the whole show tonight, could you get by? I think, so, yeah,

1013
00:52:29,320 --> 00:52:31,840
Speaker 1: that's pretty cool. Yeah, that's pretty cool. Yeah that you

1014
00:52:31,880 --> 00:52:34,000
Speaker 1: could just go and figure out everything. You don't have

1015
00:52:34,080 --> 00:52:37,279
Speaker 1: to dominate like he would. But it's not Yes, absolutely,

1016
00:52:37,640 --> 00:52:40,800
Speaker 1: what if the keyboard player went down? Okay, unless I

1017
00:52:40,880 --> 00:52:45,240
Speaker 1: could transpose and put everything in the key of C. So, okay,

1018
00:52:45,480 --> 00:52:47,920
Speaker 1: you have this rec are you maybe you're gonna go

1019
00:52:47,960 --> 00:52:50,080
Speaker 1: play some shows? I would love to. Yeah. We were

1020
00:52:50,200 --> 00:52:53,880
Speaker 1: just at that point where, um, we had to figure

1021
00:52:53,920 --> 00:52:56,239
Speaker 1: out what's going on with McGraw's schedule. Once I know

1022
00:52:56,680 --> 00:52:58,440
Speaker 1: exactly what's up with that, I know the holes that

1023
00:52:58,560 --> 00:53:01,040
Speaker 1: I can look for myself for the or um. And

1024
00:53:01,160 --> 00:53:04,360
Speaker 1: this is new for me, having a project that I'm like,

1025
00:53:04,600 --> 00:53:07,520
Speaker 1: totally want to go out and tour if I could. So,

1026
00:53:08,000 --> 00:53:10,600
Speaker 1: so working on finding help with that and and getting

1027
00:53:10,640 --> 00:53:12,759
Speaker 1: some stuff booked. So has mcgar've been doing shows with

1028
00:53:12,840 --> 00:53:15,320
Speaker 1: that big beard? We did a couple, Yeah, because he

1029
00:53:15,400 --> 00:53:18,279
Speaker 1: was in the middle of filming. Yeah, pops out and

1030
00:53:18,320 --> 00:53:20,440
Speaker 1: does the show? Does he ever go? I gotta go

1031
00:53:20,440 --> 00:53:23,959
Speaker 1: to the bathroom. Just give me extra long solo. Maybe

1032
00:53:24,000 --> 00:53:26,000
Speaker 1: in the old days before I was in the band. Yeah,

1033
00:53:26,640 --> 00:53:29,680
Speaker 1: there are times if we're like doing some band stuff

1034
00:53:29,680 --> 00:53:32,840
Speaker 1: with our comedy group, um, where there have been games

1035
00:53:32,920 --> 00:53:35,880
Speaker 1: on and I would need to go check a score.

1036
00:53:36,120 --> 00:53:37,640
Speaker 1: Or i'd come out late. I would be like, guys,

1037
00:53:37,840 --> 00:53:40,040
Speaker 1: you gotta go kill you gotta go do do your thing.

1038
00:53:40,520 --> 00:53:42,480
Speaker 1: This is your time to shine, and let's just act

1039
00:53:42,520 --> 00:53:44,040
Speaker 1: like you're doing it. And it's not me back there

1040
00:53:44,080 --> 00:53:46,120
Speaker 1: watching you know, the last three minutes of the game.

1041
00:53:47,040 --> 00:53:49,239
Speaker 1: Magon never does that. Huh, he's never liked watch the

1042
00:53:49,360 --> 00:53:52,520
Speaker 1: L s U game. You guys, Well, we've got a

1043
00:53:52,600 --> 00:53:54,239
Speaker 1: guy that can talk to us in her ears and

1044
00:53:54,320 --> 00:53:58,680
Speaker 1: I have her thirty four to twenty one. I've heard

1045
00:53:58,760 --> 00:54:03,600
Speaker 1: that before for sure. That's pretty fine. Real time, I'm

1046
00:54:03,680 --> 00:54:06,440
Speaker 1: rooting for you. I think it's really cool. Thanks that

1047
00:54:07,440 --> 00:54:09,360
Speaker 1: you know, you go, I'm gonna make I'm gonna re

1048
00:54:09,520 --> 00:54:13,800
Speaker 1: vulnerable myself. Yeah, it's different. It's a different feeling because

1049
00:54:14,120 --> 00:54:18,840
Speaker 1: you're already king, daggling and playing the guitar. Yeah, but

1050
00:54:19,040 --> 00:54:22,480
Speaker 1: now it's it's not that you're starting over. But to

1051
00:54:22,600 --> 00:54:26,040
Speaker 1: some people, as an artist, they're like, Adam gonna do this.

1052
00:54:26,239 --> 00:54:27,959
Speaker 1: I mean it's you kind of going. I do feel

1053
00:54:28,000 --> 00:54:29,960
Speaker 1: like a kid again. Yeah, Like, here's kind of the

1054
00:54:30,000 --> 00:54:32,680
Speaker 1: guts and art and what I'm thinking and I've put

1055
00:54:32,719 --> 00:54:34,919
Speaker 1: it into this art and you get some time listen

1056
00:54:35,000 --> 00:54:38,120
Speaker 1: to it. I've had a couple of times recently live

1057
00:54:38,200 --> 00:54:40,320
Speaker 1: stream and a show where I was nervous like I

1058
00:54:40,440 --> 00:54:43,480
Speaker 1: was fourteen again and I loved it. Yeah, because you're

1059
00:54:43,640 --> 00:54:47,520
Speaker 1: you get to be exciting. Nerves are because it's important

1060
00:54:48,320 --> 00:54:51,200
Speaker 1: right there, can you go to bad, but nerves are

1061
00:54:51,320 --> 00:54:53,560
Speaker 1: because whatever is about to happen is important to you.

1062
00:54:54,239 --> 00:54:57,080
Speaker 1: And you know mentoring on American Idol that the one

1063
00:54:57,120 --> 00:54:58,640
Speaker 1: thing that they would come to me and go, hey,

1064
00:54:58,680 --> 00:55:01,560
Speaker 1: how do I not be nervous? And I would go, well,

1065
00:55:01,680 --> 00:55:03,600
Speaker 1: First of all, you should acknowledge the fact that it's

1066
00:55:03,600 --> 00:55:06,120
Speaker 1: awesome to be nervous, but you don't have many times

1067
00:55:06,160 --> 00:55:08,640
Speaker 1: in your life where you get to be nervous about

1068
00:55:08,719 --> 00:55:11,799
Speaker 1: something that could possibly be amazing. That's a good point.

1069
00:55:12,040 --> 00:55:14,560
Speaker 1: Most times you get nervous because something bad could happen,

1070
00:55:15,040 --> 00:55:17,880
Speaker 1: but you get to be nervous because you're getting a

1071
00:55:17,920 --> 00:55:20,880
Speaker 1: shot at something big. Worst case scenario, you end up

1072
00:55:20,920 --> 00:55:22,480
Speaker 1: right where you are right now. That's worst case. You

1073
00:55:22,520 --> 00:55:25,799
Speaker 1: don't go backwards. Worst cases, you're in the same. Best

1074
00:55:25,840 --> 00:55:28,680
Speaker 1: cases your life has changed doing something you love, So

1075
00:55:28,840 --> 00:55:31,640
Speaker 1: first acknowledge that pretty cool you get to be nervous.

1076
00:55:32,000 --> 00:55:35,680
Speaker 1: Second of all, you don't just heal nerves you know,

1077
00:55:35,840 --> 00:55:39,600
Speaker 1: nerves are are eliminated because you put yourself in that

1078
00:55:39,680 --> 00:55:44,279
Speaker 1: same spot over and over again. But never forget how

1079
00:55:44,320 --> 00:55:47,040
Speaker 1: awesome it is to be nervous at doing something you love.

1080
00:55:47,360 --> 00:55:51,239
Speaker 1: And it's cool that you, a veteran, a guitar master,

1081
00:55:51,440 --> 00:55:54,399
Speaker 1: get to be nervous again. Yeah, it's interesting, it's really cool.

1082
00:55:54,440 --> 00:56:00,680
Speaker 1: How about that perspective? Drop that one? That's right? All right, Look,

1083
00:56:01,280 --> 00:56:05,200
Speaker 1: you guys can follow Adam. Uh s, I'm gonna spell

1084
00:56:05,320 --> 00:56:07,480
Speaker 1: it for people so they can find it easier because

1085
00:56:07,480 --> 00:56:11,520
Speaker 1: your name is said different than it looks. Just go

1086
00:56:11,640 --> 00:56:15,920
Speaker 1: to shoe in felled. Yeah, but yes, I'm spelling it

1087
00:56:15,960 --> 00:56:21,880
Speaker 1: out on Instagram. Show the letter in felled. Boom, shoot,

1088
00:56:25,160 --> 00:56:28,640
Speaker 1: and I can't spell shoe. Just go look at aal dimola.

1089
00:56:28,760 --> 00:56:32,440
Speaker 1: There you go, what um Adam show unfelled. There he is.

1090
00:56:32,800 --> 00:56:36,480
Speaker 1: Follow him on Instagram shoe in Felled, which is show

1091
00:56:36,560 --> 00:56:39,680
Speaker 1: unfelled his last name. Hey, thanks for coming by, Appreciate

1092
00:56:39,719 --> 00:56:41,960
Speaker 1: you and tell your your wonderful wife, I say, hello,

1093
00:56:42,360 --> 00:56:45,120
Speaker 1: will kick on the balls for me. I will own

1094
00:56:45,160 --> 00:56:48,560
Speaker 1: a couple of those. And uh, you guys, check out

1095
00:56:48,600 --> 00:56:50,319
Speaker 1: the record. You know you heard some of it here,

1096
00:56:50,560 --> 00:56:52,680
Speaker 1: but it's up he's proud of it. I think you'll

1097
00:56:52,719 --> 00:56:56,160
Speaker 1: like it. All the birds sing, it's ten songs, and

1098
00:56:56,360 --> 00:56:58,960
Speaker 1: it's him going all right, here I am again, let's go,

1099
00:56:59,200 --> 00:57:00,680
Speaker 1: let's do this. I hope you get to go play

1100
00:57:00,680 --> 00:57:03,839
Speaker 1: some shows. Thanks man, that'd be pretty happy to all right, Thanks,

1101
00:57:03,960 --> 00:57:11,799
Speaker 1: I appreciate you. But that's awesome. H m hm