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Speaker 1: All right, welcome to episode fifty two The Bobby Cast

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Speaker 1: here with Luc Lair, who is and I said this

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Speaker 1: before you're here, like you're the the upper one of

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Speaker 1: songwriters here in Nashville. You don't have to comment on this,

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Speaker 1: you don't want, but you know that was go. You

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Speaker 1: know the top dude percent of American rich people. You're

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Speaker 1: that of the songwriters in town. I mean, I guess

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Speaker 1: right at this very moment in time that can change

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Speaker 1: quickly that when did that happen? Again? I don't have

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Speaker 1: any notes here, so I twenty one number one. It's close,

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Speaker 1: just because I had one last week. Okay, what was

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Speaker 1: last week? Luke Bryan, Oh Flask? Yeah, I haven't heard

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Speaker 1: that yet. Oh you don't hear Flask. I'll play it

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Speaker 1: for you a little bit because I was gonna so.

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Speaker 1: And that was Luke's six number one from that record,

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Speaker 1: which is a whole two guy right now, it's a

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Speaker 1: wholeful can you hear him? Yeah? Still, Luke, Hey, there

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Speaker 1: you go. We had we had an actually met until

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Speaker 1: the A C M. S. Yeah, the first time that. Uh,

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Speaker 1: I guess we physically had run into each other. Uh So,

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Speaker 1: congrats on that's that new number one, thank you does

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Speaker 1: it by Okay, here's a question for you. These things

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Speaker 1: move so fast, now fast, it moves so fast, especially Luke, Bryan,

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Speaker 1: Luke or Blake, Yeah, the the the A Listers. Again,

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Speaker 1: is that frustrating for you as a writer, because again,

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Speaker 1: you're not making as much if it flies up the

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Speaker 1: chart so fast. Well, no, it's not frustrating because with

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Speaker 1: a guy like that, And first of all, there are

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Speaker 1: no guarantees. But if Luke Bryant at this point in

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Speaker 1: time puts a song out, it's you're pretty much guaranteed

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Speaker 1: it's gonna be a hit. With other new artists, you

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Speaker 1: don't know. I mean, it can be a longer ride

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Speaker 1: and a better, better payout possibly, but with a superstar

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Speaker 1: it's you're never I'm not frustrated with that. That's just

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Speaker 1: part of the game where if Luke cuts it, you

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Speaker 1: know what's going to be about a thirteen week or

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Speaker 1: maybe Yeah, right now, that's true, Like Luke does that,

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Speaker 1: Blake does that. They're about four or five people who

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Speaker 1: really like they're going to be hits and they're gonna

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Speaker 1: fly up the chart and then here comes the other one.

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Speaker 1: That's the only reason Luken puts six songs out on

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Speaker 1: a record because they move so fast, but they didn't

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Speaker 1: if it was ten years ago. Yeah, I mean you

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Speaker 1: gotta get onto the next record because it just you know,

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Speaker 1: the label can't sit on a on an album for

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Speaker 1: that long. They need new product. But yeah, with Luke,

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Speaker 1: I mean, he doesn't have time to get in there

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Speaker 1: and he can't record fast enough. Are you the hardest

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Speaker 1: person to book a right with? In town? No? You

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Speaker 1: say that fast? You don't think you are. Who who's

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Speaker 1: harder to book with you? Um than you? Probably Ashley

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Speaker 1: Gory And I mean there's probably a lot of other ones.

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Speaker 1: But someone like Ashley. I mean that guy now, I

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Speaker 1: will say he writes more than I do. He'll he'll

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Speaker 1: write two or three times a day. Still, I mean

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Speaker 1: it's someone like that. It blows my mind. Um, I

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Speaker 1: can't do it. I just don't have I'm just not

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Speaker 1: that good. I can't do that at one time of

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Speaker 1: day is like perfect for me. And honestly, ideally I

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Speaker 1: would write three, four at the most times a week.

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Speaker 1: And how many of those songs if you write four

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Speaker 1: songs in a way, how many those songs ever actually

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Speaker 1: see the light of day? I mean, if one of

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Speaker 1: them did, that would be amazing. But it's not even that.

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Speaker 1: Is it like a race horse that has one the

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Speaker 1: Kentucky Derby, and like he's a help on other horses, right,

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Speaker 1: And it's like one of the horses is probably going

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Speaker 1: to be a nice horse. It's probably genetically it's probably

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Speaker 1: going to be a very fast horse, but all of

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Speaker 1: them aren't. But you're gonna get some real powerful horses

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Speaker 1: if you if you would you say that, you're like

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Speaker 1: basically the what was that movie with Toby Keith McGuire,

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Speaker 1: I used the Sea Biscuit of songwriters. I mean, Rodney

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Speaker 1: Clawson is probably more of a stud horse than I am,

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Speaker 1: but Toby Keith, yeah, the Toby McGuire, Yeah, so Rodney

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Speaker 1: class is more of the I mean, here's the thing,

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Speaker 1: like you know, and and where I'm at too. I'm

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Speaker 1: fortunate because I do get to write with the other

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Speaker 1: writers that are having the current hits on the chart.

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Speaker 1: So it's kind of like this perfect timing where you're

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Speaker 1: writing with everybody that has stuff going on, so you're

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Speaker 1: constantly raising the bar. Now I try to write with

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Speaker 1: new people too, because at some point you just write yourself, right,

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Speaker 1: out of the game. But if you don't get new

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Speaker 1: fresh ideas. But my odds are a lot better right

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Speaker 1: now than they were ten years ago. So uh, I mean,

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Speaker 1: I have I have all of your your number one's here,

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Speaker 1: and you know, we get spend an hour going over

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Speaker 1: each song. I guess let's start with the very beginning,

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Speaker 1: and we'll start with your first ever number one. Talk

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Speaker 1: about that one? Which one? Was? It? So small? Carry Underwood?

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Speaker 1: Carry Underwood? And um it was. I mean, here's the thing.

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Speaker 1: She had just come off an album that was like

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Speaker 1: Sol ended up selling like seven million records. I had

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Speaker 1: zero hits. So for me to get the opportunity to

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Speaker 1: work with her before that second record, when everybody in

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Speaker 1: town was trying to write with her, how does that

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Speaker 1: happen then? If you have zero hits and carries Carry? Well,

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Speaker 1: A couple of things happened with that. First of all,

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Speaker 1: I was I'm friends with Hillary Lindsay and we wrote

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Speaker 1: songs together and carries like you know, Hillary is like

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Speaker 1: the go to writer for Carrie Underwood, So I had

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Speaker 1: already been writing with Hillary. And then there was also

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Speaker 1: a publisher in town who I worked with named Chris Oglesby,

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Speaker 1: and He was at the time really helping introduce Carry

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Speaker 1: to the songwriting community, so I had him on my

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Speaker 1: team as well as someone like Hillary. And then she

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Speaker 1: had heard a couple of other songs that I had

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Speaker 1: written that she liked enough to give me a shot

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Speaker 1: to write. When you go on with someone like Carry

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Speaker 1: for the first time and you're green, you're you're green

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Speaker 1: as far as hits and zero hits? Are you super

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Speaker 1: overly prepared and are you a little nervous walking into

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Speaker 1: the room that she's gonna think what did I get

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Speaker 1: myself into? Absolutely? And I still go that way, but yeah,

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Speaker 1: we definitely, Hillary and I got together the night before

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Speaker 1: and try to come up with as many ideas to

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Speaker 1: throw to her as possible. And the thing is, Carrie

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Speaker 1: can write too, But you don't want to go in

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Speaker 1: there and say, hey, I wonder what's gonna happen today.

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Speaker 1: You want to have stuff like here's the title, here's

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Speaker 1: a like this song is going down the road. Um,

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Speaker 1: but yes, it's nerve racking and for sure really nerve

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Speaker 1: wracking then. And it's still that way when you get

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Speaker 1: with like a big artist, because you don't it's always

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Speaker 1: I think that those insecurities that we all have. You're like,

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Speaker 1: I don't want them to think I suck and I don't.

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Speaker 1: I just want to come up with something. Walking into

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Speaker 1: a room with blank was the most intimidating you'd ever felt.

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Speaker 1: Oh man, Brett Michaels, No, Um, have you written more?

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Speaker 1: Brett the nicest guy, so nice and like full of

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Speaker 1: energy and like you just want he wants to hug you,

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Speaker 1: and you they're like, okay, I'll hog you back. I

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Speaker 1: mean that was That's the funniest thing. I literally went

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Speaker 1: on Twitter kind of as a joke but kind of

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Speaker 1: not because like my kid's self was like a huge

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Speaker 1: poison fan and um, I literally like at Brett Michaels,

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Speaker 1: you know, would you ever? You know, if anybody knows

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Speaker 1: Brett Michaels, you know, I'd love to write a song

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Speaker 1: with him. And I swear the next day I get

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Speaker 1: a call from Brett Michaels on my He's like, hey man,

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Speaker 1: he got my number from like a like a newspaper

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Speaker 1: writer or something. I can't remember who may have been.

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Speaker 1: I don't even remember. Such a nice guy, so nice,

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Speaker 1: positive makes you feel like remember Brett too, And I

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Speaker 1: was like, oh boy, like am I because for me,

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Speaker 1: I'm a guy that doesn't like to me people that

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Speaker 1: they really because humans are human and the bad thing

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Speaker 1: about humans being human is we're all faulted in a

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Speaker 1: flaw and we put our heroes in this place where

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Speaker 1: they don't have faults and flaws. Definitely, Brett was awesome.

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Speaker 1: He really lived up to the hype and he's just

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Speaker 1: to speaking of you know, a lot of energy. I'm

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Speaker 1: just like crazy. But who um, yeah, okay, so we'll

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Speaker 1: take right off the alf Who else did you want?

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Speaker 1: Somebody called you said hey, we want you to go

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Speaker 1: right with and you're like, oh, okay, Snoop Dogg? What

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Speaker 1: you wrote with? Snoop? I did just me and him.

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Speaker 1: I did a panel with him out during like Grammy

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Speaker 1: Week out at the at the Roxy and Hollywood, and

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Speaker 1: it was like a B and I panel where so

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Speaker 1: they had different writers from difference. This would have been

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Speaker 1: three years ago. Yeah, and um, so we're there. It's

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Speaker 1: like a noontime thing and it's all like aspiring songwriters

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Speaker 1: and producers and then it's like me from that, I'm

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Speaker 1: like the country guy and uh bust of rhymes. Snoop Dogg,

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Speaker 1: b O B and David Hodges, and um, I mean,

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Speaker 1: I'm like big hip hop fans, so like this is

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Speaker 1: I can't believe it. Snoop is gonna be there. So

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Speaker 1: my wife Beth, who is my manager and publisher and

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Speaker 1: basically runs everything. After the show, she goes, hey, I

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Speaker 1: think I think I got you a day to work

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Speaker 1: with Snoop. I was like, no way, So I go back.

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Speaker 1: I go backstage after the show and um, she's in

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Speaker 1: this dressing room with I swear like a like just

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Speaker 1: this huge on this dressing room table, huge amount of weed.

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Speaker 1: And it's just funny seeing my wife in that setting

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Speaker 1: just talking to these guys and like just like doing this,

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Speaker 1: like getting the smoke out of her face. And she

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Speaker 1: told me after I was like, no, it's not gonna happen.

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Speaker 1: He'll cancel. Why would he want to work with me?

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Speaker 1: He doesn't, you know. But it happened. I went out

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Speaker 1: to l A for it was supposed to be two days.

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Speaker 1: They canceled one day and so I worked with him

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Speaker 1: for about three hours and we did a song. It's

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Speaker 1: never been released, but you got the memory, yeah, and

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Speaker 1: I have it, like I can listen to it and

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Speaker 1: you have one of my buddies did a story on

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Speaker 1: Snoop once and he doesn't smoke a lot of weed,

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Speaker 1: but he smoked Snoops weed. Yeah, he doesn't remember like

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Speaker 1: he did. He remember waking up in his car and

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Speaker 1: he was like, well, I don't know what happened like

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Speaker 1: that because I'm I'm also a huge hip hop fan. Yeah,

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Speaker 1: and so I was like, do you tell me everything?

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Speaker 1: So and he was like, Snoop offered me some weed

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Speaker 1: and that's about all I remember. Man. Yeah, I was.

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Speaker 1: I think I probably got like a contact time, but

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Speaker 1: I've I've been sober for over ten years. So I

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Speaker 1: was like, even Snoop wasn't worth messing it up. But

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Speaker 1: I did have an amazing experience and we were. But

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Speaker 1: I was really going back to what you're saying, I

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Speaker 1: was really nervous going into that because I'm like, what's

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Speaker 1: he gonna think? You know? But he was. He couldn't

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Speaker 1: have been nicer. He was actually a lot of times

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Speaker 1: the artist you're like, when are they going to show up?

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Speaker 1: He was there before I was. He was so professional,

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Speaker 1: like you get to see him do what he excels at.

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Speaker 1: And he literally got out the yellow legal pad and

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Speaker 1: I had written this chorus and I played that for him,

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Speaker 1: and then just I had a track and so he

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Speaker 1: wrote the verses. We didn't really collaborate. That's kind of

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Speaker 1: how in hip hop alot it works. It's not like

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Speaker 1: you sit there like, well's let's talk about It's like no,

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Speaker 1: it's more freestyle. And but I see him just writing

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Speaker 1: on these sheets of legal and I was like, I

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Speaker 1: was somebody who's video and this didn't He didn't keep paper.

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Speaker 1: He wrote on it that have been whenever a picture

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Speaker 1: of it you're taking made that a different road here

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Speaker 1: because you talk now it was busted fat by then

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Speaker 1: he was he was w WF. I mean he was

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Speaker 1: he was this okay, so he was muscular. Now he's

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Speaker 1: just really fat. He looks bad. It's not good. Yeah,

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Speaker 1: And Busta was I mean Buster, I was the first

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Speaker 1: guy that I remember my childhood that went super fast,

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Speaker 1: super fast. Yeah, like you had like super Sonic and

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Speaker 1: stuff that, you know, But Buster for me, you know,

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Speaker 1: whenever it was put your hands, you know, I was.

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Speaker 1: I never anything like Bustle from my life. And I

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Speaker 1: was like, I don't even know what he's saying about,

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Speaker 1: like it, yeah, exactly. It sounded cool and and Buz

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Speaker 1: even though he's fat, I I want to bet award

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Speaker 1: life and he's still I guess body ties on fact rhyme. No,

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Speaker 1: it didn't change his lips. And b O b is

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Speaker 1: like the craziest multi instrumentalist. Yeah, he's super talented, super centric.

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Speaker 1: Oh yeah he's he's not. But you know, to be creative,

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Speaker 1: you gotta be nuts. Yeah, and he's nuts, but he's

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Speaker 1: so musically gift and I you know what, I I

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Speaker 1: did hip hop and pop radio for a long time,

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Speaker 1: so I had to meet a lot of these guys,

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Speaker 1: and a lot of the studio session would go like this,

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Speaker 1: let's go in the studio, we'll get high. We'll just

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Speaker 1: play a play a beat, you know, we'll throw some

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Speaker 1: some bars over it. Like we like that one, Let's

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Speaker 1: do another one. But Bob was like guitars tracks. Like

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Speaker 1: it was like for a hip hop guy, that's that's different.

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Speaker 1: When they see you pick up a guitar, they're like, wow,

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Speaker 1: what is this? But like, yeah, he is like that.

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Speaker 1: I try to go to Atlanta like at least once

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Speaker 1: or twice a year, and I've have gone down there

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Speaker 1: to work with Bob and with Future and none of

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Speaker 1: these songs have come to fruit shi as far as

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Speaker 1: coming up. But for me, like I don't even care

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Speaker 1: because I'm just like a kid at that point. It's

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Speaker 1: like there's no expectation of like, oh I have to

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Speaker 1: come up with their next single or and it's just

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Speaker 1: so much fun if like my goal is to like, right,

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Speaker 1: you know, get a song on the hip hop charts

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Speaker 1: at some point that Future stuff that that's that's cool

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Speaker 1: because Future is like the I mean, Snoop Bust even

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Speaker 1: b O b is a half a generation back at

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Speaker 1: this point. Um you know Airplanes and Magic that that

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Speaker 1: whole record, you know, um Bob. But this is you know,

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Speaker 1: yeah that that's been a bit. But like Future right

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Speaker 1: now I is doing it. He is, and it's he's

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Speaker 1: one of those guys too. Like some of the stuff

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Speaker 1: I hear him like like am I just out of

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Speaker 1: the Like then I start feeling old and like is

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Speaker 1: this good? But then I'll hear something like why do

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Speaker 1: I want to listen to that? Again? It seems so

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Speaker 1: dumb at first, and then you're like why do how

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Speaker 1: do they feel about you? Though? Because here you come

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Speaker 1: in You're like me, we're just pasty goofy guys. You know,

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Speaker 1: I think there's something almost that there's just something and

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Speaker 1: it's almost disarming about it. It's not like I'm coming

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Speaker 1: in trying to be them and you're not competing, right,

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Speaker 1: I'm not in the grind every day like with all

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Speaker 1: the other producers there. So it's it's I think it's

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Speaker 1: just like a kind of like it is for me.

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Speaker 1: It's a different experience for them, and they're just intrigued

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Speaker 1: by the Oh, he plays a guitar, he knows Luke

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Speaker 1: Brian or whatever. You know what I mean, Do they

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Speaker 1: really know that anything about country? Because not much. I

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Speaker 1: mean some of them might, but I it's funny. It'll

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Speaker 1: be You'll talk to a couple of guys in that

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Speaker 1: world they're like, yeah, man, I know Rascal Flats and

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Speaker 1: which cool you know. But it's it's just so interesting

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Speaker 1: because like something like you say, someone current, you know,

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Speaker 1: they might be like and they're in their own bubble

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Speaker 1: much as we are, Like we're a big old bubble

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Speaker 1: that sometimes we don't that we can't even see outside

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Speaker 1: of Autely and luckily for me, I get to tour

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Speaker 1: and meet a lot of that keeps me somewhat like

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Speaker 1: normal ish, because I'm not normal in any way whatsoever.

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Speaker 1: But I get to go with me a lot of

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Speaker 1: people that listen to music, and I get to see

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Speaker 1: what they like. And um My, the b O B

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Speaker 1: thing and I hear Bob is great because I write

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Speaker 1: and have written a bunch of like comedy stuff and

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Speaker 1: songs with Christian Bush. And they share a studio space

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Speaker 1: in Atlanta because Christian lives in Atlanta. Oh, I wonder

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Speaker 1: if it's I've been to that one. Yeah, they're like

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Speaker 1: right down the hall from each other. That's cool. And

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Speaker 1: so look, we could just spend probabing hour, like, uh,

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Speaker 1: let me talk about one hundred flowers for a second.

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Speaker 1: So after a cold, wet winter, it's officially tulip season

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Speaker 1: at one eight hundred flowers dot com. And when it

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Speaker 1: comes to surprising your friends, surprising your loved ones with

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Speaker 1: the best blooms and the brightest colors, let me suggest

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Speaker 1: to you one eight hundred flowers because that's what I've

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Speaker 1: used many, many, many times, and it's Easter and it's

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Speaker 1: a great price right now, one eight hundred flowers, Dusty,

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Speaker 1: what are you doing the dogs here? Let me talk

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Speaker 1: about flowers and wants to get onto this one hundred

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Speaker 1: flowers given my and there's an exclusive thirty for thirty

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Speaker 1: for thirties sort of tulips for thirty bucks. The only

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00:16:06,880 --> 00:16:09,480
Speaker 1: a dollar per twolip that you can find. There were

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Speaker 1: the right and beautiful mix of orange, yellow, and pink blooms.

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Speaker 1: These sort of tulips are perfect for surprising your friends,

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Speaker 1: and one hundred Flowers handles the rest. There samply pick

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Speaker 1: your to every day and let one hundred flowers handle

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Speaker 1: the rest. Thirty a sort of tulips for thirty dollars.

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Speaker 1: You have thirty thirty an amazing offer, but it expires Friday.

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Speaker 1: Every boucad is back with the one hundred flowers mile guarantee.

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Speaker 1: Go to one hundred flowers dot com slash bones one

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Speaker 1: hundred flowers dot com slash bones and get in on

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00:16:34,800 --> 00:16:36,680
Speaker 1: this before it goes away. One hundred drew flowers dot

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00:16:36,720 --> 00:16:38,280
Speaker 1: com slash bones and not just for this, for all

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Speaker 1: kinds of flowers as well. All right, so how about this,

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Speaker 1: let's let's do some carry stuff. So last name you

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Speaker 1: wrote this one? Would you write this way? Carrie and Hillary,

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Speaker 1: we actually wrote that the day after we wrote So Small, which,

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Speaker 1: so you do two songs? Did you? Were those the

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Speaker 1: only two songs that you wrote in those two days? No,

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Speaker 1: we ended up writing I think we wrote one other

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Speaker 1: songs that didn't end up making it onto the record.

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Speaker 1: When you okay, let's let you finish those three songs,

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Speaker 1: are you like we can? I felt pretty good about

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Speaker 1: these three or this one or these two? Like did

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Speaker 1: you know kind of well that's well. The thing is

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Speaker 1: I hadn't had any hits. I knew that like last

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Speaker 1: name sounded more hit ish, but I knew I really

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Speaker 1: liked So Small, Like I felt something we played it.

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Speaker 1: When you're sitting in the room with just the guitars

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Speaker 1: and the two of them are singing it together, it's like,

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Speaker 1: you know, this is amazing When Hillary Linday can sing

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Speaker 1: with Carrie, Oh yeah, Like that's the crazy thing about

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Speaker 1: her is that she can sing with like I mean,

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Speaker 1: with that level. No, it's it's amazing, And I just

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Speaker 1: felt lucky to be in that room, to be honest.

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Speaker 1: So you cut those two? I got you recorded? Are

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Speaker 1: you write those two? Um? When do you get back that, Hey,

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Speaker 1: we're actually gonna put these on a record, because that's

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Speaker 1: first before single, Like, let's say we're actually gonna cut

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Speaker 1: these songs, um, I mean it was it wasn't too long, um,

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Speaker 1: because I remember we wrote this in like February, and

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Speaker 1: the first single came out, I want to say, in

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Speaker 1: June or July, which is still a little bit of time.

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Speaker 1: So what was the first thing? One of you? It

359
00:18:06,320 --> 00:18:08,480
Speaker 1: was so small, man, when you get that call that

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Speaker 1: it's the first thing on the record and it was

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Speaker 1: my first single, and I remember, I mean I was

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Speaker 1: literally right down the street here at this condo I

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Speaker 1: told you, um that I lived in, and I just

364
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Speaker 1: remember exactly where it was when I got the call,

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Speaker 1: and it's like this surreal moment. It's like wow. As

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Speaker 1: a kid, you dream of writing songs and like want

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Speaker 1: something on the radio, and this song is going to

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Speaker 1: be on the radio. And it's Carrie Underwood, who just

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Speaker 1: came off the biggest album of the year or whatever,

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Speaker 1: and this is starting her next Your first single was

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Speaker 1: Carrie's first single from that record. Ever, Yeah, when you

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Speaker 1: get your very first check, because they started, they drip

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Speaker 1: in and they hit. When you get that first writing

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Speaker 1: check for a number one song, it's not that big, right,

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Speaker 1: The first one the very first, very firstly takes it

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Speaker 1: takes a long time to get paid out. Yeah, I

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Speaker 1: don't know the exact but it's an apex a year. Yeah,

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Speaker 1: there's probably like, yeah, probably a year, and then there's

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Speaker 1: a couple of big quarters and then it starts dwindling off.

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Speaker 1: But I'm always intrigued by people when they say songs

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Speaker 1: either fell out of them in like thirty minutes or

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Speaker 1: took days and days. For example, Shane McK and I

383
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Speaker 1: was talking about how they did body like a background

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Speaker 1: it took weeks. Yeah, well, you know, and I think

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Speaker 1: a lot of that that's Sam's process. He you know,

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Speaker 1: it's it's not wrong, it's just a different I mean

387
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Speaker 1: obviously that that song is massive, but it might not

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Speaker 1: sound like something that they spent days and days on.

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Speaker 1: But yeah, every song is different. So what song was

390
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Speaker 1: like backbreaking for you to ended up being this hit?

391
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Speaker 1: You're like, I can't believe we get we finished it

392
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Speaker 1: because it was just like, what in the world, Well,

393
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Speaker 1: you know, a song and I haven't had one that

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Speaker 1: I've spent days and days writing, but it's taken a

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Speaker 1: long time to get to like and this is after

396
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Speaker 1: this big build up here and be like, what, that's

397
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Speaker 1: like the dumbest song that her but hill Billy Boone.

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Speaker 1: Literally Craig, Yeah, Craig Wiseman and I got together and

399
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Speaker 1: we were grinding on this other idea all day, like

400
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Speaker 1: just and this is like a real testament to Craig

401
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Speaker 1: Wiseman's work ethic because I tried to leave that right

402
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Speaker 1: like three or four times, and finally, at like five

403
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Speaker 1: o'clock five pm, he goes, man, let's just just try

404
00:20:24,480 --> 00:20:28,119
Speaker 1: something else. Just let's just do something else, and he's like,

405
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Speaker 1: just do one of your crazy beatbox things. I was like,

406
00:20:34,359 --> 00:20:37,119
Speaker 1: and we started with that riff and he's literally just

407
00:20:37,200 --> 00:20:40,560
Speaker 1: being dumb, like yo bab that bob blah boma. We

408
00:20:40,760 --> 00:20:43,040
Speaker 1: just got a reaction and it's like you gotta pay

409
00:20:43,080 --> 00:20:44,800
Speaker 1: attention to that in the room, and we just started

410
00:20:44,880 --> 00:20:47,720
Speaker 1: laughing like what could this be? And so it turned

411
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Speaker 1: out like I was rapping on the verses and then

412
00:20:50,720 --> 00:20:53,920
Speaker 1: he sang the chorus and so they ended up pitching

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Speaker 1: that to Blake and he heard it and he loved it.

414
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Speaker 1: But he's like, you guys, gotta put a melody on

415
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Speaker 1: the on the verses. So we went back in not

416
00:21:01,600 --> 00:21:05,440
Speaker 1: like it's this amazing melodic song, but we put a

417
00:21:05,520 --> 00:21:09,639
Speaker 1: melody to it. But that song, literally it wasn't one

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Speaker 1: of those we had this title like I want to

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Speaker 1: write a song called He'll Billy Bone. Like No, it

420
00:21:14,640 --> 00:21:17,840
Speaker 1: was just being in a room all day and corner

421
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Speaker 1: and yourself on a certain idea not happening, and then

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Speaker 1: just not overthinking anything and writing something fun. And um,

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Speaker 1: That's happened other times too, But that's like the main

424
00:21:28,480 --> 00:21:32,200
Speaker 1: example I can think of by your hip hop influence.

425
00:21:32,240 --> 00:21:33,920
Speaker 1: And I say that for a couple of reasons, and

426
00:21:34,040 --> 00:21:35,560
Speaker 1: just as to see you can kind of know a

427
00:21:35,600 --> 00:21:37,240
Speaker 1: little bit of my backstory. At one point in my life,

428
00:21:37,240 --> 00:21:39,760
Speaker 1: I signed a hip hop record deal really so it

429
00:21:39,840 --> 00:21:42,680
Speaker 1: didn't last long, but but you did, but I did,

430
00:21:43,240 --> 00:21:47,959
Speaker 1: And you know, as you started talking, I'm just like, man, okay,

431
00:21:49,040 --> 00:21:53,280
Speaker 1: how in the world did that happen? Like, because for me,

432
00:21:53,480 --> 00:21:55,840
Speaker 1: I literally grew up in a black town and so

433
00:21:56,000 --> 00:21:57,840
Speaker 1: all my friends listen hip hop, that's what I had.

434
00:21:57,920 --> 00:22:00,160
Speaker 1: And then I went grunge in the nineties while all

435
00:22:00,200 --> 00:22:03,439
Speaker 1: in Garth, and but that's where my hip hop influence

436
00:22:03,480 --> 00:22:05,520
Speaker 1: comes from. Like what about you? For me, I mean

437
00:22:05,560 --> 00:22:08,480
Speaker 1: I grew up in a small very small town in Pennsylvania,

438
00:22:08,640 --> 00:22:14,040
Speaker 1: and it was a white town. But I mean, I think,

439
00:22:14,119 --> 00:22:16,280
Speaker 1: like a lot of other people my age, I just

440
00:22:16,880 --> 00:22:19,960
Speaker 1: and still I listened to everything, you know, country. I

441
00:22:20,040 --> 00:22:22,840
Speaker 1: really connected with country music, I think because I could

442
00:22:23,200 --> 00:22:26,320
Speaker 1: literally could relate to the lyrics. But the music I

443
00:22:26,440 --> 00:22:28,720
Speaker 1: loved and go to school dances and that it's not

444
00:22:29,320 --> 00:22:31,359
Speaker 1: it was hip hop, and like all my friends, it

445
00:22:31,480 --> 00:22:35,000
Speaker 1: was like it was like listening to nineties country and

446
00:22:35,080 --> 00:22:38,200
Speaker 1: nineties hip hop, and it's that is through all of

447
00:22:38,320 --> 00:22:42,520
Speaker 1: my music. Like I just love both of them. Lyrically, obviously,

448
00:22:42,600 --> 00:22:45,800
Speaker 1: I relate to country music, so it's it's easy for

449
00:22:45,880 --> 00:22:48,440
Speaker 1: me to write that in the sense that it's authentic.

450
00:22:48,840 --> 00:22:52,440
Speaker 1: But musically, I mean, my first tape I ever had

451
00:22:52,640 --> 00:22:55,040
Speaker 1: was this is a hip Hop but it was Michael

452
00:22:55,119 --> 00:23:00,520
Speaker 1: Jackson Thriller, and from there it just I just like

453
00:23:00,720 --> 00:23:05,639
Speaker 1: popular music. And it's refreshing to hear someone actually say that.

454
00:23:05,720 --> 00:23:08,240
Speaker 1: I think everybody feels it, but people are scared to

455
00:23:08,359 --> 00:23:11,040
Speaker 1: say it. It's true, and I mean, I have so

456
00:23:11,160 --> 00:23:14,440
Speaker 1: much respect for that. I know. I mean, I'm not

457
00:23:15,119 --> 00:23:17,840
Speaker 1: saying I'm you know as much as some people, but

458
00:23:17,960 --> 00:23:20,119
Speaker 1: I know the history of country music and I and

459
00:23:20,240 --> 00:23:23,080
Speaker 1: I love it, and I but this is who I

460
00:23:23,200 --> 00:23:26,000
Speaker 1: am and this is how I grew up. So it's

461
00:23:26,040 --> 00:23:29,960
Speaker 1: pretty authentic, you know, the way I write. And I

462
00:23:30,119 --> 00:23:33,959
Speaker 1: love very traditional country music and I love a lot

463
00:23:34,000 --> 00:23:35,760
Speaker 1: of current stuff. And I think that's why I actually

464
00:23:35,840 --> 00:23:40,240
Speaker 1: have a job. Uh best rapper alive right now? Oh man,

465
00:23:40,480 --> 00:23:43,239
Speaker 1: I mean probably it's probably Eminem. I was gonna say

466
00:23:43,240 --> 00:23:46,600
Speaker 1: the same thing, and you know what, we're two white

467
00:23:46,640 --> 00:23:48,000
Speaker 1: guys saying a white guy. But here's what I did.

468
00:23:48,040 --> 00:23:49,560
Speaker 1: I said that on the radio one morning. I'm like

469
00:23:49,880 --> 00:23:51,800
Speaker 1: on my country morning show. We're talking to hip hop,

470
00:23:52,240 --> 00:23:54,280
Speaker 1: and I said, I think I'm a guy's rapper alive,

471
00:23:54,359 --> 00:23:55,520
Speaker 1: and I know I'm white guy, and you're gonna go,

472
00:23:55,600 --> 00:23:57,680
Speaker 1: you're a white gupic and a white guy. So I

473
00:23:57,800 --> 00:24:00,800
Speaker 1: called Charlemagne, the guy who has the hip option best

474
00:24:00,840 --> 00:24:02,800
Speaker 1: friends in the world, and so I called him and

475
00:24:02,840 --> 00:24:04,960
Speaker 1: he they were on the air um in New York

476
00:24:05,000 --> 00:24:07,359
Speaker 1: do the Breakfast Club and I was like, hey, dude,

477
00:24:07,840 --> 00:24:10,200
Speaker 1: I'm saying Eminem's best rapper and we'll put them on

478
00:24:10,240 --> 00:24:11,879
Speaker 1: the like straight up. I was like, you can tell

479
00:24:11,960 --> 00:24:13,960
Speaker 1: him an idiot, and I'm just a white guy saying

480
00:24:14,000 --> 00:24:17,040
Speaker 1: a white guy and he says, oh, there's absolutely argument

481
00:24:17,119 --> 00:24:19,159
Speaker 1: eminem'ing rapper alive. You know, they're about three or four

482
00:24:19,200 --> 00:24:21,399
Speaker 1: people that you could say it's the great rapper alive,

483
00:24:21,440 --> 00:24:23,920
Speaker 1: but Eminem's When Emine comes on a track, it's not

484
00:24:24,000 --> 00:24:28,320
Speaker 1: your track anymore. No, it doesn't. And you're literally captivated.

485
00:24:28,400 --> 00:24:30,400
Speaker 1: How many other like a lot of guys have great

486
00:24:30,440 --> 00:24:33,879
Speaker 1: flow and it sounds cool, but he literally says something

487
00:24:34,560 --> 00:24:37,040
Speaker 1: with those lyrics, and you're you're just like drawn into

488
00:24:37,119 --> 00:24:38,760
Speaker 1: the story. A lot of times I'm like, Okay, I

489
00:24:38,840 --> 00:24:41,320
Speaker 1: need to listen to it Naughty by Nature after this

490
00:24:41,520 --> 00:24:44,880
Speaker 1: or something because it's just so heavy. But it's amazing.

491
00:24:45,640 --> 00:24:48,200
Speaker 1: It takes about three listens at times to really hear

492
00:24:48,240 --> 00:24:50,800
Speaker 1: an Eminem song too. Well. He did that. He did

493
00:24:50,840 --> 00:24:53,400
Speaker 1: a song with Big Sean, I'm Big Sean's last record,

494
00:24:54,520 --> 00:24:58,119
Speaker 1: No Favorite, and it was and and the problem that

495
00:24:58,160 --> 00:25:01,080
Speaker 1: the trouble that I got into was there's a political

496
00:25:01,119 --> 00:25:03,359
Speaker 1: message behind it. And I wasn't trying to political message

497
00:25:03,840 --> 00:25:06,280
Speaker 1: because it was like a Coulter and so and Trump.

498
00:25:06,760 --> 00:25:09,000
Speaker 1: But I was just like guys and Big Sean as

499
00:25:09,000 --> 00:25:11,600
Speaker 1: as legit as they get right now, and so what

500
00:25:11,800 --> 00:25:14,800
Speaker 1: I need from no fabs and it comes to this track,

501
00:25:14,920 --> 00:25:18,280
Speaker 1: it's not Big Sean's track anymore, and he's like, you know,

502
00:25:18,359 --> 00:25:20,760
Speaker 1: he's telling the engineer Keith Luke, and I'm I'm not

503
00:25:20,920 --> 00:25:23,920
Speaker 1: done after sixteen days or whatever. It was. The same

504
00:25:24,000 --> 00:25:27,600
Speaker 1: happened with Loway and when it was when and and

505
00:25:27,840 --> 00:25:31,280
Speaker 1: and somebody else was on a track and later yea,

506
00:25:32,240 --> 00:25:35,280
Speaker 1: fuck you looking that hater. I saw him eyes like

507
00:25:35,359 --> 00:25:37,600
Speaker 1: a nass raper and the style changes. Why to copy

508
00:25:37,680 --> 00:25:39,920
Speaker 1: my swag like a cheating classmate, I'll be the last

509
00:25:39,920 --> 00:25:41,800
Speaker 1: phase you see when you pass, when you get your

510
00:25:41,840 --> 00:25:44,840
Speaker 1: fucking nass created like a mass paper. So ahead of

511
00:25:44,880 --> 00:25:47,480
Speaker 1: my time, Laten and I'm early my ages reversting. I'm

512
00:25:47,520 --> 00:25:50,720
Speaker 1: basically thirty, amazingly stirty, Zaney and Birdie, brainy and nerdy,

513
00:25:50,760 --> 00:25:53,840
Speaker 1: blatantly dirty, insanely perverted, raping and scurvey. They blame me

514
00:25:53,880 --> 00:25:55,840
Speaker 1: for murdering Jamie. Lee. Curtis said, I put a face

515
00:25:55,880 --> 00:25:57,720
Speaker 1: in the furnace, beating with a space, then a piece

516
00:25:57,760 --> 00:26:01,399
Speaker 1: of furniture, a bo thermis may be disturbing. What I'm

517
00:26:01,440 --> 00:26:04,120
Speaker 1: saying is prince worthy, but I'm urinating on Bergie. Sad

518
00:26:04,280 --> 00:26:06,359
Speaker 1: Number eighty one Shirley I'm turning into the air, and

519
00:26:06,400 --> 00:26:08,800
Speaker 1: her name is the rapt state of emergency, the planets

520
00:26:08,840 --> 00:26:11,760
Speaker 1: having panic attacks. Prady's returning. Matter of fact, I'm maybe

521
00:26:11,840 --> 00:26:13,960
Speaker 1: deserving up a pat on the back like a Patriot

522
00:26:14,080 --> 00:26:17,879
Speaker 1: Jersey wall inexplicable stomach crowd from the pit of it,

523
00:26:18,040 --> 00:26:22,040
Speaker 1: like fucking Terry. You're hidding despicable, dumb, damn ridiculous tongue

524
00:26:22,119 --> 00:26:23,920
Speaker 1: is fast, shoot up at the fucking mouth like a

525
00:26:23,960 --> 00:26:26,680
Speaker 1: missile of thundercloud under pound. Just to pull the trigger

526
00:26:26,800 --> 00:26:29,639
Speaker 1: this gunner sound and you'll get a bad the digital underground.

527
00:26:29,760 --> 00:26:31,240
Speaker 1: He's not even into it yet. He's got to really

528
00:26:31,240 --> 00:26:34,680
Speaker 1: gets stretching right now. He's just stretched up a damn

529
00:26:34,680 --> 00:26:38,280
Speaker 1: polk cutter, a sandal, a cando, butter, a candle, rubber piano,

530
00:26:38,440 --> 00:26:41,119
Speaker 1: a flanno that sucker, some hands butter, a panto, a

531
00:26:41,200 --> 00:26:44,879
Speaker 1: manhole cover, hand over the mouth and no smother tramper

532
00:26:45,000 --> 00:26:47,000
Speaker 1: ran over the tramp with the land road, but the

533
00:26:47,080 --> 00:26:49,760
Speaker 1: band the lambo hummer and rod dunna go hand don't

534
00:26:49,800 --> 00:26:53,200
Speaker 1: nut n go ramboat cutter make an example cover that's

535
00:26:53,359 --> 00:26:56,680
Speaker 1: Santra plano and to Lando Hanna put on the land

536
00:26:56,720 --> 00:26:59,320
Speaker 1: no wonder I am so stufforn the Manti had no

537
00:26:59,480 --> 00:27:02,280
Speaker 1: government and don't the command, don't command, don't want it.

538
00:27:02,320 --> 00:27:07,000
Speaker 1: Trump's a bitch. I'm making hop pando under its deldre.

539
00:27:07,160 --> 00:27:09,960
Speaker 1: I'm meeting him in l a white bronco like outway speeding.

540
00:27:10,000 --> 00:27:12,440
Speaker 1: I'm about to run over a chick del ray c D.

541
00:27:12,600 --> 00:27:15,280
Speaker 1: And there's just so much nuance in there too that

542
00:27:15,320 --> 00:27:20,320
Speaker 1: you I know, I'm like what broncat shell a helium,

543
00:27:20,800 --> 00:27:23,600
Speaker 1: leaving him pale face, medium size, well straight, treating him

544
00:27:23,640 --> 00:27:26,560
Speaker 1: like a self meet c D. I'm climbing Hell's gate, bitch.

545
00:27:26,600 --> 00:27:29,840
Speaker 1: I'm like your problems self meat meaning someone else's self

546
00:27:29,880 --> 00:27:33,800
Speaker 1: baiting needed because I'm make and make you hear that

547
00:27:33,960 --> 00:27:35,920
Speaker 1: you go. That's and that's not even the same eminem

548
00:27:36,000 --> 00:27:40,960
Speaker 1: from three years ago, much less, he continues to get better.

549
00:27:42,359 --> 00:27:46,280
Speaker 1: That's wild, and as a rapper in a young man's game,

550
00:27:47,080 --> 00:27:49,560
Speaker 1: he continues to still be better than Yeah, how how

551
00:27:49,640 --> 00:27:52,560
Speaker 1: are you still like the freshest thing you know that's

552
00:27:52,600 --> 00:27:55,520
Speaker 1: not supposed to be how it works? Yeah, I posted

553
00:27:55,680 --> 00:27:57,920
Speaker 1: and I'm saying by this song like guy crushed because

554
00:27:57,960 --> 00:27:59,639
Speaker 1: there's a line about Trump, and I was like, I

555
00:27:59,680 --> 00:28:03,240
Speaker 1: don't even care about that, Like No, you weren't like, like,

556
00:28:03,320 --> 00:28:05,919
Speaker 1: get off my nuts, man, That's what I'm just all

557
00:28:05,960 --> 00:28:08,600
Speaker 1: I was doing was saying that nothing, there's nothing like this. Yeah,

558
00:28:09,000 --> 00:28:12,439
Speaker 1: like he's in his forties and I mean he can

559
00:28:12,480 --> 00:28:14,600
Speaker 1: sit down with the future and teach him a lesson. Still.

560
00:28:15,320 --> 00:28:19,200
Speaker 1: Oh yeah, so it's amazing we're doing talking about country

561
00:28:19,280 --> 00:28:22,200
Speaker 1: music here. That's what. Yeah, that's what I get on

562
00:28:22,240 --> 00:28:23,640
Speaker 1: the radioto like I get in trouble from my station

563
00:28:23,680 --> 00:28:26,080
Speaker 1: programing rectors because I'll just go off talking about whatever

564
00:28:26,320 --> 00:28:28,720
Speaker 1: and They're like, well, you don't like you talking about

565
00:28:28,720 --> 00:28:31,520
Speaker 1: other kinds of music. But is that is that because

566
00:28:31,600 --> 00:28:35,000
Speaker 1: of the way everything still has to be because I

567
00:28:35,040 --> 00:28:37,879
Speaker 1: would think, listen, it feels like listeners now are But

568
00:28:38,040 --> 00:28:41,480
Speaker 1: that's why I do it, because we're humans, and my

569
00:28:41,680 --> 00:28:44,760
Speaker 1: listeners are humans, and no humans have just a bunch

570
00:28:44,760 --> 00:28:47,280
Speaker 1: of country music. Gonna listen. That's it. And And what's

571
00:28:47,360 --> 00:28:53,200
Speaker 1: the like typical country demographic now, because I mean, I'm

572
00:28:53,240 --> 00:28:56,480
Speaker 1: gonna be forty next year and I grew up listening

573
00:28:56,520 --> 00:29:00,160
Speaker 1: to everything, so it's something you know, and it's the

574
00:29:00,240 --> 00:29:04,040
Speaker 1: demographic let's say forty and under. Even older than that.

575
00:29:04,200 --> 00:29:09,200
Speaker 1: We had Napster, we had everything that allowed all these

576
00:29:09,440 --> 00:29:12,560
Speaker 1: influences of the people that are making music now to

577
00:29:12,680 --> 00:29:15,080
Speaker 1: be influenced. And so that's why you're hearing music on

578
00:29:15,120 --> 00:29:17,440
Speaker 1: all the different directions because for the first time music

579
00:29:17,560 --> 00:29:21,200
Speaker 1: was able to spread like that, instead of it being

580
00:29:21,320 --> 00:29:26,520
Speaker 1: regional or having to be chipped in a box or

581
00:29:26,600 --> 00:29:28,960
Speaker 1: your parents only giving it to you, you could just down.

582
00:29:29,000 --> 00:29:30,600
Speaker 1: I would go to bed in the door. I'll be

583
00:29:30,640 --> 00:29:32,520
Speaker 1: in the door and I would go, what letter do

584
00:29:32,600 --> 00:29:34,880
Speaker 1: I like L? Let me download every song that starts

585
00:29:34,920 --> 00:29:37,000
Speaker 1: with L while I go to sleep on Napster for free.

586
00:29:37,480 --> 00:29:40,360
Speaker 1: And you know, that's how it was, and that was

587
00:29:40,400 --> 00:29:42,120
Speaker 1: the wild wild West. Now it's just a wild West

588
00:29:42,160 --> 00:29:44,080
Speaker 1: as we figure out how songwriters get paid, you know,

589
00:29:44,320 --> 00:29:50,840
Speaker 1: with Spotify and title and iTunes. Yeah, it's it's changed

590
00:29:51,080 --> 00:29:53,840
Speaker 1: so much. I used to get so excited for Tuesdays

591
00:29:54,520 --> 00:29:56,640
Speaker 1: to go out and music. That's what us that that

592
00:29:56,760 --> 00:29:58,640
Speaker 1: was crazy. Tuesday used to be the day said of Friday.

593
00:29:59,200 --> 00:30:01,400
Speaker 1: But even now you can't. It's like now it's like

594
00:30:01,560 --> 00:30:04,160
Speaker 1: Friday morning. Pick the phone up, you know what I mean? Like,

595
00:30:04,440 --> 00:30:06,960
Speaker 1: what's new that I can just go? Do you have

596
00:30:07,040 --> 00:30:09,840
Speaker 1: a problem to like what is your thoughts on? Full out?

597
00:30:09,880 --> 00:30:14,720
Speaker 1: Like twelve song albums now. I mean, I think there's

598
00:30:14,760 --> 00:30:17,760
Speaker 1: a place for it, but I but the reality is

599
00:30:17,880 --> 00:30:22,959
Speaker 1: that with just listening habits and I don't know, I mean,

600
00:30:23,120 --> 00:30:28,480
Speaker 1: it's I think it's rapidly going away because people want

601
00:30:28,600 --> 00:30:32,320
Speaker 1: new and even I do, like I want to hear

602
00:30:33,960 --> 00:30:36,400
Speaker 1: I like hearing it together, but I also am ready

603
00:30:36,480 --> 00:30:39,320
Speaker 1: for like what's the next thing, because part of that

604
00:30:39,480 --> 00:30:42,280
Speaker 1: is just that whole instant gratification. But but now just

605
00:30:42,400 --> 00:30:45,000
Speaker 1: because it's so easy to do that, because in the

606
00:30:45,080 --> 00:30:47,640
Speaker 1: past there was a reason for the twelve album or

607
00:30:47,800 --> 00:30:51,000
Speaker 1: or the one album whatever a year cycle. But now

608
00:30:51,960 --> 00:30:54,960
Speaker 1: it doesn't cost any extra to put a song up online,

609
00:30:55,280 --> 00:30:58,760
Speaker 1: you know, And so I just think that I think

610
00:30:58,760 --> 00:31:01,520
Speaker 1: it depends on the artists. But as far as young

611
00:31:01,600 --> 00:31:05,320
Speaker 1: new artists, there's not a whole lot of reason to

612
00:31:05,520 --> 00:31:08,880
Speaker 1: just try to make one album a year or two

613
00:31:09,120 --> 00:31:11,080
Speaker 1: every two years. Like I like to have you put

614
00:31:11,160 --> 00:31:13,760
Speaker 1: out twelve songs. Some of them just get missed because

615
00:31:13,840 --> 00:31:15,320
Speaker 1: we're like, oh, yeah, you know, I don't like that

616
00:31:15,360 --> 00:31:17,160
Speaker 1: one right immediately, right the second I'm gonna go to

617
00:31:17,160 --> 00:31:20,240
Speaker 1: the next one, like like I mean, if it's a fourlum,

618
00:31:20,280 --> 00:31:22,400
Speaker 1: I like ten songs that's what I like. Four like

619
00:31:22,480 --> 00:31:24,200
Speaker 1: John Mayre doing four songs at the time and making

620
00:31:24,240 --> 00:31:26,120
Speaker 1: me wait for another month so I can love those

621
00:31:26,160 --> 00:31:30,520
Speaker 1: four and then we love four more. That's true. And

622
00:31:30,640 --> 00:31:33,120
Speaker 1: it's all changing. It's I mean, it's changing from the

623
00:31:33,200 --> 00:31:36,600
Speaker 1: last five years. It's dramatically change. My gosh. Yeah, it'll

624
00:31:36,640 --> 00:31:39,480
Speaker 1: be interesting to see. How about Let's man, you have

625
00:31:39,600 --> 00:31:43,440
Speaker 1: so many songs here some of them. Let's see what

626
00:31:43,560 --> 00:31:46,240
Speaker 1: would I like to hear about? Uh, this one here

627
00:31:46,360 --> 00:31:52,400
Speaker 1: because Shane mcinally was in talking about this one right

628
00:31:53,360 --> 00:31:59,360
Speaker 1: rather Shane, So that's done that again? Is that really that?

629
00:31:59,480 --> 00:32:03,960
Speaker 1: You let me hear that? Let me see that blue

630
00:32:04,080 --> 00:32:11,120
Speaker 1: Jane Bay in the USA. Yeah, yeah, that's off the demo.

631
00:32:11,920 --> 00:32:14,280
Speaker 1: So okay, tell me your story of this song, because

632
00:32:14,280 --> 00:32:17,000
Speaker 1: it's always interesting to hear my story. Okay, I mean

633
00:32:17,080 --> 00:32:20,120
Speaker 1: how I remember. Yeah, it's always because all the stories

634
00:32:20,440 --> 00:32:23,280
Speaker 1: are true, but it comes from so many different directions. Um.

635
00:32:24,400 --> 00:32:28,320
Speaker 1: So from my recollection of this was Rodney Clausen and

636
00:32:28,400 --> 00:32:31,360
Speaker 1: Shane McNally and I got together over at my little

637
00:32:31,560 --> 00:32:36,560
Speaker 1: office studio, and um, I think we were working on

638
00:32:36,720 --> 00:32:40,240
Speaker 1: something else, but I picked up this bass guitar I

639
00:32:40,320 --> 00:32:43,200
Speaker 1: have that's actually my friend Barry Dean, who's another great

640
00:32:43,240 --> 00:32:46,240
Speaker 1: writer in town here, and I just started playing the

641
00:32:46,320 --> 00:32:50,240
Speaker 1: boom boom boom boom, but I didn't sing that in tune,

642
00:32:50,280 --> 00:32:53,360
Speaker 1: but you know, basically kind of the riff, and we

643
00:32:53,440 --> 00:32:55,240
Speaker 1: kind of wrote that to bait at the base, so

644
00:32:55,400 --> 00:32:57,120
Speaker 1: I was I'm playing that, and then Shane and rod

645
00:32:57,240 --> 00:33:01,040
Speaker 1: and he started doing it, so that was kind of

646
00:33:01,120 --> 00:33:03,880
Speaker 1: our groove, and we're like, this feels good. We wrote

647
00:33:04,360 --> 00:33:07,040
Speaker 1: from what I remember, the verse, we didn't have a title,

648
00:33:07,720 --> 00:33:09,800
Speaker 1: wrote the verse and got all the way up to

649
00:33:09,920 --> 00:33:14,880
Speaker 1: the the final line of the what rhymes with the

650
00:33:15,240 --> 00:33:19,160
Speaker 1: give me a kiss ryland Stone American what is this?

651
00:33:20,680 --> 00:33:22,800
Speaker 1: And finally I think, I don't know if Shane or

652
00:33:22,880 --> 00:33:25,760
Speaker 1: Rodney said, I don't think it was me said American Kids,

653
00:33:25,800 --> 00:33:28,160
Speaker 1: and we're like, it's like you're so into it, like

654
00:33:28,280 --> 00:33:31,120
Speaker 1: is that good? And then it's like yeah. And then

655
00:33:31,360 --> 00:33:33,160
Speaker 1: the post, I think is what kind of takes it

656
00:33:33,280 --> 00:33:36,160
Speaker 1: over the edge, you know, went up and it's just

657
00:33:36,280 --> 00:33:39,200
Speaker 1: this chant. And from the time we wrote that, I

658
00:33:39,320 --> 00:33:41,760
Speaker 1: felt really strongly about that song like this, I feel

659
00:33:41,760 --> 00:33:43,320
Speaker 1: like this is one of the best songs I've written

660
00:33:43,360 --> 00:33:45,360
Speaker 1: a long time, and we just couldn't get anybody to

661
00:33:45,720 --> 00:33:48,560
Speaker 1: get on it. Um. I know it was on hold

662
00:33:48,640 --> 00:33:52,360
Speaker 1: for like McGraw, so we a little Big Town was

663
00:33:52,400 --> 00:33:56,400
Speaker 1: the story that Shane was saying. And he was on

664
00:33:56,400 --> 00:34:00,040
Speaker 1: an airplane. Yes, oh yes, this is right. Yes of

665
00:34:00,320 --> 00:34:02,680
Speaker 1: Shane was you know, of course the circles he runs

666
00:34:02,720 --> 00:34:06,520
Speaker 1: and he's on an airplane with Kenny Chesney. He's like, hey,

667
00:34:06,600 --> 00:34:08,520
Speaker 1: I played this. I put the headphones on Kenny and

668
00:34:08,560 --> 00:34:10,640
Speaker 1: played this and he's like, I'm cutting that. And then

669
00:34:11,840 --> 00:34:13,880
Speaker 1: it was on hold for Little Big Time. I mean,

670
00:34:13,920 --> 00:34:15,959
Speaker 1: there's so many different people who are pitching these songs.

671
00:34:16,000 --> 00:34:18,600
Speaker 1: You're just hoping somebody likes it. I'm like, hey, who

672
00:34:18,760 --> 00:34:20,800
Speaker 1: you know who wants it? Because I really believed in it,

673
00:34:21,560 --> 00:34:25,080
Speaker 1: um And I think at the time, from what I

674
00:34:25,320 --> 00:34:28,080
Speaker 1: my understanding was that a Little Big Town was into it,

675
00:34:28,160 --> 00:34:30,600
Speaker 1: but somebody in the camp wasn't really like it wasn't

676
00:34:30,640 --> 00:34:33,799
Speaker 1: like a full on. Whether it was a couple guys

677
00:34:33,840 --> 00:34:36,680
Speaker 1: in the band who weren't into it, or producer or label,

678
00:34:36,719 --> 00:34:39,440
Speaker 1: but it didn't sounds like a for sure thing. They're like,

679
00:34:39,560 --> 00:34:42,160
Speaker 1: we like it, you know, but but Kenny's like, I

680
00:34:42,360 --> 00:34:44,880
Speaker 1: want to cut that. So as a writer, you get

681
00:34:44,920 --> 00:34:47,560
Speaker 1: in these situations, and you know, there's a lot of

682
00:34:47,719 --> 00:34:51,160
Speaker 1: relationships that you have to take care of that's I

683
00:34:51,280 --> 00:34:53,759
Speaker 1: try to stay out of. I'm not as good about

684
00:34:53,800 --> 00:34:56,640
Speaker 1: pitching my songs to artists because I worry about getting

685
00:34:56,640 --> 00:34:59,680
Speaker 1: in these situations even though I should just like email

686
00:35:00,440 --> 00:35:02,560
Speaker 1: the song and I've tried to do a little more,

687
00:35:02,680 --> 00:35:05,880
Speaker 1: but that was that was a little bit awkward, but

688
00:35:06,560 --> 00:35:08,640
Speaker 1: you know, it obviously worked out. And I think that

689
00:35:08,880 --> 00:35:11,359
Speaker 1: Kenny really like when he says he wants a song

690
00:35:11,440 --> 00:35:14,080
Speaker 1: and believes in it, Like I really do appreciate that

691
00:35:14,480 --> 00:35:17,160
Speaker 1: he just goes and does it. And it's like, I'm

692
00:35:17,200 --> 00:35:19,120
Speaker 1: going if he says I'm going to cut this, he

693
00:35:19,200 --> 00:35:22,840
Speaker 1: will to be fair. Talking about Shane Circle, Shannon I

694
00:35:22,840 --> 00:35:25,239
Speaker 1: did fly on Southwest together to Boston. That was the

695
00:35:25,280 --> 00:35:27,799
Speaker 1: first time he flew coach in a long time. That was, well,

696
00:35:27,800 --> 00:35:30,680
Speaker 1: that's the Bobby Circle. I've never flown on a private

697
00:35:30,760 --> 00:35:32,759
Speaker 1: jet that I'm like, I gotta meet some I gotta

698
00:35:32,800 --> 00:35:36,719
Speaker 1: meet some people with twenty plus number one. Eric Church

699
00:35:36,800 --> 00:35:39,600
Speaker 1: called me once. He's like, hey, man, you ever fly

700
00:35:39,719 --> 00:35:42,560
Speaker 1: on private jet? I was like, no, he goes you

701
00:35:42,640 --> 00:35:45,160
Speaker 1: want to? I was like, yeah, he goes, Well, tonight

702
00:35:45,239 --> 00:35:48,080
Speaker 1: we're going something, but I literally couldn't. It was like

703
00:35:48,200 --> 00:35:50,640
Speaker 1: something like my mom was coming into I can't remember

704
00:35:50,680 --> 00:35:53,560
Speaker 1: what it was. I was like, and so I called Eric.

705
00:35:53,600 --> 00:35:55,239
Speaker 1: When he got back, I was like, Hey, how was that?

706
00:35:55,360 --> 00:36:00,279
Speaker 1: He goes, Uh, I'm gonna change man with Eric. I

707
00:36:00,440 --> 00:36:05,080
Speaker 1: mean you brought some monsters like Talladega. Yeah that's a

708
00:36:05,360 --> 00:36:11,520
Speaker 1: career song for someone talking about this one. Yeah, this

709
00:36:11,760 --> 00:36:13,600
Speaker 1: is you know. Eric is one of those artists too.

710
00:36:13,719 --> 00:36:17,400
Speaker 1: I mean he isn't. If he wasn't being out there

711
00:36:17,440 --> 00:36:19,640
Speaker 1: being a superstar, he would be like me and be

712
00:36:19,719 --> 00:36:22,919
Speaker 1: on music row writing songs for other people. Because he's

713
00:36:23,040 --> 00:36:26,000
Speaker 1: he's first and foremost a songwriter. He thinks like a songwriter.

714
00:36:26,239 --> 00:36:31,200
Speaker 1: He he obsesses over songs ideas. Um, we were on

715
00:36:31,280 --> 00:36:37,640
Speaker 1: a bus in Albany, New York, and um he I

716
00:36:37,760 --> 00:36:39,880
Speaker 1: can't remember. I think it was Daytona. One of the

717
00:36:39,960 --> 00:36:42,640
Speaker 1: races was on the TV and Front Lounge and it

718
00:36:42,760 --> 00:36:45,759
Speaker 1: was on mute and he was like, man, I kind

719
00:36:45,800 --> 00:36:47,880
Speaker 1: of want to write. He's friends with Marty Smith, who

720
00:36:47,960 --> 00:36:51,080
Speaker 1: does He's on ESPN and does all the commentary for

721
00:36:51,400 --> 00:36:53,719
Speaker 1: NASCAR as well as a bunch of other stuff. Now,

722
00:36:53,800 --> 00:36:56,480
Speaker 1: but um, he's like I want to write something like

723
00:36:56,560 --> 00:36:59,920
Speaker 1: about He's like, not a Nascar song, but just that feeling,

724
00:37:00,160 --> 00:37:04,080
Speaker 1: that camaraderie that those fans have. And I didn't grow

725
00:37:04,200 --> 00:37:08,759
Speaker 1: up watching Nascar really, um, but I related to it

726
00:37:08,800 --> 00:37:11,560
Speaker 1: in the sense that like country music concerts. So we

727
00:37:11,640 --> 00:37:14,000
Speaker 1: used to go to this place in West Virginia called

728
00:37:14,080 --> 00:37:17,319
Speaker 1: Jambree in the Hills and it's happens they still they

729
00:37:17,400 --> 00:37:20,600
Speaker 1: call it the super Bowl of country music and it is. Man,

730
00:37:20,719 --> 00:37:23,400
Speaker 1: it is a it's have some good people watching, but

731
00:37:23,640 --> 00:37:26,960
Speaker 1: it's just country music fans and we would do that.

732
00:37:27,560 --> 00:37:29,760
Speaker 1: It was kind of like a tradition with my buddies.

733
00:37:30,800 --> 00:37:33,960
Speaker 1: So I was kind of being inspired drawing from that.

734
00:37:34,200 --> 00:37:36,640
Speaker 1: But he's like, I want to write this song, um,

735
00:37:37,000 --> 00:37:39,040
Speaker 1: And so I think we kind of were singing day too,

736
00:37:39,640 --> 00:37:42,040
Speaker 1: like some different things, and then he's like, damn day

737
00:37:43,200 --> 00:37:45,400
Speaker 1: and I was just like, man, and it had and

738
00:37:45,480 --> 00:37:48,600
Speaker 1: it had the emotion. It wasn't like this cheesy I

739
00:37:48,640 --> 00:37:50,960
Speaker 1: don't know, but we wrote that. I felt really good

740
00:37:50,960 --> 00:37:53,640
Speaker 1: about that song and we wrote We wrote it probably

741
00:37:54,400 --> 00:37:58,640
Speaker 1: two years before that album came out, so that was

742
00:37:58,760 --> 00:38:00,400
Speaker 1: I didn't even know if it would ever see the

743
00:38:00,520 --> 00:38:02,600
Speaker 1: light of day because so much time had passed, and

744
00:38:02,640 --> 00:38:05,680
Speaker 1: you've written so many songs, but I guess he always

745
00:38:05,719 --> 00:38:07,759
Speaker 1: had that one in his back pocket and knowing he

746
00:38:07,840 --> 00:38:10,239
Speaker 1: wanted to put it out, whether Eric you wrote or

747
00:38:10,560 --> 00:38:12,120
Speaker 1: for Eric. These are I have a bunch of Eric

748
00:38:12,200 --> 00:38:16,920
Speaker 1: Church songs. Are like when you're going to a jam

749
00:38:17,040 --> 00:38:18,279
Speaker 1: song like this there, you're like, all right, we're going

750
00:38:18,360 --> 00:38:22,120
Speaker 1: out tempo, We're gonna jam it. That that was feeding

751
00:38:22,160 --> 00:38:25,000
Speaker 1: off the energy we were. We were in North Dakota.

752
00:38:26,520 --> 00:38:28,800
Speaker 1: He was playing some armory or something and it was

753
00:38:28,920 --> 00:38:33,120
Speaker 1: literally negative nine degrees. So I'm out in the crowd

754
00:38:33,320 --> 00:38:35,759
Speaker 1: and there's it's not even like bleachers, It's like a

755
00:38:35,880 --> 00:38:38,759
Speaker 1: one level room. I go out to front of house

756
00:38:38,800 --> 00:38:41,640
Speaker 1: and I just noticed, and I don't know what the

757
00:38:41,680 --> 00:38:45,680
Speaker 1: whole you know, keg set up was at this place,

758
00:38:45,760 --> 00:38:48,279
Speaker 1: but people had red solo cups just walking around and

759
00:38:48,800 --> 00:38:51,680
Speaker 1: holding them up, and like just in my head, I

760
00:38:51,800 --> 00:38:54,240
Speaker 1: just hear this like real sing like all I wanna

761
00:38:54,440 --> 00:38:57,239
Speaker 1: do his boodha, drinking my hand. It just kind of

762
00:38:57,320 --> 00:38:59,600
Speaker 1: kept running through my head. So I went back to

763
00:38:59,680 --> 00:39:01,719
Speaker 1: the US and when he got off the bus, I

764
00:39:01,840 --> 00:39:04,799
Speaker 1: was out there with him and another writer in town,

765
00:39:04,880 --> 00:39:07,120
Speaker 1: Michael Heeney, who has written a lot with Eric. I

766
00:39:07,239 --> 00:39:09,600
Speaker 1: get off the butt or he he comes off stage,

767
00:39:09,680 --> 00:39:14,120
Speaker 1: he's like literally pulls his ears out and he's like sweating,

768
00:39:14,239 --> 00:39:15,640
Speaker 1: like pumped up from the show. And I was like,

769
00:39:15,760 --> 00:39:17,400
Speaker 1: I just got a line and I didn't even know.

770
00:39:17,480 --> 00:39:18,960
Speaker 1: And I was like, I'll and I just played the

771
00:39:19,040 --> 00:39:22,240
Speaker 1: three chords. All I wanna do is put a drink

772
00:39:22,320 --> 00:39:24,400
Speaker 1: in my hand. He's like, I love it. Let's write that.

773
00:39:25,000 --> 00:39:27,520
Speaker 1: We wrote that whole song right there in the front lounge.

774
00:39:28,520 --> 00:39:31,359
Speaker 1: We were writing the verses so fast that his wife

775
00:39:31,480 --> 00:39:33,960
Speaker 1: Katherine was None of us were keeping track of lyrics,

776
00:39:34,000 --> 00:39:35,920
Speaker 1: so she's like, typing down, we just hit record on

777
00:39:36,000 --> 00:39:38,319
Speaker 1: garage band or whatever, and he's she's typing down all

778
00:39:38,360 --> 00:39:41,080
Speaker 1: the lyrics we have, and it just it was just

779
00:39:41,160 --> 00:39:43,279
Speaker 1: kind of this repetitive there's a lot of words in

780
00:39:43,320 --> 00:39:45,400
Speaker 1: that song for being such a simple like because the

781
00:39:45,480 --> 00:39:48,560
Speaker 1: choruses all changed and we had so many different versions.

782
00:39:48,640 --> 00:39:50,440
Speaker 1: Of course, is I still like if I played at

783
00:39:50,480 --> 00:39:52,160
Speaker 1: the writer's and I have to look at the lyrics.

784
00:39:53,000 --> 00:39:56,520
Speaker 1: But it was that one I felt really strongly about,

785
00:39:56,880 --> 00:39:58,600
Speaker 1: just because it was just so up and party and

786
00:39:58,640 --> 00:40:00,560
Speaker 1: I was like, his fans were week out if they

787
00:40:00,640 --> 00:40:03,960
Speaker 1: hear this song and U that ended up being his

788
00:40:04,040 --> 00:40:07,480
Speaker 1: first number one, so that was really exciting. You mentioned

789
00:40:07,719 --> 00:40:10,480
Speaker 1: it took two years for Talladega, Like, what's so long?

790
00:40:10,560 --> 00:40:12,439
Speaker 1: It's because sometimes you write a song and I guess

791
00:40:12,480 --> 00:40:16,320
Speaker 1: it just sits. My song ever surprised you because it

792
00:40:16,400 --> 00:40:18,400
Speaker 1: came back to life out of nowhere. You're like, WHOA

793
00:40:18,560 --> 00:40:22,319
Speaker 1: what in the world? One that surprised me because again,

794
00:40:22,400 --> 00:40:25,919
Speaker 1: it's not a I wouldn't necessarily consider this a work

795
00:40:26,000 --> 00:40:30,839
Speaker 1: of art. But Gonna by Blake Shelton. First of all,

796
00:40:30,920 --> 00:40:33,759
Speaker 1: that's about the most forgettable title I've ever heard in

797
00:40:33,840 --> 00:40:37,319
Speaker 1: my life. But I get an email and they're like, hey,

798
00:40:37,400 --> 00:40:41,759
Speaker 1: Blake Shelton put gun on hold this so much time

799
00:40:41,800 --> 00:40:44,400
Speaker 1: had passed and just how unmemorable that title was. Me.

800
00:40:44,480 --> 00:40:47,080
Speaker 1: I'm like, I didn't. I don't think that's my song

801
00:40:47,600 --> 00:40:49,680
Speaker 1: because I didn't recognize the title. And I was like,

802
00:40:50,320 --> 00:40:52,920
Speaker 1: so I went back into dropbox. I was like, oh, gosh,

803
00:40:53,000 --> 00:40:55,759
Speaker 1: I did write this song with Craig and I was

804
00:40:55,840 --> 00:40:58,279
Speaker 1: like when I heard the chorus, I was like, man,

805
00:40:58,520 --> 00:41:00,920
Speaker 1: you know, it's funny how songs were because like you

806
00:41:01,040 --> 00:41:03,080
Speaker 1: might think, oh, this song is whatever, but the second

807
00:41:03,160 --> 00:41:05,680
Speaker 1: like an artist, it's interested in it, or it gets

808
00:41:05,719 --> 00:41:07,400
Speaker 1: to be a single stars climb on the chart, like,

809
00:41:07,440 --> 00:41:09,799
Speaker 1: oh this is pretty that's pretty good. I'll start liking

810
00:41:09,840 --> 00:41:11,719
Speaker 1: it a little more. How what was the time like

811
00:41:11,800 --> 00:41:13,120
Speaker 1: from when you wrote it until they put it on?

812
00:41:13,200 --> 00:41:15,800
Speaker 1: I mean, it wasn't crazy long, but I bet I

813
00:41:15,880 --> 00:41:18,920
Speaker 1: bet it was four years, which nowadays that is a

814
00:41:19,080 --> 00:41:21,480
Speaker 1: long time. I mean, you hear these stories of like

815
00:41:21,600 --> 00:41:24,040
Speaker 1: a song after ten years or something, but those are

816
00:41:24,120 --> 00:41:27,600
Speaker 1: so rare because people are so of the moment um

817
00:41:28,719 --> 00:41:31,080
Speaker 1: and and and even like the demos that we do,

818
00:41:31,239 --> 00:41:33,920
Speaker 1: they get dated pretty fast. So, like I listened to

819
00:41:34,000 --> 00:41:36,279
Speaker 1: old songs of mine, I'm like, oh gosh, and some

820
00:41:36,400 --> 00:41:39,440
Speaker 1: of them may be okay, but but they just sound bad.

821
00:41:42,040 --> 00:41:44,080
Speaker 1: Let me throw and talk about Blue Apron for a second.

822
00:41:44,160 --> 00:41:46,560
Speaker 1: I always appreciate Blue Apron because they have been here

823
00:41:46,600 --> 00:41:49,840
Speaker 1: since the beginning of the Bobby Cast, and I've actually

824
00:41:49,880 --> 00:41:51,960
Speaker 1: been using them since before the Bobby Cast. I've been

825
00:41:52,000 --> 00:41:55,160
Speaker 1: using since before they came on the actual radio show too.

826
00:41:55,239 --> 00:41:58,839
Speaker 1: I love Blue Apron because it's about convenience and awesome food.

827
00:41:59,120 --> 00:42:03,359
Speaker 1: And for example, I tell you this right here, less

828
00:42:03,400 --> 00:42:05,799
Speaker 1: than ten dollars per person per meal, Blue Apron deliver

829
00:42:05,920 --> 00:42:09,400
Speaker 1: seasonal recipes with preportioned ingredients comes right to your door

830
00:42:09,440 --> 00:42:11,560
Speaker 1: in a box, and you choose your variety of recipes.

831
00:42:11,920 --> 00:42:14,040
Speaker 1: They have a culinary team. Their recipes are not repeated

832
00:42:14,040 --> 00:42:15,640
Speaker 1: within any years. You'll never get bored. Or if you

833
00:42:15,680 --> 00:42:17,040
Speaker 1: want the same thing, get the same thing too. Like me,

834
00:42:17,080 --> 00:42:19,839
Speaker 1: I'm a creature. I have it like crazy. Each meal

835
00:42:19,920 --> 00:42:22,279
Speaker 1: comes to step by step process and it's it's a

836
00:42:22,360 --> 00:42:23,840
Speaker 1: card and it teaches you how to do it or

837
00:42:23,880 --> 00:42:25,960
Speaker 1: I would not be able to do it. And you

838
00:42:26,040 --> 00:42:27,960
Speaker 1: compare this to your house whenever you want. It's not

839
00:42:28,040 --> 00:42:29,680
Speaker 1: like one of these microwave meals that you cook and

840
00:42:30,320 --> 00:42:31,919
Speaker 1: it goes bad, like you make these whenever you want.

841
00:42:32,320 --> 00:42:36,279
Speaker 1: Blue Aprons Freshness Guarantee promises every ingredients fresh right now.

842
00:42:36,440 --> 00:42:38,640
Speaker 1: Three meals for free with free shipping right go to

843
00:42:38,719 --> 00:42:41,279
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844
00:42:41,280 --> 00:42:44,880
Speaker 1: it fills and tastes Blue Apron dot com slash Bobby.

845
00:42:45,440 --> 00:42:47,680
Speaker 1: Try to Blue dot com slash probably yeah, but Blue

846
00:42:47,680 --> 00:42:50,239
Speaker 1: Apron is a better way to cook, all right. So man,

847
00:42:50,440 --> 00:42:56,120
Speaker 1: let's let's do like this song here for John Party.

848
00:42:58,400 --> 00:43:03,000
Speaker 1: I mean it, and I like John a lot like John.

849
00:43:03,360 --> 00:43:05,480
Speaker 1: I like John a lot. So I I said, like,

850
00:43:05,600 --> 00:43:07,360
Speaker 1: this was it. This is the song for him, this

851
00:43:07,520 --> 00:43:10,560
Speaker 1: is what this is what has made John, and it's

852
00:43:10,560 --> 00:43:12,440
Speaker 1: going to make John a star. You got another one

853
00:43:12,960 --> 00:43:17,680
Speaker 1: he just hit too, but this was it, man, you know,

854
00:43:18,560 --> 00:43:21,239
Speaker 1: think about this or John. Here's the thing. I've been

855
00:43:21,239 --> 00:43:23,040
Speaker 1: a fan of his music for a long time, and

856
00:43:23,120 --> 00:43:24,880
Speaker 1: I was a big fan of the first record, and

857
00:43:24,960 --> 00:43:27,520
Speaker 1: I've never had the opportunity to work with him. And

858
00:43:27,640 --> 00:43:30,719
Speaker 1: I literally seeks him out because I I loved his

859
00:43:30,800 --> 00:43:33,680
Speaker 1: first album so much. It was like so country, but

860
00:43:33,800 --> 00:43:36,160
Speaker 1: there's just a thing. It's not just like a throwback thing.

861
00:43:36,719 --> 00:43:41,600
Speaker 1: He's unique artist. And so I seeked him out and

862
00:43:42,080 --> 00:43:44,000
Speaker 1: tried to get a day to write with him. And

863
00:43:44,840 --> 00:43:47,759
Speaker 1: it was awesome because John is one of those guys

864
00:43:47,880 --> 00:43:50,399
Speaker 1: he comes in with his guitar and he sits down

865
00:43:51,160 --> 00:43:54,200
Speaker 1: and starts playing. He's got the swagger and and just

866
00:43:54,320 --> 00:43:57,880
Speaker 1: starts mumbling. You're like, this is the jam. Like he

867
00:43:58,000 --> 00:44:01,279
Speaker 1: can say anything. And so the situation with John, a

868
00:44:01,400 --> 00:44:04,440
Speaker 1: lot of times I let him drive, like musically and

869
00:44:04,480 --> 00:44:06,560
Speaker 1: I just try to make sense of some lyric and

870
00:44:07,520 --> 00:44:09,440
Speaker 1: but he had that title head over Boots. I was

871
00:44:09,520 --> 00:44:13,239
Speaker 1: like that, dude, that's awesome and that's you. And at

872
00:44:13,280 --> 00:44:14,960
Speaker 1: the time, he's like, man, I don't know if I

873
00:44:15,000 --> 00:44:17,520
Speaker 1: can do some of this other music that these guys are,

874
00:44:17,800 --> 00:44:20,720
Speaker 1: you know, current whatever they call it, broke country or whatever.

875
00:44:20,880 --> 00:44:23,000
Speaker 1: But I was like, well, you don't have to, like

876
00:44:23,239 --> 00:44:27,239
Speaker 1: just do yourself, you know, and hopefully it'll connect. Because

877
00:44:27,239 --> 00:44:29,240
Speaker 1: I was like, if it connects, you've got that lane,

878
00:44:30,040 --> 00:44:33,160
Speaker 1: and like then people are chasing you, then you've created

879
00:44:33,200 --> 00:44:35,920
Speaker 1: the new lane. And that's what that California record, that's

880
00:44:35,960 --> 00:44:39,000
Speaker 1: what he did. He really did, is that he took traditional,

881
00:44:39,400 --> 00:44:44,920
Speaker 1: a traditional vocal and put it with slightly progressive, a

882
00:44:45,160 --> 00:44:49,680
Speaker 1: sonic sonic sound, and it was like everybody traditional was happy,

883
00:44:50,160 --> 00:44:51,960
Speaker 1: and everybody was like, hey, I love the news sound

884
00:44:52,040 --> 00:44:54,480
Speaker 1: was and I was like, he's the unifier right now.

885
00:44:54,960 --> 00:44:57,759
Speaker 1: It's it's amazing. I mean another thing with John, I

886
00:44:57,800 --> 00:44:59,879
Speaker 1: remember I was out on the road with Thomas Rhett

887
00:45:00,120 --> 00:45:03,480
Speaker 1: and John was opening a couple of these club dates

888
00:45:03,560 --> 00:45:06,640
Speaker 1: for him, and I just remember being in the backstage

889
00:45:06,680 --> 00:45:09,719
Speaker 1: and just here, like John was out there playing in

890
00:45:09,840 --> 00:45:12,120
Speaker 1: these grooves coming through the wall, so all you're hearing

891
00:45:12,280 --> 00:45:14,279
Speaker 1: is like the low end, and I'm like, dang, that's

892
00:45:14,560 --> 00:45:17,080
Speaker 1: like all his songs feel so good. I'm like I

893
00:45:17,360 --> 00:45:19,680
Speaker 1: want to be part of That's like my neighbors not

894
00:45:19,760 --> 00:45:24,319
Speaker 1: trying to go to bed. I was like, God, why

895
00:45:24,360 --> 00:45:25,600
Speaker 1: don't you I can't even hear the good parts of

896
00:45:25,640 --> 00:45:27,640
Speaker 1: the song. I try to get to bed at night,

897
00:45:27,719 --> 00:45:32,600
Speaker 1: and all next door it's like I live in a house.

898
00:45:33,080 --> 00:45:36,040
Speaker 1: I don't live in an apartment. That's so annoying, and

899
00:45:36,200 --> 00:45:39,640
Speaker 1: like you have to move again again, and my other

900
00:45:39,800 --> 00:45:42,919
Speaker 1: place flooded downtown. It's so I'm not I can't find

901
00:45:42,960 --> 00:45:45,520
Speaker 1: anywhere to live. Dude, you were you were? You lived

902
00:45:45,520 --> 00:45:48,040
Speaker 1: out of town right, Well, first I moved to Brentwood.

903
00:45:48,440 --> 00:45:50,759
Speaker 1: I lived down there because security reasons, like there was

904
00:45:51,640 --> 00:45:54,640
Speaker 1: add some issues and guns and people threatening me whatever.

905
00:45:54,680 --> 00:45:57,480
Speaker 1: I My job was like, this is where you need

906
00:45:57,560 --> 00:46:00,600
Speaker 1: to live. They moving in this neighborhood and it's and

907
00:46:00,719 --> 00:46:03,960
Speaker 1: for me, I felt safe because uh La Vox are

908
00:46:04,000 --> 00:46:06,560
Speaker 1: like four houses down. CARRY lived like eight houses. Now.

909
00:46:06,920 --> 00:46:09,240
Speaker 1: I was like, nobody's nobody cares about me, but nobody's

910
00:46:09,239 --> 00:46:12,919
Speaker 1: gonna bother me because these people. They're worried about these people.

911
00:46:13,640 --> 00:46:15,160
Speaker 1: I moved from there because I just couldn't driving it.

912
00:46:15,200 --> 00:46:17,280
Speaker 1: It was it was forty minutes and I was traveling,

913
00:46:17,520 --> 00:46:20,080
Speaker 1: so I moved downtown and I got the condo. It's

914
00:46:20,200 --> 00:46:23,839
Speaker 1: very super safe, all these codes, and there were two

915
00:46:23,960 --> 00:46:27,640
Speaker 1: units on the top. And the neighbor was working on

916
00:46:27,640 --> 00:46:29,600
Speaker 1: a waterman. He just just bought the place, and the

917
00:46:29,600 --> 00:46:31,800
Speaker 1: place like the eight hundreds, right, So it's not somewhere

918
00:46:31,800 --> 00:46:34,680
Speaker 1: you go and start knocking down walls, hit a waterman,

919
00:46:34,840 --> 00:46:37,359
Speaker 1: busted it, flood of the entire building. Millions and millions

920
00:46:37,440 --> 00:46:39,520
Speaker 1: or the dons. I still I still own it. I

921
00:46:39,560 --> 00:46:41,120
Speaker 1: can't get into it. I can't run it. I can

922
00:46:41,160 --> 00:46:43,959
Speaker 1: do nothing right now, at least into front of two months,

923
00:46:44,400 --> 00:46:47,520
Speaker 1: because it's been almost a year. I've just so I

924
00:46:47,600 --> 00:46:51,400
Speaker 1: had to move again. Dude, I need to write some

925
00:46:51,480 --> 00:46:53,760
Speaker 1: new hit songs. I can just have like all these places.

926
00:46:54,000 --> 00:46:57,520
Speaker 1: You've got a good view up here, up here of cranes.

927
00:46:57,880 --> 00:47:05,760
Speaker 1: I see a lot of cranes outside t s try video.

928
00:47:07,440 --> 00:47:09,480
Speaker 1: It's every weird. Do you ever think we shouldn't reference

929
00:47:09,520 --> 00:47:12,239
Speaker 1: things that aren't country and song? Is that ever a

930
00:47:12,400 --> 00:47:14,640
Speaker 1: question where you're like, should we or shouldn't we talk

931
00:47:14,640 --> 00:47:17,319
Speaker 1: about guns and roses? I mean, I never for once

932
00:47:17,480 --> 00:47:22,080
Speaker 1: questioned that because everybody listens to the country now listen

933
00:47:22,160 --> 00:47:24,759
Speaker 1: to guns and rosides. I mean, I think I've been

934
00:47:24,800 --> 00:47:27,920
Speaker 1: to the concerts and I agree with and and I'm

935
00:47:28,120 --> 00:47:31,040
Speaker 1: on your side of this too, which is at times

936
00:47:31,080 --> 00:47:34,640
Speaker 1: been the downfall of my career. But I wonder if

937
00:47:34,680 --> 00:47:36,839
Speaker 1: you're writing a song to ever pull out and you're like, hey,

938
00:47:36,920 --> 00:47:38,440
Speaker 1: what if you put a little Wyne reference in here?

939
00:47:38,520 --> 00:47:40,160
Speaker 1: But you're like, you know what, maybe we shouldn't do that,

940
00:47:40,560 --> 00:47:42,640
Speaker 1: maybe we'll scale it, but you don't have to worry.

941
00:47:45,280 --> 00:47:48,719
Speaker 1: I haven't really thought a lot about it, honestly, Yeah,

942
00:47:48,760 --> 00:47:52,360
Speaker 1: I don't. I mean, maybe Bette Midler might not be

943
00:47:53,239 --> 00:47:57,520
Speaker 1: what we're going for, but you never know, what do

944
00:47:57,600 --> 00:47:59,480
Speaker 1: these songs? Can we talk about hill Billy Bone and

945
00:47:59,560 --> 00:48:01,799
Speaker 1: it kind of happening? What this song just fell out

946
00:48:01,840 --> 00:48:05,799
Speaker 1: of you? And you're like, man, that shouldn't have been

947
00:48:05,840 --> 00:48:11,200
Speaker 1: that easy. Take a Back Road And that's a jam, dude,

948
00:48:12,040 --> 00:48:14,720
Speaker 1: And it's one of my favorite songs I've made, Take

949
00:48:14,760 --> 00:48:22,080
Speaker 1: a Back Road. So yeah, Red Akins, who I mean

950
00:48:22,120 --> 00:48:24,000
Speaker 1: when I was in high school, I mean I literally

951
00:48:24,080 --> 00:48:27,359
Speaker 1: sang songs of his in the Talent show d Yeah, yeah,

952
00:48:27,800 --> 00:48:29,360
Speaker 1: it's crazy, And I was like, oh, I'm writing with

953
00:48:29,400 --> 00:48:31,840
Speaker 1: Red Akins this first day, first time, we ever wrote,

954
00:48:33,320 --> 00:48:36,320
Speaker 1: and he said he had that title. I thought it

955
00:48:36,400 --> 00:48:38,360
Speaker 1: was first like right a dirt road and we're like,

956
00:48:39,680 --> 00:48:42,160
Speaker 1: I don't know, and so changes to take a back road.

957
00:48:42,200 --> 00:48:45,160
Speaker 1: It just felt good and we both could write those

958
00:48:45,280 --> 00:48:47,879
Speaker 1: lyrics all day because we it's like where we both

959
00:48:47,920 --> 00:48:49,600
Speaker 1: grew up. And even though he's from Georgia and I'm

960
00:48:49,600 --> 00:48:55,480
Speaker 1: from Pennsylvania, Goddamn, I forgot feld. It looks like do

961
00:48:55,520 --> 00:48:58,080
Speaker 1: you ever feel the opposite now where someone's coming into

962
00:48:58,080 --> 00:48:59,600
Speaker 1: a room with you and you can just tell the

963
00:48:59,680 --> 00:49:03,080
Speaker 1: pet of five a little bit? But I always try

964
00:49:03,120 --> 00:49:05,759
Speaker 1: to I always try to make people feel comfortable. Like

965
00:49:05,880 --> 00:49:08,279
Speaker 1: I'm never like, hey, I know it all, and like

966
00:49:08,920 --> 00:49:11,799
Speaker 1: because I don't, I'm just like, I hope I get

967
00:49:11,960 --> 00:49:13,600
Speaker 1: just as nervous a lot of times writing with a

968
00:49:13,640 --> 00:49:16,000
Speaker 1: new person because I know they probably think, oh, he's

969
00:49:16,000 --> 00:49:18,040
Speaker 1: written all these hits, he has the secret how to do,

970
00:49:18,160 --> 00:49:21,279
Speaker 1: and I literally don't. I'm just like, it's the same

971
00:49:21,719 --> 00:49:24,520
Speaker 1: approach writing songs now, the same way that I did

972
00:49:25,640 --> 00:49:30,359
Speaker 1: before I ever had hits. So it's you you feel

973
00:49:30,440 --> 00:49:33,120
Speaker 1: that a little bit, But I'm I'm always trying to

974
00:49:33,160 --> 00:49:37,120
Speaker 1: make people feel comfortable. Tell me about an instance where

975
00:49:37,400 --> 00:49:40,440
Speaker 1: this new artist comes in, you don't know him. Someone's like, hey,

976
00:49:40,480 --> 00:49:42,040
Speaker 1: you gotta check them out, because, like you said, you

977
00:49:42,600 --> 00:49:46,240
Speaker 1: try to find, you know, the fresh shirt with the current,

978
00:49:47,239 --> 00:49:50,839
Speaker 1: and because fresh keeps you fresh. Absolutely, some new artist

979
00:49:50,920 --> 00:49:52,880
Speaker 1: comes in you're like, okay, i'll let me, and it

980
00:49:52,960 --> 00:49:56,000
Speaker 1: turns out they their household dame. Now like who is

981
00:49:56,040 --> 00:49:57,600
Speaker 1: someone that came in? And you were like, I wonder

982
00:49:57,920 --> 00:50:02,120
Speaker 1: and it turns out like bam. I mean, the first

983
00:50:03,160 --> 00:50:05,360
Speaker 1: the first thing the name that comes to mind is

984
00:50:05,440 --> 00:50:08,759
Speaker 1: Marion Morris Um as far as a new I'm trying

985
00:50:08,800 --> 00:50:11,680
Speaker 1: to think who else Marion walks in and his first

986
00:50:11,680 --> 00:50:14,799
Speaker 1: thing mat her. You're like, okay, there's something here. Yeah.

987
00:50:15,080 --> 00:50:17,920
Speaker 1: I was just like she's super talented. And you know,

988
00:50:18,040 --> 00:50:21,359
Speaker 1: even before that kind of who's become a big pop

989
00:50:21,440 --> 00:50:22,840
Speaker 1: and I haven't had any hits with her? Was I

990
00:50:22,920 --> 00:50:26,640
Speaker 1: wrote with Megan Trainer and she's in Nashville. I just think, oh,

991
00:50:26,719 --> 00:50:28,360
Speaker 1: this is she's got the number this week by the

992
00:50:28,400 --> 00:50:32,680
Speaker 1: Way Country Radio. Oh yeah that's right, Yeah, gosh, that's crazy.

993
00:50:33,200 --> 00:50:36,080
Speaker 1: But she's so talented and I didn't even when I

994
00:50:36,160 --> 00:50:37,960
Speaker 1: met her, didn't even know like, oh she's going for

995
00:50:38,040 --> 00:50:39,600
Speaker 1: the artist thing. I just thought this is a really

996
00:50:39,640 --> 00:50:42,680
Speaker 1: good writer. We wrote something cool. She's really talented. Next

997
00:50:42,719 --> 00:50:45,480
Speaker 1: thing I know, they're like, yeah, Magan Trainers in l

998
00:50:45,560 --> 00:50:47,400
Speaker 1: A and she got it. L A. Reid signed her

999
00:50:47,560 --> 00:50:51,200
Speaker 1: like what you just don't see it coming? And then

1000
00:50:52,239 --> 00:50:55,080
Speaker 1: which is cool. It's her second number one counter song too,

1001
00:50:55,080 --> 00:50:56,960
Speaker 1: because I think she she wrote the Rascal Flats on

1002
00:50:57,120 --> 00:50:59,239
Speaker 1: maybe um, I like to sound it one of their

1003
00:50:59,280 --> 00:51:03,239
Speaker 1: newer ones her and Shay wrote together, Yeah, and maybe

1004
00:51:03,320 --> 00:51:06,239
Speaker 1: Jesse Fraser or something. Yeah, that's right. She's got a

1005
00:51:06,320 --> 00:51:08,439
Speaker 1: couple of pop songs, and I bet these are songs

1006
00:51:08,520 --> 00:51:10,120
Speaker 1: she wrote back when she was like kind of in

1007
00:51:10,200 --> 00:51:14,560
Speaker 1: the Nashville scene, like writing just writing songs like there's

1008
00:51:14,560 --> 00:51:17,480
Speaker 1: something here, like you could tell, well, I could tell

1009
00:51:17,600 --> 00:51:19,040
Speaker 1: she was talented, but I didn't know she was going

1010
00:51:19,120 --> 00:51:21,320
Speaker 1: to be a superstar. You just don't know. But like

1011
00:51:23,000 --> 00:51:26,279
Speaker 1: who else? I mean, I feel like I've written with

1012
00:51:26,360 --> 00:51:29,640
Speaker 1: a lot of people before they blew up bred Eldredge. Um,

1013
00:51:30,520 --> 00:51:32,480
Speaker 1: it's weird now like I'm at the age where there

1014
00:51:32,560 --> 00:51:36,440
Speaker 1: are starting to I didn't write with Luke Brian before

1015
00:51:37,640 --> 00:51:40,560
Speaker 1: he got big, but we both kind of came to

1016
00:51:40,680 --> 00:51:43,200
Speaker 1: town around the same time. A real quick funny story

1017
00:51:43,200 --> 00:51:46,680
Speaker 1: about that is so Luke, you know, had hits as

1018
00:51:46,880 --> 00:51:49,360
Speaker 1: a couple of hits as a songwriter before he you know,

1019
00:51:49,480 --> 00:51:52,400
Speaker 1: made it as an artist, Like good Directions, Belly one

1020
00:51:52,440 --> 00:51:55,160
Speaker 1: for him. Yeah, So Luke and I just remember going

1021
00:51:55,200 --> 00:51:57,800
Speaker 1: to this guy's house who was a fairly established songwriter,

1022
00:51:58,040 --> 00:52:02,120
Speaker 1: and I had zero cuts, no hits, no cuts. But

1023
00:52:02,280 --> 00:52:04,160
Speaker 1: this guy was like, I was like, oh, that's cool.

1024
00:52:04,239 --> 00:52:06,520
Speaker 1: He likes he's gonna take a chance on me and

1025
00:52:06,600 --> 00:52:08,879
Speaker 1: write with me. So I get into this co write

1026
00:52:08,920 --> 00:52:11,799
Speaker 1: and we get about halfway through the song and he goes,

1027
00:52:12,280 --> 00:52:14,560
Speaker 1: so when I mean when when his capital talking about

1028
00:52:14,560 --> 00:52:16,600
Speaker 1: putting your record out? And I was like, oh, no,

1029
00:52:16,920 --> 00:52:20,200
Speaker 1: he thinks I'm Luke Brian and he did. He thought,

1030
00:52:21,280 --> 00:52:23,120
Speaker 1: just like do I look like an artist? I don't know.

1031
00:52:23,960 --> 00:52:27,520
Speaker 1: But I was like and then I felt weird for him.

1032
00:52:27,600 --> 00:52:30,000
Speaker 1: I was like, how do I say, like, not only

1033
00:52:30,239 --> 00:52:33,919
Speaker 1: am I not Luke Bryan, I nobody, I have no hits.

1034
00:52:34,000 --> 00:52:36,560
Speaker 1: I don't. The guy ended up being really nice about it,

1035
00:52:36,719 --> 00:52:39,040
Speaker 1: but I was just like, because we were like kind

1036
00:52:39,080 --> 00:52:44,040
Speaker 1: of the two Luke's INTI this is not the guy. Yeah,

1037
00:52:44,080 --> 00:52:47,000
Speaker 1: I know, I don't, but I just I look I

1038
00:52:47,080 --> 00:52:48,840
Speaker 1: told Luke that story he gotta kick out of it.

1039
00:52:49,000 --> 00:52:51,759
Speaker 1: But with Luke, I got a few here for you.

1040
00:52:52,880 --> 00:53:05,600
Speaker 1: I see you, see you fast. It's it's by the

1041
00:53:05,640 --> 00:53:10,880
Speaker 1: way you grats again. Is it still listen frankly talking

1042
00:53:11,000 --> 00:53:14,239
Speaker 1: after the tenth or twelve or eighteen, it's still awesome? Oh,

1043
00:53:14,400 --> 00:53:18,000
Speaker 1: it's so awesome. Is it still so awesome? Though? Yeah?

1044
00:53:18,040 --> 00:53:19,719
Speaker 1: I mean where is it pressure field where it's more

1045
00:53:19,719 --> 00:53:21,920
Speaker 1: of a relief that you did it again because you're

1046
00:53:21,960 --> 00:53:25,399
Speaker 1: expected to. Yeah, it's it's weird because I still feel

1047
00:53:25,400 --> 00:53:28,400
Speaker 1: a pressure, but not like like once you have one

1048
00:53:28,520 --> 00:53:31,640
Speaker 1: number one song, you're a number one songwriter and no

1049
00:53:31,840 --> 00:53:34,560
Speaker 1: but literally nobody knows or cares how many number ones

1050
00:53:34,640 --> 00:53:37,800
Speaker 1: you have, except like maybe you like you know that

1051
00:53:37,960 --> 00:53:40,600
Speaker 1: people don't know, and then people like so and so

1052
00:53:40,719 --> 00:53:42,879
Speaker 1: has so many number ones. But it's like on what chart?

1053
00:53:42,960 --> 00:53:46,759
Speaker 1: You know. It's like like I'm and I'm kind of

1054
00:53:46,840 --> 00:53:50,080
Speaker 1: like you know, and a few years from now, what

1055
00:53:50,400 --> 00:53:51,840
Speaker 1: charts or what? You know? What I mean, that's just

1056
00:53:51,960 --> 00:53:54,840
Speaker 1: so different. But it's it's weird because there is a pressure,

1057
00:53:54,920 --> 00:53:58,680
Speaker 1: but it's you're just happy to be in the game,

1058
00:53:58,880 --> 00:54:02,200
Speaker 1: like getting a still getting a cut on a new

1059
00:54:02,360 --> 00:54:05,040
Speaker 1: artist or a big artist is still super exciting for me.

1060
00:54:05,239 --> 00:54:07,360
Speaker 1: Like that is part of what keeps me doing it

1061
00:54:07,400 --> 00:54:09,560
Speaker 1: because it is like a challenge and it's like a game.

1062
00:54:09,640 --> 00:54:12,279
Speaker 1: You're like, Oh, I've done this, I want to I

1063
00:54:12,360 --> 00:54:14,279
Speaker 1: want to do it again. Um, what's the deal with you?

1064
00:54:14,320 --> 00:54:15,560
Speaker 1: Mentally that you go to bed at night? Do you

1065
00:54:15,640 --> 00:54:17,440
Speaker 1: write down Okay, I may want to do this tomorrow

1066
00:54:17,520 --> 00:54:19,560
Speaker 1: or do you do most of the work in the room,

1067
00:54:19,920 --> 00:54:22,759
Speaker 1: Like where does that? Well? I know who I'm gonna

1068
00:54:22,800 --> 00:54:25,560
Speaker 1: be working with that week, so I usually I like

1069
00:54:25,719 --> 00:54:29,239
Speaker 1: to get to my right like two hours before I

1070
00:54:29,360 --> 00:54:32,600
Speaker 1: work with anyone, so I can either work on ideas

1071
00:54:32,760 --> 00:54:35,120
Speaker 1: or if it's an artist, kind of think in my mind,

1072
00:54:35,239 --> 00:54:37,880
Speaker 1: where where would I see him going next? Because what

1073
00:54:38,120 --> 00:54:42,160
Speaker 1: do I have to offer here? Um? I don't honestly

1074
00:54:42,200 --> 00:54:45,719
Speaker 1: at night, once I leave there, I'm not. Uh, it

1075
00:54:45,800 --> 00:54:49,480
Speaker 1: pretty much leaves me. I pretty much separate it. And

1076
00:54:49,560 --> 00:54:52,160
Speaker 1: then I'm a morning person, so I get inspired in

1077
00:54:52,200 --> 00:54:55,960
Speaker 1: the morning. Who are your everybody's in a ever is

1078
00:54:55,960 --> 00:54:58,759
Speaker 1: getting a little pat group? You know Natalie and becomes

1079
00:54:58,800 --> 00:55:03,040
Speaker 1: in She's in the Brandy camp. You know, um Ross

1080
00:55:03,400 --> 00:55:05,680
Speaker 1: came in and you know Ross and Urban and now

1081
00:55:05,760 --> 00:55:07,719
Speaker 1: working on a lot of stuff together. But Ross would Dart.

1082
00:55:07,760 --> 00:55:12,440
Speaker 1: You know, everybody's got there. Who are your people? You know? Um,

1083
00:55:12,800 --> 00:55:15,080
Speaker 1: I feel like I've run in a couple of different circles.

1084
00:55:15,200 --> 00:55:20,680
Speaker 1: But my people are like writer wise, are like our

1085
00:55:20,760 --> 00:55:24,880
Speaker 1: people that Creative Nation like, especially like Barry Dean and

1086
00:55:25,000 --> 00:55:27,239
Speaker 1: Natalie Hemby. They're like two of my best friends. And

1087
00:55:27,400 --> 00:55:30,279
Speaker 1: so as far as artists, I mean, I had a

1088
00:55:30,320 --> 00:55:32,399
Speaker 1: pretty good run with Carrie. You know, maybe I'll get

1089
00:55:32,400 --> 00:55:35,080
Speaker 1: to work with her again. We haven't worked in a while. Um,

1090
00:55:36,239 --> 00:55:38,800
Speaker 1: but I don't know. I run like I'll do like

1091
00:55:39,000 --> 00:55:42,520
Speaker 1: John Party. He and I are kind of I think

1092
00:55:42,640 --> 00:55:44,759
Speaker 1: on a I mean, we've only had the one hit,

1093
00:55:44,880 --> 00:55:46,759
Speaker 1: but like we're gonna We're starting to write some new

1094
00:55:46,840 --> 00:55:49,640
Speaker 1: stuff that I'm excited about. I've kind of been in

1095
00:55:49,680 --> 00:55:52,000
Speaker 1: the Eric thing a little bit. I just kind of

1096
00:55:52,040 --> 00:55:54,560
Speaker 1: move around like whoever wants to. I'd be on everybody's

1097
00:55:54,600 --> 00:55:57,960
Speaker 1: camp if they want to work. Yeah, I mean, And

1098
00:55:58,080 --> 00:56:00,160
Speaker 1: the thing is, I really, I truly am a fan

1099
00:56:00,239 --> 00:56:02,279
Speaker 1: of lots of different kinds of music. I'm not like,

1100
00:56:02,719 --> 00:56:04,799
Speaker 1: oh I don't I can't stand that now. If there's

1101
00:56:04,840 --> 00:56:07,840
Speaker 1: something that I'm just not really into, I'll be honest

1102
00:56:07,920 --> 00:56:11,440
Speaker 1: and just try to, you know, not do it if

1103
00:56:11,480 --> 00:56:15,360
Speaker 1: I if I, if I just don't genuinely like someone's

1104
00:56:15,440 --> 00:56:17,480
Speaker 1: music or something, I'm not gonna even if they're a

1105
00:56:17,560 --> 00:56:20,000
Speaker 1: huge star, I'm not gonna try to just get in

1106
00:56:20,120 --> 00:56:22,840
Speaker 1: there because there's so many things I do. Like you

1107
00:56:22,960 --> 00:56:27,160
Speaker 1: mentioned Natalie and now it's awesome, like she's so much fun,

1108
00:56:27,400 --> 00:56:31,280
Speaker 1: and you know, she came and we talked, and she again,

1109
00:56:31,840 --> 00:56:34,000
Speaker 1: you guys share some you share some songs, a lot

1110
00:56:34,080 --> 00:56:36,480
Speaker 1: of other folks that come in, and she told the

1111
00:56:36,520 --> 00:56:40,839
Speaker 1: story about his song. I'd be curious to hear your

1112
00:56:40,920 --> 00:56:43,560
Speaker 1: version of this song. Well, okay, so she and Barry

1113
00:56:43,600 --> 00:56:45,840
Speaker 1: and I wrote this and we're always curious what version

1114
00:56:47,840 --> 00:56:52,120
Speaker 1: because now it's been a few years. But the way

1115
00:56:52,200 --> 00:56:56,920
Speaker 1: I remember writing this song was Natalie came over and

1116
00:56:57,160 --> 00:57:00,040
Speaker 1: she and Barry and I were just be us and

1117
00:57:00,800 --> 00:57:02,719
Speaker 1: she was telling the story about she and I had

1118
00:57:02,760 --> 00:57:06,280
Speaker 1: written an album cut from Miranda a song called fine Tune,

1119
00:57:07,280 --> 00:57:10,480
Speaker 1: and her publisher or somebody had heard the song through

1120
00:57:10,560 --> 00:57:13,919
Speaker 1: the wall and I was like, Hey, what's that song

1121
00:57:14,080 --> 00:57:16,920
Speaker 1: that I heard like that you wrote pontoon. It's like, no,

1122
00:57:17,040 --> 00:57:20,240
Speaker 1: it's called fine Tune. She's telling Barry and I that story.

1123
00:57:21,160 --> 00:57:24,000
Speaker 1: So of course we're all like, we got to write

1124
00:57:24,040 --> 00:57:27,240
Speaker 1: a song called pont because it just it just was

1125
00:57:27,360 --> 00:57:29,720
Speaker 1: too good of like, gosh, that sounds like a good

1126
00:57:29,760 --> 00:57:33,240
Speaker 1: country song, and did you expect it to be? Like

1127
00:57:33,360 --> 00:57:36,000
Speaker 1: when you finished it were like, is this too goofy?

1128
00:57:36,360 --> 00:57:39,120
Speaker 1: Is just the word pontoon is kind of goofy. So

1129
00:57:39,240 --> 00:57:41,640
Speaker 1: that's why I kind of just started with like a

1130
00:57:41,760 --> 00:57:44,360
Speaker 1: really simple almost just a quirky little beat, like just

1131
00:57:44,640 --> 00:57:51,080
Speaker 1: silly almost that m M. And and so Barry and

1132
00:57:51,120 --> 00:57:53,880
Speaker 1: I literally like, Natalie, what would you say, like if

1133
00:57:53,920 --> 00:57:56,000
Speaker 1: you're trying to write a song called Pontoon, Like, what's

1134
00:57:56,000 --> 00:57:59,320
Speaker 1: the first thing? She's like, back this bit up into

1135
00:57:59,560 --> 00:58:03,240
Speaker 1: the A and we're just died. We're like this is amazing,

1136
00:58:03,360 --> 00:58:06,520
Speaker 1: Like if that's all the songs said literally on the demo,

1137
00:58:06,680 --> 00:58:08,720
Speaker 1: I like put that into a sampler and like for

1138
00:58:08,800 --> 00:58:11,959
Speaker 1: the whole interest, like back but bat bat bat bat

1139
00:58:12,040 --> 00:58:15,760
Speaker 1: backed it bit but but bat backed it just because

1140
00:58:15,800 --> 00:58:18,800
Speaker 1: I thought it was so funny. We wrote that and

1141
00:58:19,000 --> 00:58:22,560
Speaker 1: and again kind of like hill Billy Bone, like we

1142
00:58:22,760 --> 00:58:25,200
Speaker 1: all reacted to it. It made you feel something. It's like,

1143
00:58:25,360 --> 00:58:27,200
Speaker 1: as writers, that's what you're trying to do, whether it's

1144
00:58:27,200 --> 00:58:30,360
Speaker 1: a sad song or just something fun, like you just

1145
00:58:30,520 --> 00:58:32,640
Speaker 1: wanted you wanted to kind of just catch your ear

1146
00:58:32,640 --> 00:58:35,760
Speaker 1: and like what And I knew that, like, some people

1147
00:58:35,800 --> 00:58:39,320
Speaker 1: would hate that song, but I I felt deep down

1148
00:58:39,400 --> 00:58:42,000
Speaker 1: that if it got at least a chance to get heard,

1149
00:58:42,640 --> 00:58:45,320
Speaker 1: that it could react. You know, I knew and some

1150
00:58:45,440 --> 00:58:49,439
Speaker 1: people would hate it. So we got um a few people,

1151
00:58:49,560 --> 00:58:52,280
Speaker 1: like I think Dirk's had it on hold. It's when

1152
00:58:52,400 --> 00:58:54,680
Speaker 1: Kicks Brooks made his solo thing. I remember getting the

1153
00:58:54,720 --> 00:58:58,040
Speaker 1: email it's on when I was like, awesome, you know, um,

1154
00:58:59,040 --> 00:59:02,120
Speaker 1: but really like that was like the that song was

1155
00:59:02,200 --> 00:59:05,640
Speaker 1: the perfect storm because a little big town believed in it.

1156
00:59:05,800 --> 00:59:08,760
Speaker 1: Their manager, Jason Owen was just like, I'll bet my

1157
00:59:08,880 --> 00:59:11,120
Speaker 1: career on the song. And I'm thinking, gosh, I don't

1158
00:59:11,120 --> 00:59:14,760
Speaker 1: know if I do. I wrote the song, but with

1159
00:59:14,920 --> 00:59:17,360
Speaker 1: Jay Joyce produced. It was just at that time too,

1160
00:59:17,440 --> 00:59:19,760
Speaker 1: And it still sounds like so cool on the radio.

1161
00:59:19,840 --> 00:59:23,080
Speaker 1: It's just so unique with their Yeah, but I mean,

1162
00:59:24,000 --> 00:59:28,880
Speaker 1: it's silly how big that song. Whenever you wrote motor

1163
00:59:28,960 --> 00:59:33,560
Speaker 1: Boat and Yeah, were you like Vince Vaughn, Yeah, were

1164
00:59:33,640 --> 00:59:37,240
Speaker 1: you like want the couple meanings to this? Obviously do

1165
00:59:37,320 --> 00:59:40,439
Speaker 1: you know, wedding crashers. Yeah, that's what I mean. We're

1166
00:59:40,520 --> 00:59:45,520
Speaker 1: thinking about, um, you motor boate something big. But but

1167
00:59:45,720 --> 00:59:47,760
Speaker 1: I mean it was just another one of those parts

1168
00:59:47,800 --> 00:59:49,760
Speaker 1: in the song that we're just like we have to

1169
00:59:49,800 --> 00:59:52,560
Speaker 1: because we remember thinking trying to rhyme that like like

1170
00:59:52,720 --> 00:59:55,200
Speaker 1: in the ocean or like no, you don't take a

1171
00:59:55,280 --> 00:59:58,960
Speaker 1: pontoon of the ocean. Then I don't even remember who

1172
00:59:59,000 --> 01:00:01,520
Speaker 1: said the motor boat. But we're like, I was just like,

1173
01:00:03,040 --> 01:00:05,200
Speaker 1: you know, in the time, like dude, they say, can

1174
01:00:05,240 --> 01:00:07,320
Speaker 1: you say that on the radio, But it's like, it's

1175
01:00:07,320 --> 01:00:12,000
Speaker 1: actually a boat unless you saw that movie, no one's

1176
01:00:12,040 --> 01:00:14,760
Speaker 1: thinking of you know, there's a funny story you gotta

1177
01:00:14,800 --> 01:00:17,480
Speaker 1: if you have you done this with Lorie McKenna, I

1178
01:00:17,600 --> 01:00:20,160
Speaker 1: have not. I know Laurie well, but she if you do,

1179
01:00:20,360 --> 01:00:23,960
Speaker 1: ask her about when she first heard that song. Mike

1180
01:00:24,080 --> 01:00:26,400
Speaker 1: make a note. Natalie told us to how when they

1181
01:00:26,440 --> 01:00:27,680
Speaker 1: went out and they were gonna buy they went to

1182
01:00:27,720 --> 01:00:31,200
Speaker 1: buy a boat and the guy was like, and she's like,

1183
01:00:32,600 --> 01:00:35,560
Speaker 1: can you imagine, I mean, only in Nashville, what are

1184
01:00:35,600 --> 01:00:39,920
Speaker 1: the odds? That's funny? So uh, I mean you still right,

1185
01:00:39,960 --> 01:00:42,240
Speaker 1: every every five days a week, four days a week

1186
01:00:42,880 --> 01:00:45,640
Speaker 1: four three to four. I mean I'm I work every

1187
01:00:45,720 --> 01:00:49,200
Speaker 1: day because a lot of times I'm working, like I'll

1188
01:00:49,200 --> 01:00:51,320
Speaker 1: work on demos from songs have already written, or try

1189
01:00:51,400 --> 01:00:53,240
Speaker 1: to start new ideas for who I'm going to work

1190
01:00:53,280 --> 01:00:55,720
Speaker 1: with the next week. My ideal would be to write

1191
01:00:55,800 --> 01:00:57,680
Speaker 1: like three days a week and then the other two

1192
01:00:57,760 --> 01:01:03,080
Speaker 1: days work on tracks and ideas are finishing up demos,

1193
01:01:04,600 --> 01:01:07,080
Speaker 1: produce a little bit. Do you walk down the street

1194
01:01:07,160 --> 01:01:09,920
Speaker 1: and there'll be someone who's like, Hey, luc Lair, I'm

1195
01:01:09,960 --> 01:01:12,320
Speaker 1: a new songwriter. Can I get this? Can I work with?

1196
01:01:12,440 --> 01:01:14,800
Speaker 1: Has it happen too much? Not a lot, but in

1197
01:01:14,960 --> 01:01:18,680
Speaker 1: Nashville it happens t s. A agent really hit me up,

1198
01:01:19,800 --> 01:01:21,840
Speaker 1: like the same dude two times, like he didn't even

1199
01:01:21,880 --> 01:01:24,200
Speaker 1: remember me. He came through. He goes, I know who

1200
01:01:24,240 --> 01:01:26,160
Speaker 1: you are, and I was like, he goes, man, I

1201
01:01:26,240 --> 01:01:28,200
Speaker 1: really like your songs. I was like, oh, thanks man,

1202
01:01:28,840 --> 01:01:31,560
Speaker 1: And then like literally two weeks later, it's like he

1203
01:01:31,640 --> 01:01:33,360
Speaker 1: forgot he said that to me, goes, I know who

1204
01:01:33,400 --> 01:01:37,800
Speaker 1: you are. What has anyone ever stopped you said hey, hey,

1205
01:01:37,880 --> 01:01:41,480
Speaker 1: can I write with you? Like just randomly from the street. No,

1206
01:01:41,760 --> 01:01:45,640
Speaker 1: that's usually comes through Twitter and Facebook, which I can't

1207
01:01:45,680 --> 01:01:49,160
Speaker 1: imagine the stuff you get. You can't because it DM

1208
01:01:49,360 --> 01:01:51,600
Speaker 1: hit me upen the d M. For me, it's never

1209
01:01:53,040 --> 01:01:55,040
Speaker 1: and you know I write super songs and comedy songs

1210
01:01:55,040 --> 01:01:59,880
Speaker 1: and stuff, but it's always play my song. Oh yeah, yeah,

1211
01:02:00,080 --> 01:02:02,440
Speaker 1: that makes sense. And the weird thing for me is

1212
01:02:03,000 --> 01:02:05,480
Speaker 1: I've probably done that to you. The weird thing for

1213
01:02:05,560 --> 01:02:07,760
Speaker 1: me is is I can't a man. A weird thing

1214
01:02:07,800 --> 01:02:09,840
Speaker 1: because I'm I have a record deal, because you know,

1215
01:02:10,000 --> 01:02:11,919
Speaker 1: we have a band. I mean, look, you talk about

1216
01:02:11,920 --> 01:02:13,439
Speaker 1: all these charts. We have a number one comedy album,

1217
01:02:13,480 --> 01:02:15,960
Speaker 1: like there's so many charts. Yeah, but that's amazing, but

1218
01:02:16,000 --> 01:02:18,560
Speaker 1: I'm not now at number one leg though that's a legit.

1219
01:02:18,720 --> 01:02:22,600
Speaker 1: That's not like the I won't mention whatever, but it's okay,

1220
01:02:22,760 --> 01:02:26,760
Speaker 1: it's it's somewhat legit, like that's a real chart and

1221
01:02:26,920 --> 01:02:30,640
Speaker 1: so but it's since I'm writing music and I write

1222
01:02:31,080 --> 01:02:35,400
Speaker 1: stand up, I can't listen to things because I can't

1223
01:02:35,440 --> 01:02:38,479
Speaker 1: even subconsciously pick and try to pick up things because

1224
01:02:38,480 --> 01:02:40,560
Speaker 1: I don't want to actually write it and they get sued.

1225
01:02:40,800 --> 01:02:42,520
Speaker 1: But then again, I'm supposed to be listening for things.

1226
01:02:42,640 --> 01:02:44,520
Speaker 1: I'm trying to bring new music all the time. And

1227
01:02:44,600 --> 01:02:47,000
Speaker 1: it's just this weird place and like I go every

1228
01:02:47,040 --> 01:02:48,760
Speaker 1: people handing me CD, I can't touch them. Do you

1229
01:02:48,840 --> 01:02:50,320
Speaker 1: do you have to do that where people like yeah,

1230
01:02:50,480 --> 01:02:53,160
Speaker 1: I'm like no, and it's and it is true. I

1231
01:02:53,240 --> 01:02:56,560
Speaker 1: mean yes, you're kind of like, I don't know that

1232
01:02:56,680 --> 01:02:58,840
Speaker 1: I need to be listening to this, but yeah, it's

1233
01:02:58,920 --> 01:03:02,400
Speaker 1: just you're in a position that where you are having

1234
01:03:02,600 --> 01:03:06,560
Speaker 1: chart success, like it's nerve wracking. Like when I'm writing

1235
01:03:06,600 --> 01:03:09,400
Speaker 1: a song and I start really liking it, I'm like, crap,

1236
01:03:09,480 --> 01:03:11,840
Speaker 1: am I on another song? Because I have it has happened,

1237
01:03:11,880 --> 01:03:14,120
Speaker 1: like I've been writing like this is awesome, Like oh crap,

1238
01:03:14,240 --> 01:03:17,600
Speaker 1: that's whatever hit by Edge Sharon or something like that.

1239
01:03:17,720 --> 01:03:21,480
Speaker 1: You know, you're always trying to come up with something unique,

1240
01:03:21,640 --> 01:03:24,560
Speaker 1: but it's you do think about that stuff. Is it

1241
01:03:24,640 --> 01:03:34,200
Speaker 1: impossible figuratively to write a new love song? No, yes,

1242
01:03:35,560 --> 01:03:38,240
Speaker 1: it feels that way. And then you hear one You're like, man,

1243
01:03:38,360 --> 01:03:40,720
Speaker 1: they didn't like why didn't I think it? What's this?

1244
01:03:40,880 --> 01:03:42,560
Speaker 1: What's the song you've heard in the past few years

1245
01:03:42,600 --> 01:03:43,720
Speaker 1: where you like, God, I wish I had written that

1246
01:03:43,760 --> 01:03:47,160
Speaker 1: song because it's so freaking good. Oh my gosh, there's

1247
01:03:47,160 --> 01:03:50,440
Speaker 1: a there's a quite a few. That's the thing when

1248
01:03:50,480 --> 01:03:52,960
Speaker 1: people are like, yeah, music now sucks, I'm like, no way.

1249
01:03:53,240 --> 01:03:56,480
Speaker 1: I listened to nineties country and there are some really

1250
01:03:56,560 --> 01:04:00,120
Speaker 1: bad songs then too that I actually loved. But but

1251
01:04:00,520 --> 01:04:05,080
Speaker 1: like when I heard Blue Ain't Your Color, I texted

1252
01:04:05,160 --> 01:04:08,640
Speaker 1: Hillary lindsay, I was like, this song, like it just

1253
01:04:09,600 --> 01:04:11,600
Speaker 1: I listened to Keith's record and I was like, man,

1254
01:04:11,680 --> 01:04:15,800
Speaker 1: that thing just jumped up because we didn't think Keith

1255
01:04:15,840 --> 01:04:17,160
Speaker 1: and your Thing. I was like, dude, that it wasn't

1256
01:04:17,160 --> 01:04:18,560
Speaker 1: a single, wasn't his first single. And I was like,

1257
01:04:18,960 --> 01:04:21,400
Speaker 1: Blue ant College my favorite song on the record, the melody,

1258
01:04:21,480 --> 01:04:24,360
Speaker 1: I mean, it's so good, and I felt I really

1259
01:04:24,400 --> 01:04:27,120
Speaker 1: felt that way with Humble and Kind. I just thought

1260
01:04:27,640 --> 01:04:29,680
Speaker 1: it's just such a unique way to say. I mean,

1261
01:04:29,760 --> 01:04:33,280
Speaker 1: it's just so simple, but just to say humble and kind.

1262
01:04:33,320 --> 01:04:35,840
Speaker 1: You don't think of that as being like a easy,

1263
01:04:35,960 --> 01:04:39,400
Speaker 1: like conversational song. But the thinking about with that song too,

1264
01:04:39,640 --> 01:04:42,040
Speaker 1: because I was so Tim and I were sitting in

1265
01:04:42,160 --> 01:04:44,400
Speaker 1: my office like an hour before was going to do

1266
01:04:44,480 --> 01:04:46,600
Speaker 1: something and he's like, it wasn't this this first single,

1267
01:04:46,800 --> 01:04:49,160
Speaker 1: Humbling Kind? They weren't gonna lead with that off of

1268
01:04:49,720 --> 01:04:51,920
Speaker 1: I think it was damn cutching music, and he was like,

1269
01:04:52,040 --> 01:04:54,360
Speaker 1: there is this song on this record called Humble and

1270
01:04:54,440 --> 01:04:56,680
Speaker 1: Kind that's just gonna change the whole game for me.

1271
01:04:57,400 --> 01:05:00,160
Speaker 1: And at the time, like he's talking about album cut, Uh,

1272
01:05:00,720 --> 01:05:03,480
Speaker 1: I don't really care, you know what's out? Who knows

1273
01:05:03,520 --> 01:05:06,520
Speaker 1: people talking ABOUTBM cuts all the time? And and but man,

1274
01:05:06,600 --> 01:05:08,640
Speaker 1: was he write about that song? Was so and she

1275
01:05:08,640 --> 01:05:12,280
Speaker 1: sorted by herself. It's amazing. I mean, she really is

1276
01:05:12,400 --> 01:05:15,439
Speaker 1: one of the best. Um and tim you know, he's

1277
01:05:15,880 --> 01:05:18,400
Speaker 1: he is one of those artists who is such a

1278
01:05:18,480 --> 01:05:21,280
Speaker 1: good song person. If you look at throughout his career,

1279
01:05:21,320 --> 01:05:23,720
Speaker 1: I mean, yes, he may have had a few misses,

1280
01:05:23,840 --> 01:05:26,960
Speaker 1: but just at the right time, he will find a

1281
01:05:27,080 --> 01:05:29,440
Speaker 1: song that everybody's like, dang it, why didn't I get that?

1282
01:05:29,520 --> 01:05:30,880
Speaker 1: And it may have been pitched to a lot of

1283
01:05:30,880 --> 01:05:35,600
Speaker 1: other people, but he he knows, he's he just knows songs.

1284
01:05:35,680 --> 01:05:37,960
Speaker 1: And you know, you go see his concert and it's

1285
01:05:38,120 --> 01:05:41,840
Speaker 1: like hit after hit that are not just did he's

1286
01:05:42,080 --> 01:05:44,520
Speaker 1: he has those, but he has the just song of

1287
01:05:44,600 --> 01:05:47,120
Speaker 1: the years in there too. It's pretty amazing. The cool

1288
01:05:47,160 --> 01:05:49,920
Speaker 1: thing about mcgral to me is that when I was

1289
01:05:50,000 --> 01:05:53,760
Speaker 1: a kid, he was awesome I'm an adult. He's still

1290
01:05:53,880 --> 01:05:57,120
Speaker 1: the same awesome. It's not like he's a novelty actor.

1291
01:05:58,840 --> 01:06:02,960
Speaker 1: His longevity of being relevant it's really amazing. It really

1292
01:06:03,160 --> 01:06:06,160
Speaker 1: like him and Chesney both. Oh, it's it's both of

1293
01:06:06,200 --> 01:06:09,200
Speaker 1: those guys. I mean right now me being a music

1294
01:06:09,320 --> 01:06:13,360
Speaker 1: row Nashville songwriter, those two guys are like the first

1295
01:06:13,400 --> 01:06:15,480
Speaker 1: two people you try to get songs to. It's not like,

1296
01:06:16,000 --> 01:06:18,440
Speaker 1: well they aren't really you know, it's it'd be cool

1297
01:06:18,480 --> 01:06:21,280
Speaker 1: to have the cut, but no, those are you want

1298
01:06:21,960 --> 01:06:24,320
Speaker 1: like you're just take your best stuff to them and

1299
01:06:24,440 --> 01:06:27,440
Speaker 1: hope they want it. I just remember turning on my

1300
01:06:27,640 --> 01:06:31,720
Speaker 1: radio and Mountain Pine, Arkansas and listen to Tim mcgrawl.

1301
01:06:32,040 --> 01:06:34,040
Speaker 1: You know when the first time I Don't Take the Girl,

1302
01:06:34,080 --> 01:06:36,400
Speaker 1: I was like, my mind, my I'm I'm what like

1303
01:06:36,480 --> 01:06:38,760
Speaker 1: this is that they can do this in songs like

1304
01:06:39,000 --> 01:06:41,360
Speaker 1: I've like went to the whole roller coaster of emotion

1305
01:06:41,440 --> 01:06:43,560
Speaker 1: in this song. I was like, wow, you know Indian

1306
01:06:43,600 --> 01:06:45,760
Speaker 1: laws before that then don't Take the Girl And I

1307
01:06:45,880 --> 01:06:49,640
Speaker 1: was like this, Tim McGraw's awesome, but still Timergaw, a

1308
01:06:49,680 --> 01:06:51,640
Speaker 1: song will come on now like this, timmercaw is all

1309
01:06:51,760 --> 01:06:54,520
Speaker 1: it's like the same, like who can last that long.

1310
01:06:54,720 --> 01:06:57,480
Speaker 1: It's so hard. This business is so hard. So when

1311
01:06:57,560 --> 01:07:01,320
Speaker 1: somebody actually does it, it's gosh, you gotta respect it

1312
01:07:01,480 --> 01:07:04,680
Speaker 1: because I don't know. And he's better in better shape

1313
01:07:04,720 --> 01:07:08,880
Speaker 1: than every new artist too. Yeah, like Tims got that.

1314
01:07:08,920 --> 01:07:13,760
Speaker 1: Whatever I'm gonna do, I'm gonna and so is he's

1315
01:07:13,800 --> 01:07:17,000
Speaker 1: gonna work out. Yeah, So well, look, I appreciate you

1316
01:07:17,120 --> 01:07:21,040
Speaker 1: coming in. Man, It's like it's like the Queen of England.

1317
01:07:21,720 --> 01:07:24,880
Speaker 1: I was like, yeah, yeah, this little suthing you wrote

1318
01:07:25,600 --> 01:07:28,920
Speaker 1: back in the the Game show era of the seventies,

1319
01:07:29,000 --> 01:07:32,040
Speaker 1: Wink Martindale, You and Wink Martindale, but this together, it's

1320
01:07:32,080 --> 01:07:34,280
Speaker 1: the jam on. It's probably made a lot more money

1321
01:07:34,360 --> 01:07:40,480
Speaker 1: than I appreciate you coming in And uh yeah, you

1322
01:07:40,640 --> 01:07:43,680
Speaker 1: just loot layered on Twitter. You don't tweet that much though, No,

1323
01:07:44,200 --> 01:07:46,800
Speaker 1: I'm I'm more on the Instagram now, but because I

1324
01:07:47,120 --> 01:07:49,240
Speaker 1: look for a tweet and don't tweet that much, I

1325
01:07:49,320 --> 01:07:51,640
Speaker 1: haven't tweeted deal. I was like, hey, dude, and then

1326
01:07:51,680 --> 01:07:54,280
Speaker 1: I hear I responded to that. Its like eighteen days later,

1327
01:07:54,280 --> 01:07:55,760
Speaker 1: and I was like, he was always on that lukelar

1328
01:07:55,800 --> 01:08:01,880
Speaker 1: delay plan. He does it. I don't even know. I appreciate.

1329
01:08:01,920 --> 01:08:05,360
Speaker 1: I appreciate you. You know what's funny is one because

1330
01:08:05,360 --> 01:08:07,200
Speaker 1: I started this and it's all about for me. I

1331
01:08:07,320 --> 01:08:12,600
Speaker 1: love songwriters and I love talking about how the concept

1332
01:08:12,680 --> 01:08:15,400
Speaker 1: and the craft and what didn't work out, and so

1333
01:08:15,840 --> 01:08:17,760
Speaker 1: you know, we started this thing, you know, months and

1334
01:08:17,800 --> 01:08:20,040
Speaker 1: months months ago. I think it was you know, Caitlin Smith,

1335
01:08:20,160 --> 01:08:22,280
Speaker 1: and she's a friend of mine, and it went for

1336
01:08:22,280 --> 01:08:24,240
Speaker 1: whatever and I'd be like, hey, so and so came

1337
01:08:24,280 --> 01:08:25,960
Speaker 1: in and they're like, oh, well they came in. Well

1338
01:08:26,000 --> 01:08:28,400
Speaker 1: I want to come in. But because you decided to

1339
01:08:28,479 --> 01:08:31,479
Speaker 1: come in, because one always makes another. And I don't

1340
01:08:31,520 --> 01:08:33,640
Speaker 1: know who it was that they got you to come in,

1341
01:08:34,320 --> 01:08:36,640
Speaker 1: but who who was it that was like, Hey, that

1342
01:08:36,920 --> 01:08:38,720
Speaker 1: that's that's not so terrible. Was there anybody for you

1343
01:08:38,840 --> 01:08:42,160
Speaker 1: that said that? No, he I think Mike just well,

1344
01:08:42,200 --> 01:08:45,040
Speaker 1: that's very kind of you. But so Karen Fairchild, who

1345
01:08:45,040 --> 01:08:48,519
Speaker 1: I'm friends with, but I wasn't gonna really ask her

1346
01:08:48,600 --> 01:08:51,200
Speaker 1: to because it's like there's this fine line of friendship

1347
01:08:51,439 --> 01:08:54,760
Speaker 1: and it's like, I don't even ask my come on

1348
01:08:54,800 --> 01:08:56,960
Speaker 1: the show. And I could. I could text him, I

1349
01:08:56,960 --> 01:08:59,080
Speaker 1: could text Luke and Dirk all the time and be

1350
01:08:59,160 --> 01:09:01,400
Speaker 1: like hey, but I don't because there's you want to

1351
01:09:01,439 --> 01:09:04,599
Speaker 1: have that free space of just being humans. But at

1352
01:09:04,600 --> 01:09:07,040
Speaker 1: the A c M. Cara's like, I'm Luke's doing your show.

1353
01:09:07,160 --> 01:09:09,560
Speaker 1: I'm coming to do I'm coming to your house to

1354
01:09:09,640 --> 01:09:11,479
Speaker 1: do the Body and I was like, that's what it took,

1355
01:09:12,080 --> 01:09:14,040
Speaker 1: Like Luke Lair's gonna come. She's like, yeah, it's it

1356
01:09:14,080 --> 01:09:16,439
Speaker 1: must be legit up. Luke's coming and I was like,

1357
01:09:16,600 --> 01:09:19,800
Speaker 1: all right, whatever it takes. Karen, so really good to

1358
01:09:19,800 --> 01:09:24,360
Speaker 1: see it. Thank you for coming. In episode fifty two, Wow,

1359
01:09:24,520 --> 01:09:27,800
Speaker 1: Luke laired and thanks again to Blue Apron one hundred

1360
01:09:27,800 --> 01:09:31,479
Speaker 1: flowers for sponsoring this. And you know by the music,

1361
01:09:32,080 --> 01:09:34,880
Speaker 1: I just buy the music. That's how these guys eat, right,

1362
01:09:35,040 --> 01:09:37,680
Speaker 1: and eventually you'll figure this thing out. One of my

1363
01:09:37,760 --> 01:09:41,200
Speaker 1: best buzzes like always up at Capitol Hill Lead Miller

1364
01:09:41,720 --> 01:09:45,759
Speaker 1: like fighting for songwriters and we sit and we obviously

1365
01:09:45,800 --> 01:09:47,280
Speaker 1: we're coming from different places, but he's like one of

1366
01:09:47,320 --> 01:09:49,479
Speaker 1: my true, tr true friends, and he's like, let me

1367
01:09:49,520 --> 01:09:51,000
Speaker 1: tell you why I hate you. And I'm like, okay,

1368
01:09:51,000 --> 01:09:52,720
Speaker 1: go ahead, and I'm like, dude, I don't I'm not

1369
01:09:52,800 --> 01:09:55,680
Speaker 1: I don't run radio. I just get the check, you know.

1370
01:09:56,240 --> 01:09:59,519
Speaker 1: So yeah, yeah, let's feed these guys. So by the

1371
01:09:59,640 --> 01:10:01,200
Speaker 1: music like all right, we're gonna go, We'll see you

1372
01:10:01,200 --> 01:10:03,000
Speaker 1: next time here Episope fifty two of the Bobby Cast

1373
01:10:03,200 --> 01:10:05,560
Speaker 1: and over h