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Speaker 1: Episode three seventy five. Joey moy producer of sixty two

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Speaker 1: number one songs over thirty five albums. He's been a

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Speaker 1: major producer. I mean it's like five songs. He's produced Nickelback,

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Speaker 1: How You Remind And here's the thing, by the way,

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Speaker 1: we can't play music on these podcasts anymore. We'll get sued,

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Speaker 1: but I can sing him. He has produced Nickelback, How

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Speaker 1: You Remind Me? This is He You Remind Me? Rock

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Speaker 1: Star and the entire album it's on because we all wanted.

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Speaker 1: It's a big, big rocks. Snug him and photograph. What

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Speaker 1: was on Jim's head? The question there people ask if

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Speaker 1: what was on Jimmy's head? And it was Joey's head. Yeah, Joey,

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Speaker 1: this is Joey. That's what was weird to me. I

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Speaker 1: don't know whereds the songs, but yes, that's this is

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Speaker 1: the Joey and what was on Joey's head? Uh, Country

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Speaker 1: number one, Jaco and Barefoot, Blue g Night f G

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Speaker 1: L Cruz, Chris. I could keep going big into the

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Speaker 1: Morgan wall In world. He's a whole part of that

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Speaker 1: team from the beginning. So it's a really interesting mind

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Speaker 1: of of a producer, also a songwriter, also somebody who

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Speaker 1: moved to town who had worked in other genres and

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Speaker 1: that's it. Loved it. Here's Joey Moy What was on

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Speaker 1: Joey his Head? Episode three seventy five. By the way,

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Speaker 1: he's the partner and producer of Big Loud, Like he's

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Speaker 1: one of the big guys, are making all the decisions. Uh,

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Speaker 1: Joey Moy Here he is on the Bobby Cast. Have

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Speaker 1: we ever met in person? I think I don't. I

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Speaker 1: don't think so. I think we may have shaken hands,

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Speaker 1: and I didn't think so either. But this is the

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Speaker 1: longest we've ever spoke right now, in this four seconds.

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Speaker 1: I uh, because obviously I know a whole lot about you,

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Speaker 1: and in this town, especially when it's awards season, you

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Speaker 1: just never know who you run into or say hi

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Speaker 1: too quickly, and so it is a real treat to

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Speaker 1: talk to you. I'm a big, big fan. Just to

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Speaker 1: go back a little bit, we had Chad Kroeger on

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Speaker 1: because I'm I love Nickelback and have and um, I

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Speaker 1: love your music that you did with them. But Chad

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Speaker 1: was on and I was like, Hey, what's up. I

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Speaker 1: didn't realize you're Joey. Yes, and what was on Joey's head?

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Speaker 1: I didn't realize that was you? That was me? That

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Speaker 1: to me, of everything is the most because that that

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Speaker 1: that line is such a staple of like my early twenties.

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Speaker 1: And I asked him about it. I was like, Hey,

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Speaker 1: so what was on Joey's head? And he went on

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Speaker 1: this thing and that's when it was, Oh, that's Joey here.

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Speaker 1: So I just want to start with that line and

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Speaker 1: that song. I would imagine you never thought in a

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Speaker 1: million years that would become it's a meme now, but

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Speaker 1: it's all over the place when you heard the line

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Speaker 1: where you're like, I don't know, Chad, not not at all,

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Speaker 1: to be honest, because he had written that song. He'd

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Speaker 1: come off the road and he had written the verse.

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Speaker 1: He'd probably written a seven minute verse of that song

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Speaker 1: with all that imagery, and he started that was a

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Speaker 1: man that was probably New Year's two thousand five when

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Speaker 1: we took that picture something like that long time ago

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Speaker 1: when we took that picture and U uh, the picture

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Speaker 1: is hilarious because our eyes are completely blistering red and

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Speaker 1: we're having the best time of our life. Um, and uh,

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Speaker 1: it was a champagne chiller, and when you turn it

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Speaker 1: upside down it looks like the Stanley Cup, like a

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Speaker 1: little miniature Stanley cup. So I don't know if he

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Speaker 1: told you this story. He did, but it's always interesting

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Speaker 1: to hear another version of the same story. So so

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Speaker 1: I'm listening to the pictures when he holds up though

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Speaker 1: in the video right, correct? And so why did you

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Speaker 1: have it on your head though? Because, like any good

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Speaker 1: drunk Canadian, when you see something that looks like the

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Speaker 1: Stanley cups, go straight up and hoisted and then for

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Speaker 1: some reason it ended up upside down on my head

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Speaker 1: and someone snapped the picture. It was all just like

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Speaker 1: cosmic timing. How many times a week do you get

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Speaker 1: asked that question about what was on Joey's head? It

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Speaker 1: used to be, uh, like when the song was big,

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Speaker 1: and probably for about six seven years, it would be

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Speaker 1: like I was running from that question, like I had

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Speaker 1: had a lot of it um. But honestly, over the

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Speaker 1: last since I've been here and no one really asked

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Speaker 1: me at it. Like it's just recently with the new

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Speaker 1: music coming out that they're doing that people are asking

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Speaker 1: me again, are people mind blown when they figure out

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Speaker 1: it is you and that song in that line sometime

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Speaker 1: forever because I was I was like, oh my god,

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Speaker 1: it's like the biggest craziest thing. I was like, that's Joey,

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Speaker 1: He's coming in here. That's so famous. Uh, well again,

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Speaker 1: super pumped you're here. You've been such, you know, a

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Speaker 1: pivotalbal such a pivotal part of just music in general,

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Speaker 1: pop country for the past twenty thirty years or so. Um,

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Speaker 1: when you moved to Nashville, how old were you? Um?

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Speaker 1: I think I was thirty two thirty three? And why why,

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Speaker 1: like why did you come here? Um? You know, it

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Speaker 1: was rock music at that time, was pop music, and

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Speaker 1: it kind of just became not pop music. We had,

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Speaker 1: you know, Kanye was making huge records, and Justin Timberlake

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Speaker 1: was making huge records, and Katie Perry and Max Martin

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Speaker 1: and the Max Martin and Dr Luke Eric kind of

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Speaker 1: took over in top forty so that guitar bass, melodic

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Speaker 1: guitar based rock was no longer pop music. So it

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Speaker 1: was definitely we were all kind of looking at a

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Speaker 1: different future at that point. And um, you know, my

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Speaker 1: my course had run with Nickel back with those guys

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Speaker 1: working with him, and um, I kind of cleaned up

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Speaker 1: all my my rock and roll loose ends, all the

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Speaker 1: records I was working on. I kind of finished up

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Speaker 1: and myself and a day one guy for me who's

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Speaker 1: a Canadian country artist, Damed Dallas Smith. Um, he was

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Speaker 1: in a rock band at the same at the same time,

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Speaker 1: and uh, you know his course is kind of run

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Speaker 1: with that group. And he texted me one night and

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Speaker 1: he's like, he you want to go make a country record?

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Speaker 1: And we had threatened each other with making a country

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Speaker 1: record on him man probably ten years prior to that,

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Speaker 1: and um, yeah, finally he texted me out of the

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Speaker 1: blue and I was like, yeah, I'm I'm in. I'm

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Speaker 1: ready to go. At that point, I was becoming a

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Speaker 1: songwriter and H Nashville was a logical step for me

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Speaker 1: to come down and just sort of continue that university

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Speaker 1: of becoming a better songwriter. Um so, my manager at

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Speaker 1: the time booked us a trip through an Nashville. On

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Speaker 1: my first day here. I met my current business partners.

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Speaker 1: My first day first day here, I wrote with a

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Speaker 1: handful of guys at Big Loud, and I met Craig

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Speaker 1: and I met Seth England. Seth was had just been,

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Speaker 1: had just been as signed his job as creative manager

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Speaker 1: there from intern like he was, um and uh, I

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Speaker 1: fell in love with the place right away. Dallas and

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Speaker 1: I spent a week writing his first first country records.

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Speaker 1: So we kind of got to hit a lot of

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Speaker 1: great writers. We had Craig Wiseman, we had Rodney Clawson,

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Speaker 1: Chris Tompkins, Tom Douglas and she's Danny Rton and Jens

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Speaker 1: Shot like all these great country writers and m he

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Speaker 1: came down for a week, had a blast. Um. I

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Speaker 1: hit it off with Craig and Seth. At that time,

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Speaker 1: I was doing a lot of artist development on the

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Speaker 1: rock and roll side, like just signing young kids to

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Speaker 1: production deals and connecting the dots with songwriters and then

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Speaker 1: making a product and then going and selling it to

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Speaker 1: a record company and then fingers crossed, get to make

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Speaker 1: that record or if not, maybe one of the next thing. Um.

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Speaker 1: So I started had that element and they wanted to

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Speaker 1: do that as well, and they had the songwriting side

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Speaker 1: of things. So we were just a great marriage. And

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Speaker 1: it was Dallas and Default. Yeah that makes sense. Very

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Speaker 1: first kid that I ever recorded that got on the radio,

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Speaker 1: really very very very first default or default? However, you

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Speaker 1: say I worked, You know, I've worked in every format

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Speaker 1: from pop to rock to hip hop. But I used

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Speaker 1: to play used to play that default or default song?

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Speaker 1: What was it wasted? My time wasted? My time wasted? Yeah,

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Speaker 1: that's right here. You remember that one, Mike, I remember

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Speaker 1: that song. It was a big song. It was a

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Speaker 1: big one everywhere. Yeah, that was that was awesome. So

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Speaker 1: what is what? What was his? What was Dallas story?

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Speaker 1: I an't we still making country music? But I don't

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Speaker 1: has he try? Has he really put an effort into

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Speaker 1: the States to try to make it? Because I know

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Speaker 1: he's really good. He's great. I mean he's house old

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Speaker 1: name in Canada. Um, and we keep running him up

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Speaker 1: the charts up there. Are you guys still cool? I

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Speaker 1: asked that question you and Dallas? Yeah totally. I currently

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Speaker 1: make an a record on him right now. Um. Uh

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Speaker 1: and a dear friend like a day one kid for me. Um.

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Speaker 1: But yeah, I mean he his family's in Vancouver, he

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Speaker 1: lives in Vancouver. That's where he's committed to work and

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Speaker 1: and stay. Um he comes down here frequently. Um and uh,

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Speaker 1: you know it's uh, he's not a songwriter and so

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Speaker 1: it's easier when you are a songwriter to come and

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Speaker 1: immerse yourself in Nashville and to have that look in

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Speaker 1: the U S. So, um, really, we're just banking on

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Speaker 1: a great outside song to come in and you never know.

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Speaker 1: It's the power of a song. Yeah, he's really good.

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Speaker 1: He's really good. I mean his voice is second and nine.

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Speaker 1: It's one of those guys where you go, well, maybe

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Speaker 1: it hasn't happened here quite yet, but eventually it will

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Speaker 1: just based on how good he is. Yeah. Yeah, when

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Speaker 1: you come to Nashville, you mentioned a lot of things.

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Speaker 1: You said, you know, you had this skill set and

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Speaker 1: they had this need for that skill set. It's so

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Speaker 1: you came in so you didn't just come here and

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Speaker 1: go I'm gonna start producing folks. You came here with

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Speaker 1: a bigger business. Uh, just kind of an attitude you're

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Speaker 1: going to do more than just sit in a studio. Yeah.

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Speaker 1: I was always pretty entrepreneurial. I knew there I needed

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Speaker 1: certain pieces to to move forward. And it was really

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Speaker 1: in the song world. I wanted to become a better songwriter. Um,

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Speaker 1: and I knew just I had to associate myself with

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Speaker 1: great songwriters and and do it regularly. Um, and unfortunately,

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Speaker 1: I mean, what happened to my songwriting career has vanished

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Speaker 1: because production career just took right off. It's hard to

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Speaker 1: focus it on both, which is totally fine because we

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Speaker 1: ended up signing a bunch of great songwriters that that

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Speaker 1: and that's kind of more fun to empower. Anyways, Well,

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Speaker 1: how do you study in school? Meaning do you go, Okay,

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Speaker 1: I like music because I know you sing? You did?

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Speaker 1: I mean, I know you did. You know you're saying

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Speaker 1: even I have some background tracks you've done before. They

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Speaker 1: are pretty distinct. So obviously you had this skill set

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Speaker 1: in music. But how do you end up going into

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Speaker 1: the production side of it? And why did you choose

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Speaker 1: that path? Um? Honestly, I got started. I really was

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Speaker 1: into I started as a recording engineer, and I was

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Speaker 1: really into the technology side of things. And then I

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Speaker 1: started working as a recording engineer. And then you know,

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Speaker 1: if you're not happy making fifteen punk rock songs in

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Speaker 1: a day and tracking them and mixing them and doing

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Speaker 1: vocus on them and getting them done in a day,

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Speaker 1: you know, you really need to start taking control of

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Speaker 1: the music. So I did that for a few years

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Speaker 1: and and just naturally, how do you even know that's

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Speaker 1: a thing. Like where I come from, we wouldn't know

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Speaker 1: there was that things. Recording engineer, where did you live

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Speaker 1: and where their studios around? Like, how are you exposed

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Speaker 1: to even know that there was a person that recorded

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Speaker 1: and was over that. My guidance counselor in high school

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Speaker 1: fought Uh. He originally UH sent me to a radio

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Speaker 1: station in Fort St. John, British Columbia, UH five sixties

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Speaker 1: c kN L, little AM station up there, and I

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Speaker 1: got to go. I thought I wanted to work in radio,

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Speaker 1: and then they kind of put me every where. Um,

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Speaker 1: I'd sit with the morning guy, and then after that

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Speaker 1: they'd put me in the they called it the production room,

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Speaker 1: and they had me it was all real to reel

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Speaker 1: back then, so they had me cutting all the real

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Speaker 1: to reels and editing the song list and I kind

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Speaker 1: of really took to the technology side of it all. Um,

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Speaker 1: And that was kind of the report that the the

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Speaker 1: I guess it was the program director at the time,

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Speaker 1: reported back to my guidance counselor. So my guidance counselor

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Speaker 1: was like, well, let's try a recording studio. So then

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Speaker 1: he sent me down to Vancouver UM, which to a man,

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Speaker 1: it was a studio called Bullfrog Studios, and they did

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Speaker 1: a work experience thing UM for schools, and I went

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Speaker 1: down there for three or four weeks and UM, I

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Speaker 1: got to push the buttons a little and figure out

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Speaker 1: what it was, and then I kind of decided that

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Speaker 1: that was my path. I was kind of always into music,

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Speaker 1: and I was always into the technology side. I was

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Speaker 1: always the DJ at the high school dance and setting

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Speaker 1: up the p A. I was that kid, UM, and

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Speaker 1: it was just natural to end up going to I

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Speaker 1: wasn't a great student, like I technically haven't graduated high

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Speaker 1: school and I'm still a science credit short. But this

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Speaker 1: private college saw it in me and let me come

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Speaker 1: down there and attend their school. And I just really

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Speaker 1: took to the technical side of things. What does it

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Speaker 1: like to have an education system that cares? That's what

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Speaker 1: I hear that you had a like a counselor that goes, hey,

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Speaker 1: we're gonna help you. Okay, then work, let me continue

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Speaker 1: to invest my into you. That's is that normal in

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Speaker 1: Canada that they care? And yes, I mean he knew

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Speaker 1: I was such a bad student, Like I was terrible

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Speaker 1: at math and English and she's my friends classes all

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Speaker 1: that stuff. I was so bad. Um, but there are

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Speaker 1: certain things I was really good at. It was really

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Speaker 1: great history, and I was really great, you know, if

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Speaker 1: I was passionate and into it. Um. I think I

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Speaker 1: just kind of had a short attention span. It was

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Speaker 1: hard for me on things I didn't like. But um,

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Speaker 1: but he just recognized the things I was passionate about

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Speaker 1: and pushed me, pushed me there, which I guess I've

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Speaker 1: never You're the first person that's ever pointed that out. So,

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Speaker 1: I mean, I've never really thought of it. I mean,

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Speaker 1: it's a pretty valuable moment in life. You know that

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Speaker 1: he helped you and then once it wasn't there continue

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Speaker 1: to help you and see it through. That just wouldn't.

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Speaker 1: What's it like to have healthcare? Like that's the part

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Speaker 1: two where I'm like, how do we know health care here?

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Speaker 1: And we look at you guys, it's like you go

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Speaker 1: the doctor broken or okay, we're gonna fix that up

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Speaker 1: for you to take a second, wait and we'll fix

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Speaker 1: it up here. That, sir, it is different. That took

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Speaker 1: me a while to wrap my head around and to

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Speaker 1: know that I know people down here that don't have healthcare.

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Speaker 1: I was like, wow, you go like if you broke

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Speaker 1: your foot right now, you'd be in big trouble. Yeah,

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Speaker 1: just figure it out. And then also, it's cold. This

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Speaker 1: is my final Candida because we're on a bunch of

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Speaker 1: cities in Canada to my morning show is and so

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Speaker 1: it's cold a lot. Yeah to where when it's cold,

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Speaker 1: when it's just cold, it probably feels pretty warm to

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Speaker 1: you guys. How do you live in all the cold

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Speaker 1: all the time. Well, Vancouver isn't as bad. Vancouver's pretty

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Speaker 1: mild a lot of a lot of the winters. It's

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Speaker 1: it gets colder here in Nashville and it will be

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Speaker 1: in Vancouver. You get all that weather. The wind coming

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Speaker 1: up from the from Hawaii basically ends in Vancouver's. Vancouver's

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Speaker 1: like I think a Vancouver Seattle totally okay, Yeah, you're

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Speaker 1: two two and a half hours north basically, and Vancouver,

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Speaker 1: just most of Canada's is directly on the border right there. Um,

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Speaker 1: so Vancouver stays. You might get snow a couple of

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Speaker 1: times in winter, maybe for about a week, week and

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Speaker 1: a half. Then that kills that kills the romantic version

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Speaker 1: of Canada that I have in my head. Well, you're

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Speaker 1: thinking Biglues all the time. Yeah, built of ice. Yeah,

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Speaker 1: that's it. That's Saskatchewan. Whenever you come to Nashville and

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Speaker 1: you start to work with the Big Loud, was a

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Speaker 1: Big Loud shirt when you first got here. Yeah, it

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Speaker 1: was just the publishing company at the time. It was

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Speaker 1: Craig's company, UM, and that's where I did my just

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Speaker 1: a really easy publishing deal with them. They set at

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Speaker 1: the time was the song plugger Seth England, who's been

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Speaker 1: a big partner or a Big Loud, my partner at

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Speaker 1: Big Loud, and Craig Wiseman, who's my other partner songwriter

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Speaker 1: partner at Big Loud as well. Um. Seth originally started

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Speaker 1: booking my co writes for me and Uh and they

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Speaker 1: would just put me the word. Seth was booking them

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Speaker 1: at like years old, booking for you. I don't see.

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Speaker 1: I just Craig was here, but I had COVID the

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Speaker 1: one time he came, so like last minute, I texted

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Speaker 1: Mike and I was like, I got COVID, I can't

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Speaker 1: come over. I'm like giving Craig COVID. So I came

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Speaker 1: over and we did the show. But I saw Craig

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Speaker 1: at the c m AS a few weeks ago, a

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Speaker 1: couple of weeks ago, and I went up and I said, hey, Craig.

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Speaker 1: I never I never never met him, and I usually

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Speaker 1: just stayed on myself. I don't want to bother anybody,

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Speaker 1: just generally in live and we talked for a little bit,

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Speaker 1: and he was obviously super nice, right, just super lovely guy.

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Speaker 1: Especially I met Craig, But in Seth and I have

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Speaker 1: only seen each other in passing a few times. Usually

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Speaker 1: it's because we're somewhere and he's got somebody with him.

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Speaker 1: And but I tell you the thing about Seth is

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Speaker 1: every time that most every time that I have gotten

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Speaker 1: any sort of pushed back from this industry for anything

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Speaker 1: that I am doing that is slightly different, and he

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Speaker 1: can just he just has some sense, like Batman knows

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Speaker 1: what I'm getting crushed. He'll send me a message, you go, like, yo, dude,

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Speaker 1: hanging in there. It's always people that that are are

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Speaker 1: pushing the place in different ways that I mean, he

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Speaker 1: always sends like like a really kind inspirational men. And

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Speaker 1: I'm telling you, I don't know if he maybe if

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Speaker 1: my glasses were on, he pinbly knew who I was.

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Speaker 1: But we haven't spent a whole lot of time together,

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Speaker 1: but he is, like you, is so instrumental in a

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Speaker 1: big part of country music over the last ten years.

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Speaker 1: What is he like? Steth oh Man, I'll say I

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Speaker 1: knew Um within the first couple of weeks of knowing

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Speaker 1: those guys, I knew he was going to be a

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Speaker 1: huge He was a piece that somebody like me required. Um.

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Speaker 1: I remember coming here and he'd be he was still

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Speaker 1: doing going to all the writer rounds, and he had

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Speaker 1: the standard, the standard creative manager evenings that they have

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Speaker 1: to do, and he would take me out with him,

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Speaker 1: and I swear I would shake a hundred hands a

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Speaker 1: night with him. And I've never had anybody coming to

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Speaker 1: my life that way who was just opening the every

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Speaker 1: door to the town basically. So he's one of those

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Speaker 1: just natural connectors, natural senior executive kid. He was just

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Speaker 1: he's just got It's the easiest thing from to doing

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Speaker 1: his day. He's he's so gifted in that senior management role.

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Speaker 1: Um and Craig. You know, Craig's a scatter brain songwriter

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Speaker 1: and I'm a scatter brain producer. We need that one

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Speaker 1: anchor who's creative and can follow through and make sure

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Speaker 1: we're all on track. And that's him. He's truly gifted

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Speaker 1: in that. In that world. When you hop into a

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Speaker 1: studio here for the first time, are you like, all right, well,

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Speaker 1: we're about to start a whole new version of of

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Speaker 1: what I'm doing sonic, Like, do you have that feeling?

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Speaker 1: Or you just like he's just another day? Uh? You mean?

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Speaker 1: Like no? Like Jay, Let's say, Jay, I was looking

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Speaker 1: at your credits and the first thing that I saw

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Speaker 1: that I recognized was Jake had a credit doing Barefoot

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Speaker 1: Blue gen Night. Now you have been doing rock for

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Speaker 1: the most part, and and this is your first credit.

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Speaker 1: I'm sure maybe worked on other stuff, but were like, Okay,

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Speaker 1: well it's time to do some country here. Let's see

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Speaker 1: how this goes. I mean, is that kind of the feeling? Yeah,

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Speaker 1: I was terrified, Um, because we came the world I

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Speaker 1: came from. You know, you're working with rock bands. There's

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Speaker 1: usually one or two good got musicians in the group,

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Speaker 1: and then the rest of the guys, if they're playing

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Speaker 1: on the record, they're learning how to play their parts,

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Speaker 1: and it's a slower Yeah, it's just a lot of No,

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Speaker 1: not at all. You're you're working with the band, right.

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Speaker 1: That's that's the difference of rock and roll. It's like

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Speaker 1: this Petrie dish of whatever it is in a small

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Speaker 1: town somewhere in Alberta, and it grows into this thing.

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Speaker 1: You you capture that and and and build that where

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Speaker 1: you know, here's obviously different. You have this songwriting factory

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Speaker 1: and musician factory and all these huge giant tools in

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Speaker 1: the toolbox to use, but up there you don't. So

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Speaker 1: I was pretty terrified when I came down. I didn't

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Speaker 1: really understand the whole session life. And um, I remember

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Speaker 1: wearing Seth out like I'm gonna need this much time

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Speaker 1: and i don't know who these guys are and I'm

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Speaker 1: gonna have to do this and this, and then Seth,

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Speaker 1: you know, calm me down. He gave me two hours

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Speaker 1: of overtime on my first session, so I had five

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Speaker 1: hours to get in a whole song done, which now

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Speaker 1: we can get like four songs done and that much

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Speaker 1: time after being here. But I was terrified, and uh,

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Speaker 1: I guess Craig had our Seth had told Craig that

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Speaker 1: I was freaking out about having to come in and

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Speaker 1: cut this Jake music and having no framework reference. So

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Speaker 1: Craig basically grabbed me by the ear and took me

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Speaker 1: down to one of his demo sessions and he was like, okay,

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Speaker 1: sit here, watch And then I watched, and I'm like, oh,

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Speaker 1: I get this. Did you find you find it was

399
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Speaker 1: easier or you find that you were just so ready

400
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Speaker 1: for it? Um? I It took me a while to

401
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Speaker 1: fully embrace the Nashville tracking system. I didn't speak the

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Speaker 1: language very well. I was used to just speaking to

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Speaker 1: other musically illiterate people who just sang their ideas out right.

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Speaker 1: Where here there's a kind of super defined language. It's

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Speaker 1: really they've simplified it down so you can communicate shorthand

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Speaker 1: through a creative process, which is great. But it took

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Speaker 1: me a while to learn that. So it caused me

408
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Speaker 1: to the result was I sat in my studio and

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Speaker 1: played as much as I could and program drums and

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Speaker 1: did as much as I could myself, and then I

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Speaker 1: would just bring guys in to the studio and work

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Speaker 1: with them the old fashioned way, the way I did

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Speaker 1: in Vancouver. So I just have one guitar player sit

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Speaker 1: with me and we would just sing parts back and

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Speaker 1: forth and figure out how to do it. But now

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Speaker 1: I feel like I'm a I was saying, I'm trying

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Speaker 1: to be more Dan huff uh and be able to like,

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Speaker 1: you know, read charts, which I can now and it

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Speaker 1: took me a while to figure out how to do that,

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Speaker 1: uh and just speak more of the session player language

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Speaker 1: so um. And that came kind of by demand. The

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Speaker 1: business grew enough and I just had to make more

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Speaker 1: music faster, and so I had to go embrace the

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Speaker 1: the tracking, the tracking room style of making records, which

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Speaker 1: I absolutely love doing now. I can't believe it took

426
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Speaker 1: me so long. It's so fun and you learn, you

427
00:20:33,520 --> 00:20:35,200
Speaker 1: kind of get to be a GM of sports team

428
00:20:35,200 --> 00:20:37,919
Speaker 1: at that point. You kind of figure out what lane

429
00:20:37,920 --> 00:20:40,760
Speaker 1: you're going in and then you cast the musicians appropriately

430
00:20:40,800 --> 00:20:43,280
Speaker 1: for that, right. So I have kind of have three

431
00:20:43,359 --> 00:20:46,359
Speaker 1: or four crews that I put together for certain styles

432
00:20:46,359 --> 00:20:55,600
Speaker 1: of music. Whenever these country artists come in when you

433
00:20:55,640 --> 00:20:57,880
Speaker 1: first get here, and my experience was, oh, they can

434
00:20:57,880 --> 00:21:00,600
Speaker 1: all sing, like pretty much. I was surprised because where

435
00:21:00,600 --> 00:21:03,560
Speaker 1: I came from him pop they couldn't. And there were

436
00:21:03,600 --> 00:21:05,200
Speaker 1: some that wouldn't want to be near a microphone and

437
00:21:05,240 --> 00:21:07,360
Speaker 1: be asked to sing because you wouldn't want to ruin

438
00:21:07,400 --> 00:21:12,159
Speaker 1: that was. But again, you come from the rock world,

439
00:21:12,600 --> 00:21:15,240
Speaker 1: which probably is a little more genuine than the pop

440
00:21:15,240 --> 00:21:19,359
Speaker 1: world where everything is manufactured. Did you feel like these

441
00:21:19,359 --> 00:21:24,200
Speaker 1: country guys consistently actually had a vocal talent that maybe

442
00:21:24,200 --> 00:21:25,720
Speaker 1: sometimes you had to cover up when you're in the

443
00:21:25,800 --> 00:21:34,000
Speaker 1: rock world at all. Um, you know, it's kind of situational. Um,

444
00:21:34,040 --> 00:21:36,560
Speaker 1: for the most part, Yes, most of them are are,

445
00:21:36,720 --> 00:21:40,720
Speaker 1: especially nowadays. Um. In our world, we a lot of

446
00:21:40,760 --> 00:21:45,200
Speaker 1: strong vocalists and strong songwriters. You know, early on, before

447
00:21:45,200 --> 00:21:47,480
Speaker 1: we had proven our concept as a company as a business,

448
00:21:47,520 --> 00:21:49,919
Speaker 1: we you know, the fruit wasn't as right when you

449
00:21:49,960 --> 00:21:52,080
Speaker 1: go pick it off the tree, so it required a

450
00:21:52,080 --> 00:21:55,080
Speaker 1: little more artist development and help at the time. But

451
00:21:55,080 --> 00:21:58,800
Speaker 1: but now nowadays everyone's coming in pretty pretty buttoned up.

452
00:21:59,359 --> 00:22:00,879
Speaker 1: What was the first big album that you worked on

453
00:22:00,960 --> 00:22:02,600
Speaker 1: when you got here and they said this is the project.

454
00:22:02,640 --> 00:22:05,679
Speaker 1: It was Jake, It was Jake. I did um. I

455
00:22:05,720 --> 00:22:08,360
Speaker 1: did a song. My very first tracking session with him

456
00:22:08,400 --> 00:22:13,760
Speaker 1: was a song, uh called keeping It Country. And then

457
00:22:14,280 --> 00:22:16,720
Speaker 1: that was kind of my audition in that world. And

458
00:22:16,920 --> 00:22:18,919
Speaker 1: I owe a lot to Jake because Jake, just I

459
00:22:18,960 --> 00:22:21,000
Speaker 1: thought the idea was cool. He's like, yeah, let's get

460
00:22:21,040 --> 00:22:23,800
Speaker 1: this rock guy and then we'll have the songwriter Rodney

461
00:22:23,800 --> 00:22:25,480
Speaker 1: Class in there to keep it country, but we'll do

462
00:22:25,600 --> 00:22:29,240
Speaker 1: something totally new. So Jake took kind of the big risk. Um.

463
00:22:29,480 --> 00:22:31,560
Speaker 1: He was working with Tony Browne at the time, who

464
00:22:31,600 --> 00:22:34,560
Speaker 1: if anyone was aware of record producers, Tony is an

465
00:22:34,560 --> 00:22:38,639
Speaker 1: absolute legend. UM and Uh, I did the one song,

466
00:22:38,760 --> 00:22:41,480
Speaker 1: and I remember I was down in um Kabbo, San

467
00:22:41,560 --> 00:22:43,240
Speaker 1: Lucas with friends and then I got a phone call

468
00:22:43,359 --> 00:22:47,040
Speaker 1: from Gary Overton, who was running Sony at the time,

469
00:22:47,040 --> 00:22:48,560
Speaker 1: and he was like, I wanted to come to Nashville.

470
00:22:48,600 --> 00:22:49,480
Speaker 1: I want to hang with you and talk to you

471
00:22:49,480 --> 00:22:50,679
Speaker 1: a little bit because I think we want to get

472
00:22:50,680 --> 00:22:52,320
Speaker 1: you to finish the Jake record. And I'm like, well,

473
00:22:52,400 --> 00:22:54,639
Speaker 1: damn okay. That was pretty exciting for me, kind of

474
00:22:54,640 --> 00:22:59,159
Speaker 1: a big get. UM. So I flew back sat with Gary. UM,

475
00:22:59,280 --> 00:23:01,560
Speaker 1: we had a great me and then it was decided

476
00:23:01,600 --> 00:23:04,199
Speaker 1: that we would we'd finished off the record and um,

477
00:23:04,720 --> 00:23:07,000
Speaker 1: Barefoot Blue Night wasn't a part of that at the time.

478
00:23:07,080 --> 00:23:10,719
Speaker 1: We kind of cut four or five songs, used up

479
00:23:10,760 --> 00:23:15,800
Speaker 1: his budget. UM. And at the very end, the last

480
00:23:15,880 --> 00:23:17,720
Speaker 1: day in the studio, Jake shows up and he's playing

481
00:23:17,720 --> 00:23:19,320
Speaker 1: this demo. He's like, what do you think this song?

482
00:23:19,480 --> 00:23:22,119
Speaker 1: We're all like, this is awesome, this is great, but

483
00:23:22,200 --> 00:23:25,280
Speaker 1: we've spent all your money. I don't know how we're

484
00:23:25,280 --> 00:23:28,280
Speaker 1: gonna pull this off. And we went back to the label,

485
00:23:28,280 --> 00:23:30,760
Speaker 1: tried to get an extra few extra grand to go

486
00:23:30,840 --> 00:23:33,879
Speaker 1: get a band and cut this song, and we couldn't

487
00:23:33,920 --> 00:23:36,320
Speaker 1: get it. Well, they said no to the money. They

488
00:23:36,359 --> 00:23:38,600
Speaker 1: were like, you've got I think they said you've got

489
00:23:38,600 --> 00:23:41,480
Speaker 1: twenty seven dollars left, and we're like okay. And that

490
00:23:41,560 --> 00:23:43,080
Speaker 1: was what was left in his recording budget for that

491
00:23:43,080 --> 00:23:45,280
Speaker 1: album cycle. And he had some other great songs on

492
00:23:45,280 --> 00:23:47,159
Speaker 1: the record, so it wasn't like we were panicking going like,

493
00:23:47,200 --> 00:23:51,240
Speaker 1: oh man, we need to we need the silver bullet um.

494
00:23:51,320 --> 00:23:55,800
Speaker 1: So we decided to just build it like make computer music,

495
00:23:55,840 --> 00:23:57,920
Speaker 1: like make you build a beat. And we had enough

496
00:23:57,920 --> 00:24:00,280
Speaker 1: money in the budget hire one musician and had one

497
00:24:00,280 --> 00:24:04,080
Speaker 1: guy out of his band and and uh, I had

498
00:24:04,160 --> 00:24:06,560
Speaker 1: Rodney Clauson sing the harmonies and it's me and my

499
00:24:06,640 --> 00:24:10,479
Speaker 1: pro tools guy and Rodney doing the whoa doing all that,

500
00:24:10,520 --> 00:24:12,480
Speaker 1: and I'm playing some guitar and bassed on it. Like

501
00:24:12,520 --> 00:24:17,080
Speaker 1: we just put it together, um and Uh, it kind

502
00:24:17,080 --> 00:24:21,360
Speaker 1: of created this weird little programmed sound track sound that

503
00:24:21,440 --> 00:24:24,159
Speaker 1: wasn't a band and it was one of the I

504
00:24:24,160 --> 00:24:26,239
Speaker 1: mean that it totally opened the door for me here

505
00:24:26,280 --> 00:24:29,760
Speaker 1: in Nashville. What a how many times though, does it

506
00:24:29,760 --> 00:24:31,560
Speaker 1: happen where somebody goes, this is a song, because it

507
00:24:31,600 --> 00:24:33,760
Speaker 1: feels like every single was the and I know it's

508
00:24:33,800 --> 00:24:36,400
Speaker 1: not true, but lady, Yeah, everybody has a massive song

509
00:24:36,480 --> 00:24:37,960
Speaker 1: that they were like, you know, we were done with

510
00:24:37,960 --> 00:24:40,960
Speaker 1: the record and they and we found this song on

511
00:24:41,000 --> 00:24:43,240
Speaker 1: the ground walking in. It was to scratched up CD

512
00:24:43,320 --> 00:24:44,680
Speaker 1: and when he only played for three seconds, but we

513
00:24:44,720 --> 00:24:46,320
Speaker 1: had a feeling that was the three seconds we needed.

514
00:24:46,680 --> 00:24:48,720
Speaker 1: It feels like that's a lot where people come in

515
00:24:48,800 --> 00:24:51,720
Speaker 1: last minute and try to get a song. What do

516
00:24:51,760 --> 00:24:53,640
Speaker 1: a lot of them not get on? And those are

517
00:24:53,800 --> 00:24:55,440
Speaker 1: are dead stories that could have been the greatest story

518
00:24:55,480 --> 00:24:59,399
Speaker 1: of all time. Um, well, you definitely get pitched a

519
00:24:59,480 --> 00:25:01,119
Speaker 1: lot of songs. So I just I just had my

520
00:25:01,200 --> 00:25:03,680
Speaker 1: last three days with Morgan in the studio and Matt.

521
00:25:03,680 --> 00:25:05,320
Speaker 1: We were getting pitched a ton of song. I can

522
00:25:05,320 --> 00:25:09,200
Speaker 1: only imagine. It's terrifying. I'm going, oh no, because they're coming.

523
00:25:09,560 --> 00:25:11,960
Speaker 1: It's it's everyone's Hail Mary. So it's their best shot

524
00:25:12,040 --> 00:25:13,920
Speaker 1: that they've done that month. And you know there's we

525
00:25:13,960 --> 00:25:15,720
Speaker 1: actually ended up cutting a few and that came in

526
00:25:15,880 --> 00:25:20,400
Speaker 1: We just had to um um. But yeah, I mean

527
00:25:21,600 --> 00:25:23,639
Speaker 1: we try to cut everything that sounds good. When we

528
00:25:23,680 --> 00:25:25,760
Speaker 1: try to make the exception to just if it's great,

529
00:25:25,760 --> 00:25:27,320
Speaker 1: we just find a way to finish it off. But

530
00:25:27,880 --> 00:25:31,120
Speaker 1: you know, there's probably tons of certain circumstances where the great,

531
00:25:31,200 --> 00:25:34,159
Speaker 1: the great ones go unfound. That last one though, like

532
00:25:34,359 --> 00:25:35,439
Speaker 1: a lot of people come in here. You know, we

533
00:25:35,440 --> 00:25:38,520
Speaker 1: were doing with the record We're a day over. There

534
00:25:38,560 --> 00:25:41,639
Speaker 1: was the last song. Why is that? Is it? Because

535
00:25:42,800 --> 00:25:45,040
Speaker 1: it's the new shiny thing and people are so passionate

536
00:25:45,080 --> 00:25:48,680
Speaker 1: about it because they just heard it. That's a huge part. Yeah,

537
00:25:48,720 --> 00:25:50,720
Speaker 1: a lot of a lot of great songs get lost

538
00:25:50,800 --> 00:25:53,719
Speaker 1: because the artist will move on. It'll get old when

539
00:25:53,760 --> 00:25:55,520
Speaker 1: the kids right. You know, if we just released a

540
00:25:55,600 --> 00:25:58,760
Speaker 1: record and they start writing new music, that first stuff

541
00:25:58,760 --> 00:26:01,040
Speaker 1: will never get They'll be I'm amazing songs and we'll

542
00:26:01,040 --> 00:26:02,680
Speaker 1: just be sitting there go no no, no, no, no,

543
00:26:02,840 --> 00:26:05,680
Speaker 1: hold on, this is still really good. But then they'll

544
00:26:05,680 --> 00:26:07,160
Speaker 1: just move on and want to pitch the song because

545
00:26:07,160 --> 00:26:08,920
Speaker 1: they've written something else that they think is cooler. Do

546
00:26:08,960 --> 00:26:11,320
Speaker 1: you ever listen to old stuff that you've done just

547
00:26:11,359 --> 00:26:13,200
Speaker 1: in Nashville, Because I'll listen to old jokes I've told

548
00:26:13,200 --> 00:26:14,879
Speaker 1: on stage or bits that I've done in the radio,

549
00:26:15,280 --> 00:26:17,520
Speaker 1: and I'm like, oh, man, I'm a lot better than that. Now.

550
00:26:17,720 --> 00:26:20,040
Speaker 1: If you were to listen to Barefoot Blue G nine,

551
00:26:20,040 --> 00:26:22,399
Speaker 1: just sit and listen, would you go, that's what I'm

552
00:26:22,400 --> 00:26:23,920
Speaker 1: talking about? Or would you go, oh, I've actually learned

553
00:26:23,920 --> 00:26:24,920
Speaker 1: a lot of things since then, and I would do

554
00:26:24,960 --> 00:26:27,960
Speaker 1: it a little differently now. I always feel shame when

555
00:26:27,960 --> 00:26:30,720
Speaker 1: I hear them. It's I feel shame all the time

556
00:26:30,800 --> 00:26:34,040
Speaker 1: or anything I've ever done, but you you do, oh yeah.

557
00:26:34,119 --> 00:26:36,720
Speaker 1: It takes me a long time to forget every step

558
00:26:36,760 --> 00:26:39,560
Speaker 1: of the way. It's usually I don't know, eighteen months

559
00:26:39,600 --> 00:26:42,080
Speaker 1: later I can hear it and go, oh, yeah, that's cool.

560
00:26:42,200 --> 00:26:44,600
Speaker 1: When you don't hear every edit or every decision you

561
00:26:44,680 --> 00:26:46,439
Speaker 1: made in the whole song, or do you get in

562
00:26:46,440 --> 00:26:48,399
Speaker 1: the middle of it, because I'll do this in writing

563
00:26:48,440 --> 00:26:49,879
Speaker 1: and go, I don't know if it is good anymore

564
00:26:50,000 --> 00:26:51,960
Speaker 1: because you spent so long inside of it that you

565
00:26:52,080 --> 00:26:53,960
Speaker 1: now just have to go on instinct. And sometimes you

566
00:26:54,080 --> 00:26:56,760
Speaker 1: really have to fight that because because my job is

567
00:26:56,800 --> 00:26:59,439
Speaker 1: to just always be the answer. Guy. No, that's it.

568
00:26:59,440 --> 00:27:02,200
Speaker 1: We're doing this. Go in this. I'm like the doubt killer.

569
00:27:02,600 --> 00:27:07,040
Speaker 1: But secretly I don't know. Man, whenever you record Cruise,

570
00:27:07,960 --> 00:27:10,119
Speaker 1: because that again was another one of those songs that

571
00:27:10,240 --> 00:27:13,000
Speaker 1: kind of turned the industry on its ear, I wasn't

572
00:27:13,040 --> 00:27:15,640
Speaker 1: in Nashville yet, but even I remember it mostly because

573
00:27:15,640 --> 00:27:18,439
Speaker 1: it crossed over, right, because that's how big Cruise got. Like,

574
00:27:18,480 --> 00:27:21,960
Speaker 1: as you're recording that song, because you recorded so many songs,

575
00:27:22,320 --> 00:27:24,280
Speaker 1: do you feel it? Then you're like, oh my god,

576
00:27:24,320 --> 00:27:26,720
Speaker 1: this one could be monster. That one felt pretty special.

577
00:27:26,840 --> 00:27:29,399
Speaker 1: It was pretty It just I don't know how to

578
00:27:29,440 --> 00:27:33,320
Speaker 1: describe it. It felt so obvious. It just had a

579
00:27:33,320 --> 00:27:35,960
Speaker 1: lot of boxes checked. And even if if it gets

580
00:27:35,960 --> 00:27:39,440
Speaker 1: stuck in my head, I'm pretty jaded and I tend

581
00:27:39,480 --> 00:27:42,240
Speaker 1: to I can be pretty pretty cynical outlook on on

582
00:27:42,280 --> 00:27:43,760
Speaker 1: all of it, just because I do it so much.

583
00:27:43,760 --> 00:27:45,879
Speaker 1: And if it gets stuck in my head and breaks

584
00:27:45,880 --> 00:27:47,480
Speaker 1: through all of the other songs I'm working on, it's

585
00:27:47,520 --> 00:27:50,800
Speaker 1: usually a pretty good sign. And um, you know, we

586
00:27:50,800 --> 00:27:52,639
Speaker 1: were all walking around singing that song just while we

587
00:27:52,640 --> 00:27:54,199
Speaker 1: were working on it. We're pretty excited about it, and

588
00:27:54,240 --> 00:27:58,320
Speaker 1: you weren't surprised by the success. Um, I was really

589
00:27:58,359 --> 00:28:01,040
Speaker 1: surprised at how fast thing has happened. Like you can

590
00:28:01,119 --> 00:28:03,639
Speaker 1: never guess it's going to be like that. That was

591
00:28:03,680 --> 00:28:08,119
Speaker 1: a full lightning in a bottle moment um. But you

592
00:28:08,440 --> 00:28:10,159
Speaker 1: we knew it was going to do something. You just

593
00:28:10,200 --> 00:28:12,720
Speaker 1: had no idea it was going to be that. You know,

594
00:28:13,280 --> 00:28:16,479
Speaker 1: it was crazy that one was wild you and Morrigan.

595
00:28:16,720 --> 00:28:20,119
Speaker 1: I mean, you guys did whiskey glasses together, and so

596
00:28:20,320 --> 00:28:22,679
Speaker 1: with that relationship, because again it's not like you and

597
00:28:22,720 --> 00:28:25,760
Speaker 1: Morgan just got together. Now you've been working together for

598
00:28:25,800 --> 00:28:27,200
Speaker 1: a while. What was it like with Morgan as a

599
00:28:27,240 --> 00:28:29,359
Speaker 1: new artist when he was signed over a Big Aloud initially?

600
00:28:29,640 --> 00:28:34,399
Speaker 1: Man that Um, I remember the day he felt like

601
00:28:34,400 --> 00:28:36,520
Speaker 1: he just walked off the street into my studio and

602
00:28:36,520 --> 00:28:39,760
Speaker 1: we're like, who is this kid? The skinny, long haired

603
00:28:39,800 --> 00:28:42,560
Speaker 1: kid at the time, and he brought his his main

604
00:28:42,640 --> 00:28:45,840
Speaker 1: collaborator and I think it was a guitar player's band

605
00:28:45,840 --> 00:28:47,200
Speaker 1: at the time, and they sat in my studio and

606
00:28:47,200 --> 00:28:49,440
Speaker 1: played a bunch of songs that he had written and

607
00:28:49,520 --> 00:28:51,560
Speaker 1: you're like, okay, wow, I mean for a guy who's

608
00:28:51,600 --> 00:28:54,160
Speaker 1: just had no frame of reference and no exposure. It's

609
00:28:54,160 --> 00:28:56,200
Speaker 1: a great songwriters. These are pretty good shape. You know,

610
00:28:56,400 --> 00:29:01,880
Speaker 1: he understood songwriting, but his ability to sing was that

611
00:29:02,320 --> 00:29:08,479
Speaker 1: Florida's remember that he sang Eric church is Talladega and

612
00:29:08,520 --> 00:29:11,239
Speaker 1: he sang it absolutely perfect. He sang every single lick

613
00:29:11,360 --> 00:29:13,680
Speaker 1: that Eric did. Remember, Seth and I just sort of

614
00:29:14,640 --> 00:29:16,719
Speaker 1: looked at each other and we're like, holy crap, our

615
00:29:16,800 --> 00:29:19,640
Speaker 1: jaws were dropping and uh, and you could just tell

616
00:29:19,760 --> 00:29:22,280
Speaker 1: Morgan didn't really understand how good he was. He hadn't

617
00:29:22,280 --> 00:29:26,000
Speaker 1: been exposed to other people at the time, and um,

618
00:29:26,080 --> 00:29:29,000
Speaker 1: there was just an innocence to it which was mind blowing.

619
00:29:30,600 --> 00:29:32,120
Speaker 1: We it was kind of obviously at the time the

620
00:29:32,200 --> 00:29:34,480
Speaker 1: kid just needed a great song and he was gonna

621
00:29:34,640 --> 00:29:36,400
Speaker 1: he was gonna go. And then once he came in

622
00:29:36,480 --> 00:29:40,880
Speaker 1: and started um writing, I think when first or second

623
00:29:40,960 --> 00:29:43,520
Speaker 1: or third, right, I think it was the first time

624
00:29:43,560 --> 00:29:47,080
Speaker 1: he got in with Craig, they wrote Chasing You Together,

625
00:29:47,400 --> 00:29:49,600
Speaker 1: which is ended up being a huge song. Yeah, maybe

626
00:29:49,600 --> 00:29:52,480
Speaker 1: one of my favorites. Still. Yeah, it's great, and we

627
00:29:52,720 --> 00:29:54,320
Speaker 1: kind of sat on it for a little bit because

628
00:29:54,320 --> 00:29:56,600
Speaker 1: we didn't want to like we needed a twenty minute set,

629
00:29:56,640 --> 00:29:58,440
Speaker 1: so we were trying to go with the energetic songs

630
00:29:58,440 --> 00:30:01,840
Speaker 1: and and tem moore tempo songs. And finally it came

631
00:30:01,880 --> 00:30:05,200
Speaker 1: around to finishing office first project and we we cut

632
00:30:05,240 --> 00:30:07,280
Speaker 1: that song right away. You can see it as soon

633
00:30:07,320 --> 00:30:09,160
Speaker 1: as we released it, and he started following the day

634
00:30:09,160 --> 00:30:11,520
Speaker 1: to that one just started rising the whole time, who

635
00:30:11,520 --> 00:30:13,800
Speaker 1: are you working with right now? Like? Who are you

636
00:30:13,800 --> 00:30:17,440
Speaker 1: in the middle of a project with? Now? Um, Well,

637
00:30:17,480 --> 00:30:19,840
Speaker 1: now that everyone's back on the road and working, I have,

638
00:30:20,600 --> 00:30:23,800
Speaker 1: you know, access to the artists Monday, Tuesday, Wednesday, so

639
00:30:23,880 --> 00:30:27,560
Speaker 1: I kind of have to whittle away at everything. Um.

640
00:30:27,600 --> 00:30:31,680
Speaker 1: But um, I just finished my last three days with

641
00:30:32,320 --> 00:30:35,080
Speaker 1: Morgan on his new music. I say last three days,

642
00:30:35,120 --> 00:30:37,280
Speaker 1: but there's always great songs that come in and I'm

643
00:30:37,280 --> 00:30:41,400
Speaker 1: sure there'll be a fire drill sometime here. Um. And

644
00:30:41,520 --> 00:30:43,320
Speaker 1: uh so I got a project on that I'm finishing

645
00:30:43,400 --> 00:30:46,120
Speaker 1: up new earned music, which is really exciting. We're about

646
00:30:46,160 --> 00:30:49,440
Speaker 1: to drop a new Hardy record which is exciting. Um.

647
00:30:49,560 --> 00:30:52,880
Speaker 1: And then uh yeah, once the Morgan records finished, then

648
00:30:52,880 --> 00:30:55,160
Speaker 1: it's then it's cleaning up what should say cleaning up?

649
00:30:55,200 --> 00:30:57,160
Speaker 1: But we working on all the young kids that we

650
00:30:57,160 --> 00:30:59,240
Speaker 1: have coming up. I'm really excited about a new girl

651
00:30:59,360 --> 00:31:02,160
Speaker 1: named Lauren walk Cons. I just did three days with her,

652
00:31:02,160 --> 00:31:06,640
Speaker 1: and she's an incredible talent, really really strong pen It's

653
00:31:06,640 --> 00:31:09,200
Speaker 1: amazing how she just keeps getting better and she's twenty

654
00:31:09,240 --> 00:31:12,520
Speaker 1: three years old. It's wild to see how fast her

655
00:31:12,560 --> 00:31:15,720
Speaker 1: songwriting is developing. And she's got a really original voice,

656
00:31:15,800 --> 00:31:18,960
Speaker 1: and you know those two things are. It's a pretty

657
00:31:19,000 --> 00:31:28,640
Speaker 1: potent combination made for you. Such a good song. Love it.

658
00:31:29,120 --> 00:31:31,680
Speaker 1: I think what you guys did with the sonically is perfect.

659
00:31:32,080 --> 00:31:35,160
Speaker 1: How do you judge when to scale a song back?

660
00:31:35,200 --> 00:31:37,800
Speaker 1: Because I would think that making a song simple is

661
00:31:37,840 --> 00:31:42,160
Speaker 1: probably just as hard as making a song complex. That's

662
00:31:42,160 --> 00:31:46,040
Speaker 1: a song that I think simplicity actually showcases what the

663
00:31:46,080 --> 00:31:49,960
Speaker 1: song is saying in the message sending. Is that an

664
00:31:49,960 --> 00:31:54,720
Speaker 1: internal struggle you have at times? Uh? Yes, it is

665
00:31:54,760 --> 00:31:57,720
Speaker 1: a challenge. Look for me personally to to just stop

666
00:31:58,040 --> 00:32:01,480
Speaker 1: and let the let the vocal and let the suplicity. Um,

667
00:32:01,560 --> 00:32:03,680
Speaker 1: I'm getting better at it, but it was originally a

668
00:32:03,680 --> 00:32:06,160
Speaker 1: really hard thing for me to do. But that song

669
00:32:06,240 --> 00:32:09,320
Speaker 1: was it had a pretty strong demo when it came in,

670
00:32:09,560 --> 00:32:11,920
Speaker 1: and it was obviously a song that was going to

671
00:32:11,960 --> 00:32:15,000
Speaker 1: be about the message, and it was an opportunity for

672
00:32:15,000 --> 00:32:17,600
Speaker 1: to Jake to sing in his you know, full kind

673
00:32:17,640 --> 00:32:22,320
Speaker 1: of baritone chest voice, which is awesome um um. So

674
00:32:22,360 --> 00:32:25,680
Speaker 1: it was really about staying away from that, not trying

675
00:32:25,680 --> 00:32:29,120
Speaker 1: to bury everything and guitar parts and other melodies and stuff.

676
00:32:29,160 --> 00:32:32,000
Speaker 1: It was the writing really did the job on that one.

677
00:32:32,360 --> 00:32:34,520
Speaker 1: I would feel like, for example, if I go and

678
00:32:34,560 --> 00:32:36,560
Speaker 1: there's a joke I didn't and I just actually found

679
00:32:36,560 --> 00:32:38,160
Speaker 1: out it worked really well, but I didn't put any

680
00:32:38,160 --> 00:32:40,400
Speaker 1: time into it. I feel like I'm cheating a little

681
00:32:40,400 --> 00:32:42,800
Speaker 1: bit if it's just like a such a like a

682
00:32:42,800 --> 00:32:45,680
Speaker 1: low hanging fruit and I'm like, man, I didn't put

683
00:32:45,760 --> 00:32:48,000
Speaker 1: much effort into this joke. It kills so let me

684
00:32:48,040 --> 00:32:49,320
Speaker 1: just do it. But then I feel like I'm not

685
00:32:49,320 --> 00:32:51,800
Speaker 1: working hard, And I think my struggle would be like, well,

686
00:32:51,840 --> 00:32:55,360
Speaker 1: I found this song and it's very simple, but if

687
00:32:55,360 --> 00:32:57,240
Speaker 1: I don't put like tracks on it, it just feel

688
00:32:57,240 --> 00:32:59,040
Speaker 1: like I'm working hard. I mean I went through that

689
00:32:59,080 --> 00:33:03,320
Speaker 1: phase for sure. Yeah, but there's equal value and knowing

690
00:33:03,320 --> 00:33:06,160
Speaker 1: when to not you know, Down to the Honky Talk

691
00:33:06,280 --> 00:33:09,040
Speaker 1: is like my favorite that wasn't a number one. I

692
00:33:09,120 --> 00:33:11,000
Speaker 1: love that freaking song. The production on down to the

693
00:33:11,040 --> 00:33:14,120
Speaker 1: Honky Talk is a plus. Thank you. I mean that

694
00:33:14,200 --> 00:33:17,920
Speaker 1: song was amazing again another a group of amazing songwritters

695
00:33:18,000 --> 00:33:20,880
Speaker 1: Rodney and Luke Lair on that one. Luke always has

696
00:33:21,560 --> 00:33:24,400
Speaker 1: interesting music in every song, he writes, He's a talented kid.

697
00:33:25,080 --> 00:33:26,880
Speaker 1: What do these guys say about you to work with you?

698
00:33:27,080 --> 00:33:28,360
Speaker 1: What would they say if I would like what it

699
00:33:28,440 --> 00:33:30,160
Speaker 1: hit Jake and be like, yo, what is Joey like

700
00:33:30,280 --> 00:33:32,880
Speaker 1: as a producer? What would he say? He might say,

701
00:33:32,920 --> 00:33:36,959
Speaker 1: I'm neurotic or I have a strong attention to detail

702
00:33:37,480 --> 00:33:39,720
Speaker 1: and make him sing the song a lot? So you

703
00:33:39,760 --> 00:33:42,240
Speaker 1: do you make him singing a lot? Sometimes just just

704
00:33:42,320 --> 00:33:45,719
Speaker 1: in general. Yeah, there's some directors that will make you go,

705
00:33:45,760 --> 00:33:47,640
Speaker 1: do it again, do it again, do it again. Well,

706
00:33:47,680 --> 00:33:52,320
Speaker 1: there's there's value in singers can do a lot of

707
00:33:52,360 --> 00:33:56,200
Speaker 1: things that, um, you can't ask them to do. There's

708
00:33:56,240 --> 00:33:58,840
Speaker 1: just value and repetition. Their voice will do certain things

709
00:33:58,920 --> 00:34:01,400
Speaker 1: that I wouldn't be able to ask him to make

710
00:34:01,400 --> 00:34:04,800
Speaker 1: his voice crack that certain way. And it only happens

711
00:34:04,840 --> 00:34:07,240
Speaker 1: because it was his fifth take and he hadn't drank

712
00:34:07,280 --> 00:34:09,560
Speaker 1: any water and his voice was dry, and it cracked

713
00:34:09,560 --> 00:34:12,200
Speaker 1: and it sounded really great on that one line, which

714
00:34:12,239 --> 00:34:15,040
Speaker 1: made the you know, made it sound more intimate. Or

715
00:34:15,040 --> 00:34:17,560
Speaker 1: made him sound more sad or or or the opposite

716
00:34:17,640 --> 00:34:20,560
Speaker 1: made him sound happier. Um. And those are just things

717
00:34:20,560 --> 00:34:22,759
Speaker 1: you can't ask people to do, even though you might

718
00:34:22,760 --> 00:34:24,359
Speaker 1: want it. And if when you do ask, you can

719
00:34:24,360 --> 00:34:27,640
Speaker 1: really shut down a singer's vocal take, you can kind

720
00:34:27,640 --> 00:34:29,319
Speaker 1: of make him think too much, you know, just trying

721
00:34:29,320 --> 00:34:33,959
Speaker 1: to keep him in that spontaneous space. So um and

722
00:34:34,400 --> 00:34:36,040
Speaker 1: a lot of that cool magic stuff just comes out

723
00:34:36,040 --> 00:34:39,000
Speaker 1: of repetition, just over and over until your break them.

724
00:34:39,000 --> 00:34:42,239
Speaker 1: That's what I hear. Well, if they don't know the song,

725
00:34:42,480 --> 00:34:43,880
Speaker 1: if they're coming in and going like you got the

726
00:34:43,920 --> 00:34:47,720
Speaker 1: lyrics for this, Oh, does that happen? Sometimes? If it's

727
00:34:47,760 --> 00:34:50,120
Speaker 1: if it's like a fresh outside song that they haven't

728
00:34:50,160 --> 00:34:52,759
Speaker 1: had a chance to practice, we go through this phase

729
00:34:52,760 --> 00:34:54,279
Speaker 1: where they'll sing it a bunch of times, but it's

730
00:34:54,280 --> 00:34:57,319
Speaker 1: still just it just sounds new, you know, and it

731
00:34:57,360 --> 00:35:00,000
Speaker 1: doesn't sound it sounds like they're still learning it. Um.

732
00:35:00,000 --> 00:35:01,640
Speaker 1: So I always try and encourage them to listen to

733
00:35:01,640 --> 00:35:03,440
Speaker 1: a lot and practice it so when they're coming in,

734
00:35:03,840 --> 00:35:06,080
Speaker 1: we don't have to stick in a million times. Can

735
00:35:06,120 --> 00:35:10,000
Speaker 1: you just listen to music for enjoyment, just pure enjoyment

736
00:35:10,160 --> 00:35:14,799
Speaker 1: sometimes without getting extremely analytical about the year and the technology,

737
00:35:14,800 --> 00:35:16,399
Speaker 1: how they recorded, were they all in the same room

738
00:35:16,560 --> 00:35:19,080
Speaker 1: or they like Sometimes I tend to listen to a

739
00:35:19,120 --> 00:35:22,439
Speaker 1: lot of podcasts and laugh. U say in my truck

740
00:35:22,480 --> 00:35:24,319
Speaker 1: to get away from it. That I understand because I

741
00:35:24,320 --> 00:35:27,200
Speaker 1: I just get away from music too, because I'm just

742
00:35:27,320 --> 00:35:29,400
Speaker 1: in it so much now, but I'm not in it

743
00:35:29,440 --> 00:35:31,640
Speaker 1: in it like you are where you're actually you can

744
00:35:31,640 --> 00:35:34,960
Speaker 1: probably separate all of the things just by listen all together.

745
00:35:35,000 --> 00:35:38,799
Speaker 1: You can still go to do and separate all the sounds. Yes, yeah, yeah,

746
00:35:38,800 --> 00:35:42,120
Speaker 1: there's times there's certain records which you know what you

747
00:35:42,200 --> 00:35:44,920
Speaker 1: just listened to because they're awesome and there's no point

748
00:35:44,960 --> 00:35:49,239
Speaker 1: in criticizing them. Because what is your favorite record full album? Man,

749
00:35:51,600 --> 00:35:53,800
Speaker 1: I'm going to give a very generic ancer. It's probably

750
00:35:54,040 --> 00:35:57,640
Speaker 1: uh A C D C Back and Black. I feel

751
00:35:57,680 --> 00:36:01,239
Speaker 1: like that's for its time, is the pre record, and

752
00:36:01,320 --> 00:36:02,680
Speaker 1: it's a pretty easy one to listen to. But I

753
00:36:02,680 --> 00:36:05,760
Speaker 1: don't I don't really have a favorite band or genre.

754
00:36:06,000 --> 00:36:09,560
Speaker 1: I kind of I don't know. If it's melodic and

755
00:36:09,640 --> 00:36:12,439
Speaker 1: it's catchy and I want to get stuck in my head,

756
00:36:12,680 --> 00:36:16,440
Speaker 1: I'll listen to it. I'm not really super selective in

757
00:36:16,480 --> 00:36:19,640
Speaker 1: that regard. If you're just relaxing, though, because I definitely

758
00:36:19,640 --> 00:36:22,439
Speaker 1: have music, I will go too because it's comfortable, because

759
00:36:22,440 --> 00:36:23,960
Speaker 1: I already know what and I already really like it.

760
00:36:24,160 --> 00:36:25,879
Speaker 1: And there are also times where I'm just listening to music,

761
00:36:25,920 --> 00:36:28,960
Speaker 1: to her new stuff, but I know I'm gonna go

762
00:36:29,800 --> 00:36:33,560
Speaker 1: John Mary Continuum or Counting Crows August and Everything After,

763
00:36:33,920 --> 00:36:36,359
Speaker 1: or Casey musk Rat. There are these records that I

764
00:36:36,440 --> 00:36:38,440
Speaker 1: just love and feel comfortable with because it puts me

765
00:36:39,239 --> 00:36:42,440
Speaker 1: what are those records for you? I love the Fleetwood

766
00:36:42,480 --> 00:36:45,120
Speaker 1: Mac playlist. I'll go through that Rumors. I'll bring that

767
00:36:45,200 --> 00:36:49,319
Speaker 1: Rumors record out pretty hard. Um. I listened to a

768
00:36:49,320 --> 00:36:51,080
Speaker 1: ton of Pink Floyd as a kid, and I'll do

769
00:36:51,160 --> 00:36:53,200
Speaker 1: that every once in a while because you chose it

770
00:36:53,239 --> 00:36:56,640
Speaker 1: or because your parents had. My older brother was playing it.

771
00:36:56,680 --> 00:36:58,439
Speaker 1: I learned. I got a lot of my musical tastes

772
00:36:58,440 --> 00:37:02,839
Speaker 1: from well, my older brother was listening too. Um yeah,

773
00:37:02,880 --> 00:37:05,160
Speaker 1: it's records like that. I went through a huge A C.

774
00:37:05,280 --> 00:37:07,520
Speaker 1: D C phase before I moved here. It was like

775
00:37:07,600 --> 00:37:09,160
Speaker 1: the only thing we all listened to and we were

776
00:37:09,239 --> 00:37:15,080
Speaker 1: jamming in the studio and um ah, but I went

777
00:37:15,080 --> 00:37:18,359
Speaker 1: through a huge tool phase I mean, I think they're fantastic.

778
00:37:18,440 --> 00:37:20,640
Speaker 1: I have some amazing records. What about Tool to you

779
00:37:20,880 --> 00:37:23,200
Speaker 1: is great because I know Tool. I was a big

780
00:37:23,800 --> 00:37:25,880
Speaker 1: rock kid, alternative kid, and I could probably you know,

781
00:37:25,880 --> 00:37:27,160
Speaker 1: I could do skills if I do all of in

782
00:37:27,200 --> 00:37:31,080
Speaker 1: my mouth. But what maybe I'm I wasn't in music

783
00:37:31,200 --> 00:37:34,279
Speaker 1: enough at the time to know what separates Tool? Right?

784
00:37:34,440 --> 00:37:38,840
Speaker 1: Is Tool great for me? I I love the musicianship

785
00:37:38,880 --> 00:37:41,920
Speaker 1: of it all. It's it's like super nerd music, but

786
00:37:41,960 --> 00:37:47,960
Speaker 1: it's still really simple. Um. And honestly, I listened to

787
00:37:48,040 --> 00:37:50,480
Speaker 1: the with when it came to Tool. I was so

788
00:37:50,520 --> 00:37:52,719
Speaker 1: obsessed with the drums and the guitar playing on it,

789
00:37:52,760 --> 00:37:55,560
Speaker 1: and I thought what Maynard doing. What Maynard was doing

790
00:37:55,600 --> 00:37:57,840
Speaker 1: was awesome, But that wasn't where I went. I was

791
00:37:57,880 --> 00:38:01,120
Speaker 1: just so so in that heard with the rhythm section

792
00:38:01,280 --> 00:38:03,640
Speaker 1: and their their decisions in that world where they have

793
00:38:03,760 --> 00:38:06,960
Speaker 1: changed time signatures and do all this stuff. It's I

794
00:38:06,960 --> 00:38:08,480
Speaker 1: just thought it was really cool. And they always have

795
00:38:08,600 --> 00:38:11,760
Speaker 1: this really dark I don't know they have. They've chosen

796
00:38:11,800 --> 00:38:13,640
Speaker 1: the aesthetic and they've really stuck to it and nailed

797
00:38:13,640 --> 00:38:17,239
Speaker 1: it right, and so um, you know that's that's that's

798
00:38:17,239 --> 00:38:18,720
Speaker 1: when you go to when you're feeling in a certain

799
00:38:18,719 --> 00:38:20,360
Speaker 1: way and you just do you want to rock, or

800
00:38:20,360 --> 00:38:22,080
Speaker 1: if you're working out and you want to hear something mean.

801
00:38:22,600 --> 00:38:24,520
Speaker 1: I think people will be surprised to know that, as

802
00:38:24,560 --> 00:38:26,279
Speaker 1: you said, and I would classify it this way. To

803
00:38:26,400 --> 00:38:28,640
Speaker 1: the Tool, it's kind of nerd music because what they do,

804
00:38:28,719 --> 00:38:31,880
Speaker 1: they they're so specific and so good and so precise.

805
00:38:32,600 --> 00:38:36,600
Speaker 1: But when you hear Tool, not knowing that it's precision

806
00:38:36,880 --> 00:38:41,640
Speaker 1: and art, you just here, you know, just to the energy. Yeah,

807
00:38:41,640 --> 00:38:44,719
Speaker 1: the juxtaposition is kind of odd there of being expert

808
00:38:44,840 --> 00:38:49,000
Speaker 1: musicians and just kind of the charisma of that music

809
00:38:49,640 --> 00:38:54,680
Speaker 1: because it is it's it's dark, Yeah, it is, it's tough.

810
00:38:55,440 --> 00:38:57,279
Speaker 1: You got to be in the right mood. It's it

811
00:38:57,400 --> 00:38:59,520
Speaker 1: is like I said, it's not on my playlist every

812
00:38:59,520 --> 00:39:02,000
Speaker 1: single day, um, but you know, I just go to

813
00:39:02,000 --> 00:39:04,480
Speaker 1: it every once in a while. On Morgan's Dangerous album

814
00:39:04,520 --> 00:39:07,400
Speaker 1: the double album, you did you not only produced it,

815
00:39:07,480 --> 00:39:10,160
Speaker 1: you did background vocals. You played some on it as well.

816
00:39:10,239 --> 00:39:11,719
Speaker 1: Right do you do that because you're like, Okay, only

817
00:39:11,760 --> 00:39:13,319
Speaker 1: I'm the one that can get this right. And how

818
00:39:13,400 --> 00:39:15,680
Speaker 1: I'm picturing it not not going you're the best ever,

819
00:39:15,760 --> 00:39:17,480
Speaker 1: but going this how I'm seeing it and I think

820
00:39:17,520 --> 00:39:22,480
Speaker 1: only I can pull this off. It's honestly, it's um,

821
00:39:22,680 --> 00:39:25,200
Speaker 1: I'm my first instinct is to hand the guitar to

822
00:39:25,320 --> 00:39:28,759
Speaker 1: somebody a million times better than me. But um, it's

823
00:39:28,840 --> 00:39:31,239
Speaker 1: usually that usually happens when I'm just alone with the

824
00:39:31,320 --> 00:39:35,520
Speaker 1: song and I'll be mixing or yeah, it usually happens

825
00:39:35,520 --> 00:39:38,040
Speaker 1: when it's mixing and a new idea happens and Morgan's

826
00:39:38,080 --> 00:39:39,880
Speaker 1: not there. I don't have a guitar player around me,

827
00:39:39,960 --> 00:39:43,280
Speaker 1: so um, I mean, it's ugly, it doesn't look pretty,

828
00:39:43,320 --> 00:39:45,240
Speaker 1: but I'll get a I'll get I'll get a guitar

829
00:39:45,280 --> 00:39:47,799
Speaker 1: part out of my hands, and if I can, if

830
00:39:47,800 --> 00:39:49,800
Speaker 1: it's something in my range, I'll sing a part that

831
00:39:49,840 --> 00:39:52,439
Speaker 1: I'll hear. And those things. Usually it's I'll just put

832
00:39:52,440 --> 00:39:54,800
Speaker 1: an idea down and then go make Morgan singing or

833
00:39:54,800 --> 00:39:56,719
Speaker 1: whoever it is singing. And sometimes they'll be like, now

834
00:39:56,719 --> 00:39:59,680
Speaker 1: that sounds good, leave it in there. And you still

835
00:39:59,719 --> 00:40:01,680
Speaker 1: you do so I didn't get paid. It's the background saying.

836
00:40:02,920 --> 00:40:05,960
Speaker 1: So when you produce a record like like the Morrigan

837
00:40:06,040 --> 00:40:10,480
Speaker 1: Win that's been the biggest record ever, you know, uh,

838
00:40:10,719 --> 00:40:13,800
Speaker 1: you get points on that, right, so so you continue

839
00:40:13,800 --> 00:40:20,960
Speaker 1: to get paid. Yeah, godly wow between that record because

840
00:40:20,960 --> 00:40:22,759
Speaker 1: maybe you haven't even been paid fully on that one

841
00:40:22,800 --> 00:40:25,440
Speaker 1: in the nickelback stuff. Do you make more money off

842
00:40:25,520 --> 00:40:30,000
Speaker 1: this Morgan stuff? Well? Yes, Oh that's all you gotta say.

843
00:40:30,040 --> 00:40:32,800
Speaker 1: I'm good, that's it. Yeah, but my business structure is

844
00:40:32,840 --> 00:40:36,000
Speaker 1: a lot different on the record company. Oh I hear

845
00:40:36,080 --> 00:40:38,960
Speaker 1: you though, man, that's awesome. What's the idea behind Big

846
00:40:38,960 --> 00:40:43,319
Speaker 1: Loud Mountain? Big Loud Mountain, Yeah, that was the um.

847
00:40:43,520 --> 00:40:46,239
Speaker 1: That was the We've changed all the names now it's

848
00:40:46,280 --> 00:40:49,400
Speaker 1: just Big Loud Now. Wasn't that like a one stop

849
00:40:49,480 --> 00:40:52,359
Speaker 1: kind of deal for new like or explain what the

850
00:40:52,400 --> 00:40:56,040
Speaker 1: idea when we first came when when we first just

851
00:40:56,440 --> 00:40:59,600
Speaker 1: formed our our our businesses to to do whatever we

852
00:40:59,640 --> 00:41:03,879
Speaker 1: plan on doing. Um, that was the name of the

853
00:41:03,920 --> 00:41:07,560
Speaker 1: publishing company that we put our artists on. Got it.

854
00:41:07,719 --> 00:41:10,400
Speaker 1: And now it's just exists within Big Yeah. So shirt,

855
00:41:10,440 --> 00:41:13,960
Speaker 1: all the shirts turning out, and it's just it's just

856
00:41:14,000 --> 00:41:15,960
Speaker 1: all gonna be Big Loud. You ever had anybody in

857
00:41:16,000 --> 00:41:17,520
Speaker 1: your studio that you are kind of like, I cannot

858
00:41:17,560 --> 00:41:20,920
Speaker 1: believe this staffany right now, I'm producing blank You're like,

859
00:41:21,080 --> 00:41:22,640
Speaker 1: I don't, I'm gonna play it cool. And they're gonna

860
00:41:22,640 --> 00:41:25,279
Speaker 1: think I'm totally just being Joey normal dude, but you're

861
00:41:25,280 --> 00:41:27,520
Speaker 1: like waly crow man. I feel like I got really

862
00:41:27,520 --> 00:41:32,480
Speaker 1: spoilt making the last two Hicks tapes for Hardy. I

863
00:41:32,520 --> 00:41:36,239
Speaker 1: feel like it covered the entire town. Everybody coming ever

864
00:41:36,600 --> 00:41:38,680
Speaker 1: come in, and then you know I was the cool

865
00:41:38,840 --> 00:41:42,560
Speaker 1: some of the cooler ones were, of course. You know,

866
00:41:42,640 --> 00:41:44,680
Speaker 1: anytime you get to sit in a studio with Ronnie Dune,

867
00:41:44,760 --> 00:41:48,279
Speaker 1: that's amazing. He's be yeah. I mean, just listen he

868
00:41:48,440 --> 00:41:51,640
Speaker 1: still it sounds like it's the late eighties early ninees.

869
00:41:51,640 --> 00:41:53,520
Speaker 1: When he sings, it's insane how good of a singer

870
00:41:53,560 --> 00:41:56,200
Speaker 1: he is. Um. But Joe Diffy came through. That was

871
00:41:56,280 --> 00:41:59,160
Speaker 1: so cool to get to hang with Joe Diffy, Tracy

872
00:41:59,239 --> 00:42:03,439
Speaker 1: Lawrence came through. Um, And it's like all the people

873
00:42:03,440 --> 00:42:05,239
Speaker 1: from when I was a kid, and like the ron

874
00:42:05,360 --> 00:42:07,680
Speaker 1: the Ronnie things awesome. Ronnie and I've formed friendship and

875
00:42:07,719 --> 00:42:09,359
Speaker 1: we go to dinner and stuff, and there are times

876
00:42:09,400 --> 00:42:11,279
Speaker 1: where I'm normal fremd it. There were times when I'm like,

877
00:42:11,320 --> 00:42:13,480
Speaker 1: this is freaking Ronnie done. Like I try to be

878
00:42:13,480 --> 00:42:16,040
Speaker 1: as normal as possible, but it's like a lot of

879
00:42:16,040 --> 00:42:19,080
Speaker 1: my childhood was in a small town in Arkansas listening

880
00:42:19,080 --> 00:42:21,040
Speaker 1: to every song on the Brooks And it doesn't matter

881
00:42:21,120 --> 00:42:23,080
Speaker 1: the tape. It was a tape. I remember when the

882
00:42:23,120 --> 00:42:25,839
Speaker 1: first time I heard Boots Scooting Boogie or Neon Moon,

883
00:42:26,520 --> 00:42:31,160
Speaker 1: this is great. So I imagine it's pretty hard to

884
00:42:31,200 --> 00:42:33,160
Speaker 1: get you to if I were just moved to town,

885
00:42:33,200 --> 00:42:35,880
Speaker 1: to be hard to get you to do anything for me. UM,

886
00:42:35,880 --> 00:42:39,040
Speaker 1: production wise, you're probably pretty booked out. Pretty booked out

887
00:42:39,160 --> 00:42:45,359
Speaker 1: for how long? Uh? What about? Like it's for an

888
00:42:45,400 --> 00:42:48,919
Speaker 1: infinite amount of time. It's hard when you're your your

889
00:42:49,120 --> 00:42:52,120
Speaker 1: your producer career turned into a record company that's a

890
00:42:52,400 --> 00:42:54,840
Speaker 1: publishing company and a management company. So you're kind of

891
00:42:54,840 --> 00:42:56,800
Speaker 1: just I'm kind of locked into any of the artists

892
00:42:56,840 --> 00:42:58,880
Speaker 1: that we sign. And do you spend a lot of

893
00:42:58,880 --> 00:43:02,920
Speaker 1: time strategize saying as well or because again, you have

894
00:43:02,920 --> 00:43:04,640
Speaker 1: such an I wouldn't gonna say dual role because it's

895
00:43:04,640 --> 00:43:07,799
Speaker 1: more than two things, trull role, quad role. You have

896
00:43:07,840 --> 00:43:11,720
Speaker 1: so many roles that you're doing. What do you find

897
00:43:11,800 --> 00:43:15,520
Speaker 1: that you are the best at just naturally and what

898
00:43:15,640 --> 00:43:18,000
Speaker 1: has been the hardest part of it for you as

899
00:43:18,040 --> 00:43:23,879
Speaker 1: an executive? UM, I am a producer by trade, I'm

900
00:43:23,920 --> 00:43:27,600
Speaker 1: a studio introverted, studio rat all day long. That's my strength.

901
00:43:27,760 --> 00:43:31,680
Speaker 1: I'm the executive side of things. That responsibility falls heavily

902
00:43:31,719 --> 00:43:35,440
Speaker 1: on Seth. He's uh, I'm always there to help out

903
00:43:35,480 --> 00:43:39,400
Speaker 1: at thirty thou feet. But when it comes to being

904
00:43:39,440 --> 00:43:42,880
Speaker 1: the CEO and and who the executives answered to, that

905
00:43:42,880 --> 00:43:45,120
Speaker 1: that has to be Seth. That's you have to have

906
00:43:45,160 --> 00:43:49,080
Speaker 1: a real clean chain of command in that scenario. Um So, myself,

907
00:43:49,080 --> 00:43:51,839
Speaker 1: Seth and Craig we counsel regularly together, but the chief

908
00:43:51,840 --> 00:43:54,800
Speaker 1: messager in the building is Seth. And so that allows,

909
00:43:54,920 --> 00:43:58,240
Speaker 1: you know, Craig to squirrel away in his room and

910
00:43:58,239 --> 00:44:01,040
Speaker 1: and be the badass songwriter he is. And then that

911
00:44:01,080 --> 00:44:04,680
Speaker 1: allows me to stay in record producer in our space,

912
00:44:04,760 --> 00:44:07,719
Speaker 1: song space, you know, I spend the majority of my

913
00:44:07,800 --> 00:44:10,600
Speaker 1: time in the studio with the artists. I've got two

914
00:44:10,600 --> 00:44:12,680
Speaker 1: more things for you. First one, I'm gonna ask about

915
00:44:12,719 --> 00:44:15,520
Speaker 1: Morgan a little bit in that this new project you're

916
00:44:15,560 --> 00:44:19,360
Speaker 1: working on, what's different, what's the same. You don't to

917
00:44:19,400 --> 00:44:21,400
Speaker 1: be super specific, obviously I wouldn't want you to do that,

918
00:44:21,520 --> 00:44:23,960
Speaker 1: but what I don't know, give me something here. What

919
00:44:24,040 --> 00:44:27,120
Speaker 1: did you guys decide we're going to be the priorities.

920
00:44:27,400 --> 00:44:32,279
Speaker 1: I feel like the songwriting is great again. He's Um,

921
00:44:32,440 --> 00:44:36,440
Speaker 1: he's continue It's it's always mind blowing how he continues

922
00:44:36,480 --> 00:44:40,600
Speaker 1: to grow as a songwriter. UM, he's written a ton

923
00:44:40,680 --> 00:44:46,000
Speaker 1: of this record. Um. You know, we've clearly there's a

924
00:44:46,080 --> 00:44:48,840
Speaker 1: little lane has opened with the more progressive sounding songs,

925
00:44:48,840 --> 00:44:51,360
Speaker 1: with songs with beats on it, right like Wasted on

926
00:44:51,440 --> 00:44:55,040
Speaker 1: You and you Proof. So we've done a couple of those, um,

927
00:44:55,200 --> 00:44:58,080
Speaker 1: and we've stuck to some of the more country sounding

928
00:44:58,200 --> 00:45:03,239
Speaker 1: songs like we've kind of done it's it's it's evolved

929
00:45:03,440 --> 00:45:06,000
Speaker 1: and there's kind of some new musical spaces we've gone into.

930
00:45:06,080 --> 00:45:08,360
Speaker 1: But at the same time, we've stayed true to what

931
00:45:08,440 --> 00:45:12,920
Speaker 1: the fans like and we've we've we've stayed the things

932
00:45:12,960 --> 00:45:14,360
Speaker 1: we know they're gonna like, and then we've tried a

933
00:45:14,400 --> 00:45:15,960
Speaker 1: couple of new things that we hope they're gonna like.

934
00:45:16,200 --> 00:45:21,040
Speaker 1: Any features, UM not at the moment. Well, you can

935
00:45:21,040 --> 00:45:22,279
Speaker 1: ask me once we get off and I'll do it

936
00:45:22,560 --> 00:45:25,799
Speaker 1: if you need me to go and do honestly my

937
00:45:25,920 --> 00:45:28,000
Speaker 1: agenda A yeah, but I'll wait until we're done here.

938
00:45:28,239 --> 00:45:32,000
Speaker 1: We'll get it off. We'll get off this so okay,

939
00:45:32,080 --> 00:45:35,440
Speaker 1: Well there's my Morgan question. Is it a lot of songs? Um,

940
00:45:35,600 --> 00:45:38,520
Speaker 1: yet to be determined, but probably a lot of songs.

941
00:45:38,680 --> 00:45:41,120
Speaker 1: You gotta be you have to. You can't set us

942
00:45:41,160 --> 00:45:42,680
Speaker 1: up like that with all those songs last time. They'll

943
00:45:42,680 --> 00:45:46,680
Speaker 1: be like, well, here's just a half a couple, Yeah exactly, Yeah, No,

944
00:45:46,960 --> 00:45:51,000
Speaker 1: we've there's Morgan is in the sweet spot right now.

945
00:45:51,200 --> 00:45:54,239
Speaker 1: The town is empowered around him. A lot of the

946
00:45:54,239 --> 00:45:57,640
Speaker 1: writers really like writing with him. Um, and so there's

947
00:45:57,680 --> 00:45:59,719
Speaker 1: a lot of songs coming our way. Okay, that's all

948
00:45:59,760 --> 00:46:07,120
Speaker 1: I need there, But what's the goal? Here we are

949
00:46:07,200 --> 00:46:10,439
Speaker 1: today mill of November. This may be a couple weeks

950
00:46:10,440 --> 00:46:11,880
Speaker 1: before it even gets on the air, but here you are.

951
00:46:12,800 --> 00:46:17,520
Speaker 1: You've done everything as far as at the height, meaning musically.

952
00:46:18,120 --> 00:46:20,880
Speaker 1: I don't know anybody in town who can just go

953
00:46:21,200 --> 00:46:24,080
Speaker 1: definitively go yeah, I'm better enjoy more. They can't. They can't.

954
00:46:24,719 --> 00:46:26,640
Speaker 1: Now I'm not saying you're saying that either, but I'm saying, well,

955
00:46:26,680 --> 00:46:29,759
Speaker 1: what is there to do that you haven't done yet?

956
00:46:29,760 --> 00:46:35,440
Speaker 1: That is still exciting? Do you? My favorite is still

957
00:46:35,640 --> 00:46:40,160
Speaker 1: making first records. That's the most exciting time. Um, when

958
00:46:40,160 --> 00:46:42,280
Speaker 1: you're building that frame of reference. With a young artists,

959
00:46:42,280 --> 00:46:44,440
Speaker 1: you're watching their eyes just pop out of their head

960
00:46:44,520 --> 00:46:49,800
Speaker 1: every corner they turn around, or every phase of the process. UM.

961
00:46:49,840 --> 00:46:55,600
Speaker 1: I love making new styles of music within the genre

962
00:46:55,880 --> 00:46:58,960
Speaker 1: and seeing if they work, and learning from the release

963
00:46:59,000 --> 00:47:02,160
Speaker 1: and pivoting if we need too. So artist development is

964
00:47:02,520 --> 00:47:06,120
Speaker 1: always been rewarding. For as long as I've been doing this,

965
00:47:06,160 --> 00:47:10,080
Speaker 1: I love it. It's my favorite UM and I just

966
00:47:10,120 --> 00:47:13,920
Speaker 1: want to continue to do that. I wanna. I'm really

967
00:47:13,960 --> 00:47:16,640
Speaker 1: I've never had success with a female artist. I want

968
00:47:16,640 --> 00:47:21,880
Speaker 1: to do that. UM. And we've launched our rock label

969
00:47:22,640 --> 00:47:26,560
Speaker 1: and who's on the rock label. We have a group

970
00:47:26,640 --> 00:47:29,560
Speaker 1: by the name of Blame My Youth. UM. We have

971
00:47:29,640 --> 00:47:32,160
Speaker 1: another group we put some of Hardy's record out through

972
00:47:32,160 --> 00:47:37,680
Speaker 1: the rock label. UM and we have another individual by

973
00:47:37,680 --> 00:47:42,080
Speaker 1: the name of Jaguar Twin. It's all really alternative rock based. UM.

974
00:47:42,239 --> 00:47:45,560
Speaker 1: We just signed some new kids called Yam House. We

975
00:47:45,640 --> 00:47:48,520
Speaker 1: have another guy by the name of let Down. He's more.

976
00:47:49,239 --> 00:47:53,680
Speaker 1: It's also in my family called me. Let Down stole

977
00:47:53,680 --> 00:47:56,600
Speaker 1: that from me. They titled every Christmas card Deer let Down.

978
00:47:57,840 --> 00:48:01,279
Speaker 1: Do Do you feel like there's a resurgence coming? I hope.

979
00:48:01,280 --> 00:48:03,760
Speaker 1: So I've been listening to a lot of all nation

980
00:48:04,080 --> 00:48:07,759
Speaker 1: these days, a lot of just turnative rock. I'm I

981
00:48:07,760 --> 00:48:10,040
Speaker 1: don't know why it's inspiring to listen to. I feel

982
00:48:10,040 --> 00:48:13,600
Speaker 1: like they've it's really changed from you know, vintage keyboard

983
00:48:14,000 --> 00:48:18,080
Speaker 1: music to it's kind of coming back into mainstream four chords,

984
00:48:18,280 --> 00:48:20,799
Speaker 1: lots of good hooks, lots of melody, kind of good

985
00:48:20,840 --> 00:48:23,840
Speaker 1: literal lyrics. You're seeing it. Really, it's really been moving

986
00:48:23,840 --> 00:48:27,279
Speaker 1: over the last eighteen months. That genre is I think

987
00:48:27,280 --> 00:48:30,080
Speaker 1: it's for me personally, it's probably changing the most right now,

988
00:48:30,560 --> 00:48:32,680
Speaker 1: and you're starting to see things leak over into the

989
00:48:32,760 --> 00:48:37,360
Speaker 1: larger genres. So um, I'm hoping that trend follows and

990
00:48:37,600 --> 00:48:40,840
Speaker 1: you know, eventually people get fatigued of computer music and

991
00:48:40,880 --> 00:48:44,479
Speaker 1: they like hearing bands again. So it's all cyclical, right, yeah,

992
00:48:44,640 --> 00:48:47,200
Speaker 1: totally everything it will come back around. You're I mean,

993
00:48:47,200 --> 00:48:50,279
Speaker 1: you're you're hearing it already. There's there's there's pop punk

994
00:48:50,360 --> 00:48:52,359
Speaker 1: on top forty, you know what I mean. And there's

995
00:48:52,400 --> 00:48:54,719
Speaker 1: there's guitars and drums and stuff that's that are coming back.

996
00:48:54,760 --> 00:48:58,480
Speaker 1: So it's gonna come back in some form. So well, yeah,

997
00:48:58,880 --> 00:49:01,560
Speaker 1: I would love it. I've I would love to have

998
00:49:01,680 --> 00:49:04,239
Speaker 1: one of those things on the rock lay to do

999
00:49:04,400 --> 00:49:06,279
Speaker 1: really well or break or at least start to get noticed.

1000
00:49:06,719 --> 00:49:08,880
Speaker 1: Some of them are doing good. That you know, as

1001
00:49:08,920 --> 00:49:10,799
Speaker 1: long as you're seeing those ticket sales increase and the

1002
00:49:10,840 --> 00:49:13,839
Speaker 1: merch increase and the streaming increased, you know you're you're

1003
00:49:13,840 --> 00:49:15,440
Speaker 1: head in the right direction. Yeah, let's get you another

1004
00:49:15,400 --> 00:49:17,359
Speaker 1: the Maserati. You know what I'm saying. I don't even

1005
00:49:17,360 --> 00:49:19,040
Speaker 1: know the mara. Let's get you know, the Maserati. That's

1006
00:49:19,040 --> 00:49:23,000
Speaker 1: what I'm saying. I will end with this. I when

1007
00:49:23,000 --> 00:49:24,239
Speaker 1: I was thinking about and I was just kind of

1008
00:49:24,239 --> 00:49:26,640
Speaker 1: looking through some notes about some of the stuff that

1009
00:49:26,640 --> 00:49:30,439
Speaker 1: you've done, and just look through the catalog. I think

1010
00:49:30,520 --> 00:49:32,640
Speaker 1: one of my favorite songs, and this is gonna be

1011
00:49:32,680 --> 00:49:34,960
Speaker 1: really douche because I didn't see it written. Did you do?

1012
00:49:35,000 --> 00:49:37,160
Speaker 1: You did all the hardy stuff? Right? That makes sense

1013
00:49:37,200 --> 00:49:41,640
Speaker 1: that uh he went to Jared, That's I think that's

1014
00:49:41,680 --> 00:49:43,640
Speaker 1: my would be my might be my favorite thing that

1015
00:49:43,960 --> 00:49:47,280
Speaker 1: I see that you have done. That I'm like, god, dang,

1016
00:49:48,360 --> 00:49:51,239
Speaker 1: like like just when I hear that song and go,

1017
00:49:51,360 --> 00:49:54,600
Speaker 1: that's different, that's good. That makes me feel something, not

1018
00:49:54,680 --> 00:49:57,239
Speaker 1: sad or happy, but it's just like the first time

1019
00:49:57,280 --> 00:49:59,040
Speaker 1: I heard it I was like, man, that is it.

1020
00:49:59,520 --> 00:50:01,960
Speaker 1: You can when even even now even I can hear

1021
00:50:02,000 --> 00:50:04,040
Speaker 1: that stuff, and I can hear that we had so

1022
00:50:04,120 --> 00:50:07,080
Speaker 1: much fun making that music like it is it is.

1023
00:50:07,239 --> 00:50:10,240
Speaker 1: It is in the box, but it's outside the box,

1024
00:50:10,320 --> 00:50:12,719
Speaker 1: like all the hard stuff is. And him and I

1025
00:50:12,760 --> 00:50:17,319
Speaker 1: bond over that two thousands Pacific Northwest rock scene. You know,

1026
00:50:17,440 --> 00:50:19,799
Speaker 1: the stone Table pilots and the sound guard in the

1027
00:50:19,800 --> 00:50:23,600
Speaker 1: Austin chains, um, all of that active rock that we

1028
00:50:23,640 --> 00:50:26,000
Speaker 1: all kind of grew up on. Um. Yeah, as important

1029
00:50:25,960 --> 00:50:29,080
Speaker 1: as a songwriting, just sonically like those two. It just

1030
00:50:30,080 --> 00:50:34,800
Speaker 1: it's just like the perfect couple. The music, the lyrics,

1031
00:50:36,040 --> 00:50:40,120
Speaker 1: the guitars, the big drum fills, yeah, the old big

1032
00:50:40,200 --> 00:50:44,720
Speaker 1: rock fills. It's like arena rock meets country music meets

1033
00:50:44,760 --> 00:50:47,600
Speaker 1: Hardy Hardy because there's there's nobody like them, and it

1034
00:50:47,680 --> 00:50:50,560
Speaker 1: really works live. It's almost we almost think more about

1035
00:50:50,560 --> 00:50:54,840
Speaker 1: the live show than we do streaming in in radio.

1036
00:50:55,960 --> 00:50:57,920
Speaker 1: Come out and do that. He shot out from the ground.

1037
00:50:57,960 --> 00:51:01,520
Speaker 1: I went to Morgan show and we had missed the

1038
00:51:01,560 --> 00:51:04,239
Speaker 1: early part we got we missed Hardy, and it was

1039
00:51:04,239 --> 00:51:06,160
Speaker 1: the whole disaster getting over there. But then we get

1040
00:51:06,160 --> 00:51:09,920
Speaker 1: there and he shoots up from under the stage and

1041
00:51:09,960 --> 00:51:11,200
Speaker 1: they do the song and I was like, oh, I

1042
00:51:11,200 --> 00:51:13,640
Speaker 1: got damn song my song. So anyway, great job. You

1043
00:51:13,640 --> 00:51:14,920
Speaker 1: don't need to hear me say a great job. But

1044
00:51:15,320 --> 00:51:17,719
Speaker 1: there was the two Manserati's that you drove the one

1045
00:51:17,760 --> 00:51:19,480
Speaker 1: and in your assistant drove beside you. Okay, you wanted

1046
00:51:19,480 --> 00:51:28,600
Speaker 1: to switch halfway. I like that. Just congratulations, super excited

1047
00:51:28,640 --> 00:51:31,239
Speaker 1: to finally meet you. I heard about you for so

1048
00:51:31,280 --> 00:51:34,239
Speaker 1: long and just really cool. And I appreciate the time

1049
00:51:34,280 --> 00:51:36,040
Speaker 1: you spent with me here today. Thanks for having me.

1050
00:51:36,080 --> 00:51:39,320
Speaker 1: I really appreciate it. There is Joey moy So anyway,

1051
00:51:39,360 --> 00:51:41,319
Speaker 1: I'll do that. I'll do the do the feature. Um

1052
00:51:41,480 --> 00:51:45,680
Speaker 1: what I'll do is I'll drop nine bars and odd numbers,

1053
00:51:45,760 --> 00:51:46,480
Speaker 1: winning for sure.