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Speaker 1: I welcome to the episode ninety three. I was just

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Speaker 1: kidding about this songwriter Josh Josh Osborne here we've met.

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Speaker 1: It feels like every time we meet, it's like, but

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Speaker 1: this is my impression, both of us kind of don't

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Speaker 1: like to be in the way. That's exactly right. I'm

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Speaker 1: the I feel like anytime I'm anywhere, I'm the one

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Speaker 1: people don't want to talk to. So I'm just on

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Speaker 1: the wall. No, I don't think. I think I'm the

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Speaker 1: one people don't want to talk to. People want to

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Speaker 1: talk to you, but you can hide behind me. And

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Speaker 1: so every time I see you, it's like, hey, man,

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Speaker 1: are you good? Yeah, yeah, good chickends like we don't kids, buddy,

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Speaker 1: big big, thank you doing good stuff. Good, but it's

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Speaker 1: good to have it. Good to hev you man, thanks

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Speaker 1: for having me. So I told Josh before we started,

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Speaker 1: I was like, yeah, who would have thought anybody cared

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Speaker 1: about songwriters? And you know what's funny. I did an

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Speaker 1: interview M M I earlier this week about this podcast,

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Speaker 1: and they were like, hey, why did you start doing

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Speaker 1: a podcast about songwriters? And I said, well, it wasn't

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Speaker 1: just about songwriters, about the second level of Nashville that

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Speaker 1: people don't normally get to hear in the songwriter world.

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Speaker 1: You are again King Dingling, and people don't. It's gotta

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Speaker 1: be so weird to be so and you're gonna play

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Speaker 1: humble but you're so big but yet No, but for

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Speaker 1: lack of a better term, you can walk down the

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Speaker 1: street who you are. No, that's a that's a big

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Speaker 1: part of the appeal for me. So you don't care

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Speaker 1: about no, not at all. I love I love writing songs.

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Speaker 1: I want people to like my songs, um, but I

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Speaker 1: don't necessarily and we're I'm not necessarily worried if they

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Speaker 1: know me or not. I just did more. I love

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Speaker 1: the music, and I love the camaraderie of the writers

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Speaker 1: and stuff. But I don't get as much hung up

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Speaker 1: on the other part. Do you want a billboard like

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Speaker 1: Shane mcinally, where it's faces up there and then we

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Speaker 1: all drop by and go NA there is now alright.

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Speaker 1: That's why Shane. I think that's why Shane and I

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Speaker 1: worked so well together. You're you're quiet, dude, You're you're you're.

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Speaker 1: I like that about you because I am too, and

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Speaker 1: people expect when I walk in to everyone to be

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Speaker 1: the big guy, the big Gregarias. I got nothing to

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Speaker 1: say to anybody. You know, you say it all day

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Speaker 1: though I've already say I have for seven hours out. Yeah,

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Speaker 1: so you have, uh, I mean fourteen that you have

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Speaker 1: so many clips we don't even put them all. You

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Speaker 1: have so many. Number one, you're my age too, Like

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Speaker 1: there's no way you should have all this money and

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Speaker 1: all these songs. Let's just be honest, like, but it's like, really,

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Speaker 1: I come from I didn't think I'd be able to

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Speaker 1: do what I loved and make a bunch of money.

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Speaker 1: And that was okay with me because I loved just

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Speaker 1: being able to be on the radio and be on

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Speaker 1: stage and you end up comedy like, I just loved

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Speaker 1: it. It It didn't matter what it paid. I was going

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Speaker 1: to do it. That's it. And I get a feeling

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Speaker 1: because you got from Kentucky, from Arkansas basically the same,

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Speaker 1: the same, right, it's it's the same thing. I have

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Speaker 1: a feeling that here you are now, and I mean

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Speaker 1: it's got to be kind of unexpected to come down

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Speaker 1: and not because of your talent, but because who would

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Speaker 1: have thought you could write songs and be really successful.

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Speaker 1: I didn't. I mean, I love what you said. I

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Speaker 1: think there's so many creative people that that's the truth.

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Speaker 1: I mean, we would do this if we weren't getting paid.

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Speaker 1: And I think that's the one of the secrets of

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Speaker 1: life is find the thing you would do for free

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Speaker 1: and get somebody to pay you for it. And and

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Speaker 1: that that's my whole goal, or my whole thought process

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Speaker 1: in doing music. Was I love doing this, I'm too

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Speaker 1: stupid to stop doing it, so if eventually I can

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Speaker 1: be successful and lucky, Um, that was the dream, and

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Speaker 1: luckily for me it happened. So when you moved to

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Speaker 1: Nashville and is eighteen years old, right out of high school,

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Speaker 1: so was the dream or you want to be an artists? Huh? Well,

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Speaker 1: when I first moved here, I think a lot of

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Speaker 1: people have that happened. Um, I didn't know being a

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Speaker 1: songwriter was a thing, and so when I first moved here,

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Speaker 1: I probably did have a little bit of an idea

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Speaker 1: of maybe I would sing songs and write them and stuff.

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Speaker 1: I just knew I loved writing the songs. I didn't

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Speaker 1: know I could just write them. Was that a big

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Speaker 1: jump for you to move down here? Oh? Yeah? Yeall

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Speaker 1: come from a small town like how many people. The

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Speaker 1: actual Atlas population listed of my hometown is three hundred people.

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Speaker 1: It's well because my seven hundred and rarely there's someone

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Speaker 1: come in with. You definitely beat our town in a

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Speaker 1: fi'm the New York City. Yeah, yeah, you probably had

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Speaker 1: two stoplights. We actually had no stoplights. But Hot Springs

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Speaker 1: had stoplights and a lot of them, like seven we'll see. Okay,

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Speaker 1: So we had pike Fool Kentucky. Was I'm from Virgin Kentucky,

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Speaker 1: but pike Fools that are Hot Springs A parent r yes,

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Speaker 1: was your mask? Ot the Virgins because that have been awesome.

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Speaker 1: School was the Virgin Virgins. It got called Virgin a

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Speaker 1: lot like if you were in um whatever they would say.

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Speaker 1: And now the group from Virgin High School or Virgin

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Speaker 1: Middle School virg Now we were the Eagles, Virgin Eagles.

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Speaker 1: What were you like in high school? I think a

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Speaker 1: lot like I am now. I've always kind of been

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Speaker 1: pretty low key. I love I love hanging out with people,

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Speaker 1: and I love, you know, trying to be funny, trying

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Speaker 1: to make people laugh and stuff. But I was I

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Speaker 1: was pretty much. I got along with everybody. I had

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Speaker 1: friends that were football players and friends that were in

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Speaker 1: the band I had. I just don't. I just kind

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Speaker 1: of like everybody, I'm pretty easy going guy. That's your reputation.

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Speaker 1: I was talking to someone today who's a songwriter friend

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Speaker 1: of mine and they're like, Hey, what's happening, And yeah,

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Speaker 1: I've been doing some stuff with work and say, hey,

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Speaker 1: Josh Aport's coming about've been We've been trying to get

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Speaker 1: them for your topped to book for like four months.

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Speaker 1: It's like trying to get Lady Gaga songwriters. It's like, hey,

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Speaker 1: with and he was like, Josh is probably the night

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Speaker 1: because people will come in and I have friends love

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Speaker 1: songwriter friends, and I'll call them and go hey, nice

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Speaker 1: guy or misunderstood you know, how's he gonna come off?

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Speaker 1: And they're like, you know how Barry Dean was super nice,

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Speaker 1: Josh I was weren't even nicer. And I was like,

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Speaker 1: I was like, well, that's good to know. So that

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Speaker 1: that's the reputation that you have from unknown from that yes, yeah,

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Speaker 1: writer artists, Yeah yeah, I mean yeah a bit. We'll

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Speaker 1: just start with a couple of songs. Dude. It's like

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Speaker 1: I'm looking at the top uh football team and going

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Speaker 1: just pick a team that's good. I mean, then all

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Speaker 1: these are how about I'm just gonna hit this one.

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Speaker 1: There we go this one. Have you heard this one before?

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Speaker 1: Has this been the one? Though? This like shifted it

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Speaker 1: for you? Yeah, I mean this is a song that

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Speaker 1: reached a whole thing that I never thought was possible.

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Speaker 1: He got into the pop party, got into a different well,

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Speaker 1: it started touching other walks of life. So my my

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Speaker 1: wife's sister just recently got married in September, and so

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Speaker 1: at her wedding shower, they would do a thing where

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Speaker 1: back in the summer when they had her shower, they

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Speaker 1: had everybody right out of card, like play right down

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Speaker 1: the three songs you want us to play at the

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Speaker 1: reception that we can dance to, and every card had

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Speaker 1: Body like a back Road on it. They didn't, you know,

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Speaker 1: they obviously no, all no, I wrote that, but they

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Speaker 1: that song was on there, and I've I've never had

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Speaker 1: a song touch that wide group of people. You know,

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Speaker 1: what is this here? This Josh Osborne is something. Yeah,

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Speaker 1: that's why body lack up back driving with my ask

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Speaker 1: kind of with curve black back. It was I think

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Speaker 1: it was from the Nashville Today's show. Oh that's what

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Speaker 1: it was from the cancer. So just as fast as

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Speaker 1: I can get sing, I wish you'd fitting Dugans. She

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Speaker 1: don'tly no bad, I could turn the man side up.

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Speaker 1: I only know, how do you feel about yourself as

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Speaker 1: a singer. I don't think about it that much. Like

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Speaker 1: I'm not a I'm not a again, I'm not a person.

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Speaker 1: Most of my favorite artists aren't necessarily great singers, so

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Speaker 1: I don't really get hung up on a great voice,

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Speaker 1: like I love Bruce Springsteen, who's an interpreter. The Beatles

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Speaker 1: are the reason I'm a songwriter. Um uh. And you know,

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Speaker 1: John Lennon didn't necessarily have like this powerful, great voice.

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Speaker 1: He was just an interpreter. He was a great um

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Speaker 1: great getting the message across. But I think the thing

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Speaker 1: that drew me to country music was I did love

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Speaker 1: country voices so much like Keith Whitley. People like that.

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Speaker 1: So the Beatles they have ever band. Yeah, I mean,

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Speaker 1: I know that's a stock cliche answer, but they are. Yeah.

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Speaker 1: I think it used to be. I think it's I

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Speaker 1: think now I believe people when they say the Beatles,

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Speaker 1: the Beatles and Creed those are the two that well

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Speaker 1: with arms wide open. I mean that did change my

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Speaker 1: at least my hairstyle. Listen. I went to create concerts

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Speaker 1: of You Tell Josh and went to a Creed concert.

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Speaker 1: I did well, and they never came to Virgin so

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Speaker 1: I didn't. Yeah, but I drove a little rock. Oh well,

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Speaker 1: you were a fan man, you drove all the way

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Speaker 1: a little rock. I drove a little rock. And I

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Speaker 1: got out the radio when I was seventeen, so I

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Speaker 1: caught the Creed hysteria. And again, we're the same age,

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Speaker 1: we're the same point. Just just know where we are

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Speaker 1: in live. I went and I was doing radio as

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Speaker 1: a teenager, and I went to a Creed show and

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Speaker 1: I was backstage and Scott Stapp comes walking through. Scott

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Speaker 1: he talks like that and you have to like that,

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Speaker 1: and he was like, eight, I'm looking for a ping

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Speaker 1: pong table. And here I'm a teenage and Creed is

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Speaker 1: the biggest band in America at the time, and I'm like, okay,

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Speaker 1: I gotta find this guy pink pong tables. I'm calling

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Speaker 1: people and we got a peine pong table. So finally

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Speaker 1: we find a pink pong table. They bring one in.

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Speaker 1: He's like, hey, look for somebody to play with you

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Speaker 1: you ever play. I don't like a pink boll. I

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Speaker 1: probably played five times in my life. I was like,

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Speaker 1: of course I played pink bong and he's like, let's

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Speaker 1: play pink Bong. I'm peeing myself because I about to

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Speaker 1: play ping pong. Scott Staff from Creed this is the

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Speaker 1: guy you know, what if? What if? So we start

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Speaker 1: to play and he's really good and he beats me,

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Speaker 1: and well I sucked, but still that's the shutout. That's impressive.

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Speaker 1: But I was really bad. And then he told me, hey,

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Speaker 1: can you find somebody knows how to play? And I

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Speaker 1: hung my head and shame And that's my Scott stat

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Speaker 1: of story. Wow. Yeah, because the Beatles and Scott stabbed

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Speaker 1: to me interchangeable. Yeah, you can start one or the

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Speaker 1: other is yeah. So have you get to you can

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Speaker 1: do a lot of cool things. Have you get to

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Speaker 1: meet Paul McCartney, And actually I do have a funny

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Speaker 1: Hurtney's story. A few years ago. Um, I was in

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Speaker 1: l A for the Grammys and Shane mcinnelli, who I

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Speaker 1: worked with a lot, um, is not I mean, he

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Speaker 1: obviously knows who the Beatles are, but he's not a fan.

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Speaker 1: I mean, I'm I'm a big time fan. They really are.

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Speaker 1: My dad introduced me to the Beatles music when I

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Speaker 1: was like twelve or thirteen. That's what maybe would be

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Speaker 1: a songwriter. And so Shane had had said, Okay, I'll

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Speaker 1: meet you downstairs for breakfast, going down and get a table.

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Speaker 1: We're staying at the at this hotel, the Four Seasons

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Speaker 1: in l A. And so my wife and I went

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Speaker 1: down to get a table. We go, We get our table.

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Speaker 1: Shane comes in as pale as a ghost, and he says,

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Speaker 1: you're never gonna believe it. I just got on the

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Speaker 1: elevator and Paul McCartney was on the elevator, and I said,

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Speaker 1: are you kidding me? Like, if I had waited for

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Speaker 1: you and come down, I would have been on the

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Speaker 1: elevator with Paul McCartney. But would you have said anything

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Speaker 1: knowing you, Yeah, I would. I have turned this this

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Speaker 1: point in my life where now if it is somebody

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Speaker 1: I want to talk to, I will go for it

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Speaker 1: because it's just so rare. Like you said, I could

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Speaker 1: probably have been the closest I'll ever get to. There

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Speaker 1: are a couple of things that I tell listeners they're

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Speaker 1: call up to me. The Hey if I see someone out,

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Speaker 1: I'm like, if you see artists or someone the admirer,

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Speaker 1: first of all, you can always tell him you're a fan.

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Speaker 1: Always does that who it is, Hey, I'm a huge fan.

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Speaker 1: But if they're with their kids, that they're eating, that's

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Speaker 1: when you don't. Otherwise if you want to wait there

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Speaker 1: and like, but you can. You should always tell somebody

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Speaker 1: you're a fan of them. I mean, especially if you

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Speaker 1: legitimately are you know what I mean, Like I there

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Speaker 1: is that thing that can happen and sometimes where people

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Speaker 1: just want to talk to somebody famous because they're famous,

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Speaker 1: But especially if you're a fan of someone, you should

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Speaker 1: not miss that opportunity because they it does mean something.

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Speaker 1: I got an elevator with the Prince once. I didn't

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Speaker 1: say anything because he had well, the thing was, he

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Speaker 1: was playing like this secret bar in Austin, Texas, and

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Speaker 1: nobody was supposed to know. And I'm in the elevator.

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Speaker 1: I didn't know Prence was. I knew he was in town,

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Speaker 1: but I know he's playing this bar and I get

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Speaker 1: in and there are these three or four humongous dudes

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Speaker 1: and there's something behind them. It was that something was

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Speaker 1: Prince because he's so small, and they were they had

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Speaker 1: like surrounded him. And I walked in and then two

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Speaker 1: of them walked out and I saw and I didn't

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Speaker 1: know it it was Prince and I saw printics and I

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Speaker 1: was like, dang, I was in the other were prints.

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Speaker 1: That's pretty freaky cool. I probably wouldn't have said not,

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Speaker 1: not with the security detail that he had, because when

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Speaker 1: you have that many big people, you don't want to

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Speaker 1: be talked to. That's that's see. Now, that's that's the

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Speaker 1: other thing you should tell listeners if they're surrounded by

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Speaker 1: four large men, if it looks like they don't want

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Speaker 1: to talk to you, they probably don't. But we're in

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Speaker 1: a format though, too, where people people are pretty accessible.

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Speaker 1: I agree, we we have a lot of That's another

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Speaker 1: thing where people always ask me, and I imagine you

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Speaker 1: get this all the time, uh, asking about country singers

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Speaker 1: or whatever. What's Keith Urban? Like, what's Kenny Chas? And

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Speaker 1: he like, what's Sam Hunt like? And they get sick

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Speaker 1: of hearing like, Oh, he's actually a good guy, down

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Speaker 1: to earth, nice guy. You know, people get sick of

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Speaker 1: hearing that. You know, there there's gotta be one jerk

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Speaker 1: among them. I'm like, I mean know, I've been lucky there. Oh,

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Speaker 1: there's a couple of jobs. There's a couple. Let me

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Speaker 1: talk about sleep number for one second. Alright, so as

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Speaker 1: we record this, it's a holiday time, and what can

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Speaker 1: be better than giving the gift of better sleep. Maybe

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Speaker 1: you've considered a sleep number bed, but you thought, man,

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Speaker 1: I don't know if I can afford this. Maybe I can,

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Speaker 1: But who can afford another mediocre night sleep? Or really,

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Speaker 1: if you sleep better, you work better for me? If

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Speaker 1: I sleep good, I go into the show, I've feel

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Speaker 1: like a million bucks, I get better ratings, boom, next thing.

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Speaker 1: You know, just raking it in. It's not that easy,

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Speaker 1: but man, better sleep does actually help you perform better.

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Speaker 1: Nine I ten. Couples also disagree on mattress firmness of

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Speaker 1: the sleep number bed. Let you choose your ideal comfort,

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Speaker 1: your ideal support on each side, so it's good for

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Speaker 1: both of you. Five ft nah, twelve ft away. I

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Speaker 1: have a sleep number better my bedroom because this is

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Speaker 1: upstairs in the bedroom, so I have a sleep number

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Speaker 1: of my setting is thirty. My sleep by Q score

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Speaker 1: last night was in the nineties. Sleep number beds cost

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Speaker 1: about the same as a traditional mattresses last twice as

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Speaker 1: long owners recommend, and right now, if you go in,

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Speaker 1: I save two undred bucks on the Queens se four

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Speaker 1: mattress would sleep I Q technology. There you go, plus

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Speaker 1: by a new cool two point o pillow, cool fit

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Speaker 1: two point o pillow. You get the second one half off.

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Speaker 1: There you go. There are lots of eight D next

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Speaker 1: bed to find a sleep number store near you. All right,

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Speaker 1: so let's see what else do we have with Josh.

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Speaker 1: How about I'm just gonna close my eyes and see

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Speaker 1: what I have to see what I hit? How about

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Speaker 1: this one? Josh had so many number one set in

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Speaker 1: the world on Fine Kenny and Pain massive song. Almost

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Speaker 1: screwed up with this song because I was obviously I

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Speaker 1: want your real story, and I'm gonna just tell you

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Speaker 1: a terrible story before you tell me the good one.

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Speaker 1: I was with Kenny and the album was it was

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Speaker 1: the album was coming out and Kenny now were in

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Speaker 1: l A and we were talking and there were no

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Speaker 1: micro of funds and Kenny goes, hey, um, here's the thing.

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Speaker 1: Pink wasn't gonna get on that song. He said it

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Speaker 1: wasn't gonna put it out as a single either, because

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Speaker 1: she was doing her own thing on She didn'tant anyone

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Speaker 1: to be on the radio compete. But then she got

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Speaker 1: pregnant and so and it wasn't announced that she was

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Speaker 1: pregnant yet, and he's telling me all this stuff. And

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Speaker 1: he didn't say, hey, don't say anything. But luckily I'll

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Speaker 1: lock things down unless I say, hey, is that? Oh

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Speaker 1: is that kind of on the record or off? But Kenn,

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Speaker 1: he just talks and says all this stuff. I have

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Speaker 1: so many things that Chest told me that would never

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Speaker 1: repeat in a million years. But like then, like a

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Speaker 1: month later, comes out Pink's pregnant. It's been super secret.

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Speaker 1: And I was like, oh, thank god I didn't say anything.

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Speaker 1: Thank god I got to be a single. Thank actually

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Speaker 1: got pregnant, because I mean that song turned massive. That

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Speaker 1: was that was a special one. Yeah. Um I had

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Speaker 1: heard that too with Pink that once. Once he got

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Speaker 1: her on the song. Then there was this whole debate about, um,

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Speaker 1: what we can't put it out because she's she was

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Speaker 1: going to put out a new singer and and I

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Speaker 1: think it was gonna go on to her or something.

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Speaker 1: And then I think, like you said, she got pregnant.

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Speaker 1: It kind of shifted all the plans and uh, and

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Speaker 1: then all of a sudden they said, all right, we

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Speaker 1: can put it out. That's crazy. I mean, it's crazy

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Speaker 1: how things. I don't know what you believe. If things

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Speaker 1: happen for a reason, or if you just waited out

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Speaker 1: eventually and you work hard, eventually things happen. I don't

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Speaker 1: know what your what your whole thing is there, But

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Speaker 1: I mean that's a shifter for Kenny too. He told me,

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Speaker 1: he said, listen, that gives me ten more years. This

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Speaker 1: song reaches people that are ten years younger than some

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Speaker 1: of the other songs that I've done. So you wrote

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Speaker 1: that one. But what what was that? Where? What's the

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Speaker 1: deal with that song? Well, the whole story, it's so

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Speaker 1: funny that the l a Grammy story. Um, when we

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Speaker 1: were at that particular Grammy's um, Shane and I want

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Speaker 1: to Grammy for the song with Kasey Musgrave's Merry Go Around.

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Speaker 1: And that night afterwards, when we got back to the hotel,

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Speaker 1: my wife and I went back to our hotel and

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Speaker 1: they knew we had won. They put a bottle of

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Speaker 1: champagne in our room. It was just this amazing like

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Speaker 1: we were out on the balcony of our hotel room,

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Speaker 1: just screaming, and like it's you know, it's something as

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Speaker 1: a songwriter or a creator that you know, a Grammy

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Speaker 1: is sort of this unattainable thing. It's like, you know, yeah,

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Speaker 1: I'll win a Grammy someday, but it's all in ingest.

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Speaker 1: And uh, that whole night just became this this like

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Speaker 1: movie in my mind, being with my wife in this

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Speaker 1: amazing moment. And I went into this right with Matt

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Speaker 1: Jenkins and Ross Copperman, and Ross played that music basically

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Speaker 1: like what what you know? They did a great cut

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Speaker 1: of it. It sounds exactly like what Ross had laid out,

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Speaker 1: this sort of bed of music, and he played it.

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Speaker 1: And the second he played it, this track with no

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Speaker 1: words on it, and just for some reason, it triggered

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Speaker 1: this like emotion and these memories and it all just

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Speaker 1: kind of started pouring out and and and Matt said,

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Speaker 1: I have this title. I don't know exactly what it means,

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Speaker 1: but I thought it sounded cool. It's called setting the

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Speaker 1: World on Fire. And I was like, man, this feels

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Speaker 1: like that night in my life. And so we wrote it.

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Speaker 1: Um from at least from my perspective or my point

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Speaker 1: of view, it felt like a very personal song. And

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Speaker 1: it wasn't necessarily one that I thought, you know, I

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Speaker 1: didn't instantly think of Kenny, I thought, because it just

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Speaker 1: it felt so personal to me. Um. But then Ross's

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Speaker 1: publisher sent it to Kenny and and you know, within

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Speaker 1: a couple of days of him hearing it, he told

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Speaker 1: us he was going to cut it. So it was

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Speaker 1: that that was one of my favorites I've ever been

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Speaker 1: on because of it had such a personal thing for me.

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Speaker 1: So that won't right to Kenny, And Kenny said, yes, yes,

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Speaker 1: it was that that fast, Yeah, that's Hey, what is this?

385
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Speaker 1: Here is this? Uh? This setting the world on fire?

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Speaker 1: It's a demo? Al right, here is setting the world

387
00:18:38,440 --> 00:18:47,520
Speaker 1: I fired the demo. That's this guy gets better at day?

388
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Speaker 1: Well otto to me. Yeah, and I'll send a lot

389
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Speaker 1: of man and buy that uet huh. But it was

390
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Speaker 1: such a great idea to put her on it. So

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Speaker 1: how did that process come about? Like, hey, was it Kenny?

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Speaker 1: Want of Kenny's people like who goes, Hey, what about

393
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Speaker 1: a duet? And then what about I don't know if

394
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Speaker 1: he tried pink first or what the deal was, but well,

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Speaker 1: I um, once he had recorded this song, I think

396
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Speaker 1: he got the idea of putting pink on it, and

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Speaker 1: I didn't know anything about it until we were at

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Speaker 1: the c m A Awards and I was walking through

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Speaker 1: backstage like going out to my seat. Kenny was there

400
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Speaker 1: and I just kind of waved, was like, hey man,

401
00:19:40,520 --> 00:19:44,080
Speaker 1: he comes out of his conversation, grabs me, like hugs me,

402
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Speaker 1: and goes, man, I got Pink to sing on that song.

403
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Speaker 1: And I was like what. He goes, yeah, I got

404
00:19:50,760 --> 00:19:52,479
Speaker 1: Pink to sing on It's gonna be awesome. And then

405
00:19:52,480 --> 00:19:56,880
Speaker 1: he just walked off and I was like, does that mean?

406
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Speaker 1: What I think that means? And so we went out

407
00:19:59,080 --> 00:20:00,960
Speaker 1: to and what you think it means? That means as

408
00:20:01,000 --> 00:20:04,320
Speaker 1: a single? I mean it's just because it's a multi

409
00:20:04,520 --> 00:20:08,840
Speaker 1: format it because at first I was thinking does he

410
00:20:08,920 --> 00:20:12,680
Speaker 1: really mean pink? Like, hey, does he mean my song?

411
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Speaker 1: Like is there's any confusion? Be does he really mean pink?

412
00:20:15,960 --> 00:20:19,200
Speaker 1: And see then the thing in your brain, the business

413
00:20:19,200 --> 00:20:20,840
Speaker 1: that does take over a little, and you think, man,

414
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Speaker 1: it's gotta be a single. Then it's got pink on

415
00:20:23,000 --> 00:20:24,960
Speaker 1: it and gone to the effort. If you're not gonna

416
00:20:24,960 --> 00:20:27,120
Speaker 1: put it out right exactly, that's what you would think

417
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Speaker 1: but then, of course we did start hearing the whispers

418
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Speaker 1: of luck, because I think even Kenny told me that.

419
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Speaker 1: He was like, yeah, the cut sounds amazing, and I

420
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Speaker 1: don't think we're gonna be able to put it out

421
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Speaker 1: for a while. I don't know if it'll get to

422
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Speaker 1: be a single, because she's gonna put a song out

423
00:20:39,400 --> 00:20:42,160
Speaker 1: and I just don't know how it'll work out. And he,

424
00:20:42,480 --> 00:20:46,240
Speaker 1: I will say, as an artist, is very um considered

425
00:20:46,240 --> 00:20:48,880
Speaker 1: a songwriters and will not string you along. He won't

426
00:20:48,880 --> 00:20:51,040
Speaker 1: give you a lot of empty promises. He won't he

427
00:20:51,080 --> 00:20:53,560
Speaker 1: will err on the side of caution because he's a

428
00:20:53,600 --> 00:20:56,200
Speaker 1: writer too. And um, so I think he was sort

429
00:20:56,240 --> 00:20:58,760
Speaker 1: of bracing me in case, like, hey, we may not

430
00:20:58,800 --> 00:21:00,399
Speaker 1: get to put it out as a single. I don't know.

431
00:21:00,440 --> 00:21:01,920
Speaker 1: And then all of a sudden he kind of got

432
00:21:01,920 --> 00:21:03,760
Speaker 1: the green light on it, like you said, because she

433
00:21:04,080 --> 00:21:06,560
Speaker 1: ended up that she was pregnant. So and then it

434
00:21:06,600 --> 00:21:09,040
Speaker 1: became a monster. Like the song is still cool and

435
00:21:09,040 --> 00:21:12,439
Speaker 1: in our format. The problem it's not a problem, but

436
00:21:12,600 --> 00:21:15,200
Speaker 1: something that I don't like is how fast songs turn over.

437
00:21:16,240 --> 00:21:19,520
Speaker 1: And this wasn't happening fifteen years ago. This is a

438
00:21:19,560 --> 00:21:21,760
Speaker 1: recent thing between labels and radio and it's and to me,

439
00:21:21,760 --> 00:21:25,520
Speaker 1: it's a disaster because it doesn't allow longevity in any

440
00:21:25,520 --> 00:21:28,280
Speaker 1: of these songs. These songs, it's just like the next

441
00:21:28,280 --> 00:21:31,240
Speaker 1: next label trades it out, label trades it out number one,

442
00:21:31,400 --> 00:21:33,320
Speaker 1: and it's just like, good god man, how are we

443
00:21:33,359 --> 00:21:36,679
Speaker 1: supposed to really love songs if as soon as we

444
00:21:36,720 --> 00:21:39,399
Speaker 1: start liking them, you go, it's number one, boom, next up.

445
00:21:40,160 --> 00:21:42,800
Speaker 1: So that's been my frustration and for even for our

446
00:21:42,840 --> 00:21:48,520
Speaker 1: songwriters where one of my buddies is running for Congress

447
00:21:48,520 --> 00:21:52,280
Speaker 1: now Lee Millon right, So, and so I've known Lee

448
00:21:52,359 --> 00:21:54,480
Speaker 1: was one of the first guys that songwriters that I

449
00:21:54,560 --> 00:21:56,920
Speaker 1: knew in town, and we we'd write some stuff together.

450
00:21:57,000 --> 00:21:59,600
Speaker 1: The funny of this funny song, he was very funny.

451
00:21:59,640 --> 00:22:01,720
Speaker 1: So yeah, really funny. Oh I did a song writer?

452
00:22:02,160 --> 00:22:04,040
Speaker 1: Listen to this? Let me sidetrackers, Like it is the

453
00:22:04,080 --> 00:22:06,800
Speaker 1: worst story for me. It's a terrible story, terrible night

454
00:22:06,840 --> 00:22:11,320
Speaker 1: in my life. Lee goes, hey, we're doing the big songwriter,

455
00:22:11,480 --> 00:22:17,040
Speaker 1: but the tin tin pants out there. It's like where

456
00:22:17,080 --> 00:22:19,480
Speaker 1: you're a worshiped like because you're Josh Osbourne. This is

457
00:22:19,480 --> 00:22:22,439
Speaker 1: where the writers coming. It's it's the writer thing. Can

458
00:22:22,520 --> 00:22:25,080
Speaker 1: say it, he says, that I know you write a

459
00:22:25,080 --> 00:22:27,600
Speaker 1: bunch of comedy, right, do you stand up? We put

460
00:22:27,640 --> 00:22:30,920
Speaker 1: out a comedy record. It was okay, it did pretty well,

461
00:22:30,920 --> 00:22:32,520
Speaker 1: but it was not good. We did a kids record,

462
00:22:32,520 --> 00:22:34,280
Speaker 1: which is really good. He was, I know you do

463
00:22:34,320 --> 00:22:37,320
Speaker 1: we write songs, Come play in a songwriters round with me.

464
00:22:37,920 --> 00:22:39,440
Speaker 1: I don't know what I'm getting into. I don't even

465
00:22:39,480 --> 00:22:41,239
Speaker 1: know what tin pants out there? Right. This is at

466
00:22:41,280 --> 00:22:43,239
Speaker 1: the time, this is like two and a half years ago,

467
00:22:43,720 --> 00:22:45,639
Speaker 1: and I'm like, tin pounts out is that like the

468
00:22:45,680 --> 00:22:49,600
Speaker 1: tin roof? Like as this is at the tin Roof.

469
00:22:49,640 --> 00:22:50,880
Speaker 1: I was like, I get in and have a couple

470
00:22:50,880 --> 00:22:52,240
Speaker 1: of days on the road and then I'm coming right in.

471
00:22:52,359 --> 00:22:54,119
Speaker 1: I'm happy to go play the song writer round with you.

472
00:22:54,760 --> 00:22:57,160
Speaker 1: And so it was like cool, and I'm thinking me andly,

473
00:22:57,359 --> 00:22:58,840
Speaker 1: you know, we're gonna gonna get up there in play

474
00:22:58,880 --> 00:23:00,520
Speaker 1: a song. I have a little bag of worth and

475
00:23:01,080 --> 00:23:03,399
Speaker 1: you know. So we go to whatever venue it was

476
00:23:03,480 --> 00:23:07,159
Speaker 1: like the listening room or something, maybe not even listening room,

477
00:23:07,160 --> 00:23:09,760
Speaker 1: but one of those places like that, and it's like, hey,

478
00:23:09,960 --> 00:23:12,360
Speaker 1: a couple other a couple of folks, and I play

479
00:23:12,400 --> 00:23:14,960
Speaker 1: with this. I was like, okay, yeah, what do I care?

480
00:23:15,200 --> 00:23:18,240
Speaker 1: Like I'm not any good anyway, so let's let's have

481
00:23:18,320 --> 00:23:22,399
Speaker 1: more people. Yeah, yeah, yeah. So it goes this is

482
00:23:22,520 --> 00:23:25,120
Speaker 1: um this way before I started this podcast, and I've

483
00:23:25,119 --> 00:23:27,480
Speaker 1: really gotten to no songwriter. And he's like, he's my

484
00:23:27,520 --> 00:23:29,720
Speaker 1: friend Chris, and there's my friend Ashley, and I'm like

485
00:23:29,800 --> 00:23:31,960
Speaker 1: Christie Stefano Ashley Gorley, and I'm like, you gotta be

486
00:23:32,000 --> 00:23:33,760
Speaker 1: kidding me. So we get up there in those all

487
00:23:33,760 --> 00:23:36,400
Speaker 1: four and those two dudes have written tons of hits,

488
00:23:37,119 --> 00:23:40,160
Speaker 1: and Chris Stephano seems like a freaking angel. Yes, Chris

489
00:23:40,280 --> 00:23:43,399
Speaker 1: is an he writes carry songs and can sing Carrie

490
00:23:43,520 --> 00:23:46,920
Speaker 1: in Yes, Yes, just like Carrie. And so it's Lee

491
00:23:47,040 --> 00:23:50,000
Speaker 1: who's funny and better than I all around about everything,

492
00:23:50,160 --> 00:23:52,200
Speaker 1: like my strength is funny, and he's funnier than I am,

493
00:23:52,280 --> 00:23:54,479
Speaker 1: and he's better at music. And then I play than

494
00:23:54,560 --> 00:23:57,480
Speaker 1: christ Stephano, than Ashley Gorley. It was the slowest two

495
00:23:57,480 --> 00:24:00,639
Speaker 1: and a half three hours that I've ever experienced, and

496
00:24:00,680 --> 00:24:03,840
Speaker 1: that was my my songwriting around. But Lee, my point

497
00:24:03,920 --> 00:24:06,520
Speaker 1: was he's running for Congress now, right because he's a

498
00:24:06,560 --> 00:24:09,800
Speaker 1: big guy. Like, hey, songwriters are not getting paid and

499
00:24:10,200 --> 00:24:12,919
Speaker 1: here's the problem. The the internet still the while West.

500
00:24:13,680 --> 00:24:16,199
Speaker 1: It's we're having songs that are getting million to streams,

501
00:24:16,200 --> 00:24:18,479
Speaker 1: We're making eight books, and what's gonna happen is it's

502
00:24:18,480 --> 00:24:20,240
Speaker 1: gonna kill the songwriters because people are gonna go, I

503
00:24:20,240 --> 00:24:22,280
Speaker 1: can't make money, and the upperture is gonna be fine.

504
00:24:22,280 --> 00:24:24,440
Speaker 1: The upperture is still going to continue to make their money,

505
00:24:24,480 --> 00:24:27,440
Speaker 1: he said. But it's it's discouraging to new songwriters, to people.

506
00:24:27,680 --> 00:24:29,840
Speaker 1: He said, so and as you know, we've been up

507
00:24:29,840 --> 00:24:33,600
Speaker 1: my capital capital all so many times talking and he's like, fine,

508
00:24:33,720 --> 00:24:36,159
Speaker 1: screw it, I'm just gonna run myself. And I'm like,

509
00:24:36,640 --> 00:24:39,520
Speaker 1: that's a ball or move from somebody who really wants

510
00:24:39,520 --> 00:24:42,960
Speaker 1: to make it change. So he's running, and I start

511
00:24:43,000 --> 00:24:45,119
Speaker 1: to think about radio and digital and for me, the

512
00:24:45,200 --> 00:24:47,320
Speaker 1: radio is just it's the phone. But you know what happened.

513
00:24:47,320 --> 00:24:49,800
Speaker 1: The weird thing is if something doesn't change, and I

514
00:24:49,880 --> 00:24:53,400
Speaker 1: mentioned I think the radio being the monster has about

515
00:24:53,440 --> 00:24:56,040
Speaker 1: five years and it really but if something doesn't change

516
00:24:56,359 --> 00:25:01,679
Speaker 1: with songwriters, and radio loses three percent a right to digital.

517
00:25:01,720 --> 00:25:04,200
Speaker 1: And I hope it does because all my I'm already

518
00:25:04,200 --> 00:25:06,439
Speaker 1: set up, I've already built my house over on the

519
00:25:06,480 --> 00:25:10,680
Speaker 1: digital world. That it's it's gonna hurt you guys even worse,

520
00:25:11,119 --> 00:25:12,680
Speaker 1: because then radio is gonna be gone, and if you

521
00:25:12,680 --> 00:25:15,800
Speaker 1: don't have some kind of planning for streaming, radio is

522
00:25:15,800 --> 00:25:17,840
Speaker 1: gonna be less. And then streaming is still gonna be

523
00:25:17,960 --> 00:25:20,399
Speaker 1: kicking in the balls, and it's gonna be like what

524
00:25:20,760 --> 00:25:22,760
Speaker 1: you're gonna make even less? Right, Well, we're having we're

525
00:25:22,800 --> 00:25:25,000
Speaker 1: having to hang our careers and our hats on radio

526
00:25:25,119 --> 00:25:28,160
Speaker 1: right now. And and if radio goes away, that's where

527
00:25:28,160 --> 00:25:31,280
Speaker 1: you're hanging your hat. So Lee, you gotta make it change,

528
00:25:31,280 --> 00:25:35,600
Speaker 1: You gotta make it happen. Then I tweeted out, we

529
00:25:35,640 --> 00:25:37,879
Speaker 1: have right, but only if you live in like Brento,

530
00:25:38,000 --> 00:25:40,879
Speaker 1: because it's like a district. I tweeted out last night.

531
00:25:40,920 --> 00:25:43,720
Speaker 1: I was like, hey, listen, because I'm independent, the guy

532
00:25:43,960 --> 00:25:46,080
Speaker 1: for have friends of the Republicans as the Democrats. I

533
00:25:46,080 --> 00:25:48,600
Speaker 1: grew up in Arkansas, which is heavily read. I have

534
00:25:48,760 --> 00:25:52,840
Speaker 1: liberal views like I'm pro gay marriage, pro I'm just

535
00:25:53,240 --> 00:25:54,560
Speaker 1: have so many things that I just feel like I

536
00:25:54,560 --> 00:25:56,840
Speaker 1: can't attach myself to a party. When I was gonna

537
00:25:56,880 --> 00:25:58,480
Speaker 1: for governor of Arkansas, I was gonna run an independent

538
00:25:58,480 --> 00:26:00,560
Speaker 1: because I don't have backers to go. I'm haven't It's

539
00:26:00,560 --> 00:26:02,800
Speaker 1: all about money, right, And I was like, I put

540
00:26:02,800 --> 00:26:04,080
Speaker 1: it up there because you can look up and see

541
00:26:04,119 --> 00:26:06,840
Speaker 1: the thing you donated to. Yeah, that's right. So I

542
00:26:06,920 --> 00:26:09,320
Speaker 1: was like, just so everybody knows, I'm donating to a

543
00:26:09,400 --> 00:26:13,320
Speaker 1: Republican Lee Miller. Do I agree with everything he stands for,

544
00:26:13,520 --> 00:26:16,000
Speaker 1: because I just know people are they're gonna they're gonna

545
00:26:16,000 --> 00:26:18,480
Speaker 1: find everything and be like, oh, he's a secret Republican

546
00:26:19,280 --> 00:26:21,960
Speaker 1: donating to a Republican exactly. But I like what he's

547
00:26:21,960 --> 00:26:24,280
Speaker 1: doing for songwriters. And I wonder your thoughts on on

548
00:26:24,359 --> 00:26:26,560
Speaker 1: him running for office. I mean, is that because that's

549
00:26:26,560 --> 00:26:28,760
Speaker 1: really his thing, Like he wants songwriters to get paid.

550
00:26:28,840 --> 00:26:31,359
Speaker 1: He is the if there were one songwriter could do it,

551
00:26:31,359 --> 00:26:33,840
Speaker 1: it's him. He. I'm actually on the n s A

552
00:26:33,920 --> 00:26:38,679
Speaker 1: board and and working with him. He is so knowledgeable

553
00:26:38,800 --> 00:26:41,480
Speaker 1: and so smart and so passionate and those are the

554
00:26:41,480 --> 00:26:44,040
Speaker 1: three things that we need. Because I've done a couple

555
00:26:44,080 --> 00:26:46,360
Speaker 1: of the trips to Washington where you going to talk

556
00:26:46,359 --> 00:26:49,560
Speaker 1: to people, and I think, look, it's a big world,

557
00:26:49,560 --> 00:26:51,920
Speaker 1: and there's a lot of scary and bad stuff going on,

558
00:26:52,200 --> 00:26:54,080
Speaker 1: and in the scope of things, it doesn't seem like

559
00:26:55,040 --> 00:26:57,560
Speaker 1: that problem compared to you know what other things we're

560
00:26:57,560 --> 00:26:59,600
Speaker 1: dealing with in the world. But when you sit down

561
00:26:59,600 --> 00:27:04,280
Speaker 1: with people and go from an analogy standpoint, songwriters almost

562
00:27:04,320 --> 00:27:07,919
Speaker 1: the farmers of the music industry, and our songs if

563
00:27:07,960 --> 00:27:09,760
Speaker 1: we don't make the money from streaming, like you said,

564
00:27:09,760 --> 00:27:12,679
Speaker 1: if radio goes away, there there are a group of

565
00:27:12,680 --> 00:27:15,040
Speaker 1: writers who have had success right now. But that the

566
00:27:15,080 --> 00:27:18,480
Speaker 1: group of writers that are now moving to Nashville. And

567
00:27:18,720 --> 00:27:21,479
Speaker 1: you know, Nashville notoriously is a ten year town, like

568
00:27:21,600 --> 00:27:23,480
Speaker 1: five or ten year town. If you're if you're a

569
00:27:23,480 --> 00:27:26,040
Speaker 1: new writer and you move here tomorrow, ten years from now,

570
00:27:26,040 --> 00:27:28,520
Speaker 1: what's the music business even look like? So what have you?

571
00:27:29,160 --> 00:27:31,639
Speaker 1: What have you put your life on hold for? You know,

572
00:27:31,680 --> 00:27:33,679
Speaker 1: like you you come here and you you don't go

573
00:27:33,760 --> 00:27:37,560
Speaker 1: to college, and you you don't don't necessarily get a career.

574
00:27:37,640 --> 00:27:39,800
Speaker 1: You get a job so you can try to chase

575
00:27:39,840 --> 00:27:42,399
Speaker 1: your career. And if you do all those things and

576
00:27:42,400 --> 00:27:44,160
Speaker 1: then at the end, at the end of the day,

577
00:27:44,720 --> 00:27:46,600
Speaker 1: you write a song like body like a Background that

578
00:27:46,680 --> 00:27:50,840
Speaker 1: gets streamed five million times or whatever, and your profit

579
00:27:50,920 --> 00:27:54,399
Speaker 1: from that is eight thousand dollars. You know what, what

580
00:27:54,480 --> 00:27:57,560
Speaker 1: was it all for? You know? You to do it? Yes,

581
00:27:57,640 --> 00:27:59,280
Speaker 1: you do it for the art, but you have to

582
00:27:59,359 --> 00:28:01,159
Speaker 1: hope that there's a light at the end of that tunnel.

583
00:28:01,160 --> 00:28:02,600
Speaker 1: And if and if you take it away and the

584
00:28:02,640 --> 00:28:04,399
Speaker 1: streaming things not fixed, there is no lot at the

585
00:28:04,440 --> 00:28:06,840
Speaker 1: end of that tunnel. And that's what's scariest to me

586
00:28:07,200 --> 00:28:10,879
Speaker 1: as someone who writes not music music but just I'm terrible,

587
00:28:11,080 --> 00:28:15,320
Speaker 1: but someone who writes generally books and comedy songs, like

588
00:28:15,400 --> 00:28:17,680
Speaker 1: I see it for you guys where it's like if

589
00:28:17,720 --> 00:28:19,680
Speaker 1: Red Deal loses one and a half percent a year,

590
00:28:20,200 --> 00:28:23,240
Speaker 1: two percent a year for the next seven years, that's

591
00:28:23,800 --> 00:28:27,880
Speaker 1: a big number. And I'm fine because I can do

592
00:28:27,920 --> 00:28:32,639
Speaker 1: whatever I do anywhere on demand streaming. People are paying

593
00:28:32,720 --> 00:28:34,520
Speaker 1: me to do commercials, just like I talked about sleep

594
00:28:34,600 --> 00:28:38,160
Speaker 1: number a minute ago, like two million subscribers this thing

595
00:28:38,320 --> 00:28:40,400
Speaker 1: and se numbers gonna pay me because people listen to it.

596
00:28:40,400 --> 00:28:42,800
Speaker 1: But for songs, it sucks because you're in that place

597
00:28:42,800 --> 00:28:46,760
Speaker 1: of what happens if radio loses one point five percent

598
00:28:46,960 --> 00:28:50,080
Speaker 1: and streaming still doesn't pay us, And that's a weird

599
00:28:50,160 --> 00:28:51,760
Speaker 1: place to be. It's not for you. But if you're

600
00:28:51,760 --> 00:28:53,240
Speaker 1: you're looking at but that's what you don't go talk

601
00:28:53,240 --> 00:28:55,880
Speaker 1: to d C for you. You're good. You're talking to

602
00:28:55,960 --> 00:28:58,920
Speaker 1: d C for the people that are haven't had the

603
00:28:58,960 --> 00:29:01,440
Speaker 1: success that you've had yet, sure well. And I think

604
00:29:01,440 --> 00:29:04,560
Speaker 1: there's a thing too that that if streaming could get

605
00:29:04,640 --> 00:29:07,440
Speaker 1: regulated a little bit. I think one of the um

606
00:29:07,560 --> 00:29:10,520
Speaker 1: hey days of country music. I think admittedly everyone would

607
00:29:10,560 --> 00:29:11,880
Speaker 1: say it was, you know, sort of the nineties was

608
00:29:12,200 --> 00:29:13,720
Speaker 1: kind of the heyday. You know, Garth was at his

609
00:29:13,760 --> 00:29:15,720
Speaker 1: peak and Shinai, and there was all these huge artists,

610
00:29:15,760 --> 00:29:18,040
Speaker 1: and everybody was selling records, and even like a mid

611
00:29:18,120 --> 00:29:20,240
Speaker 1: level artist was selling three or four million albums and

612
00:29:20,240 --> 00:29:23,560
Speaker 1: it was million about that, and they were reaching all

613
00:29:23,600 --> 00:29:26,360
Speaker 1: these people. And I think one of the by products

614
00:29:26,400 --> 00:29:28,640
Speaker 1: that you don't necessarily look at until you're sort of

615
00:29:29,720 --> 00:29:31,840
Speaker 1: peeling the layers back and looking at it is I

616
00:29:31,880 --> 00:29:34,400
Speaker 1: think sometimes even it hurts the craft a little bit

617
00:29:34,440 --> 00:29:37,800
Speaker 1: because you can't go into a room and your focus

618
00:29:37,840 --> 00:29:40,520
Speaker 1: can't be I want to write the closing track on

619
00:29:40,560 --> 00:29:42,920
Speaker 1: the album. I want to write this great piece of

620
00:29:43,080 --> 00:29:46,600
Speaker 1: art you in the back of your mind from a

621
00:29:47,280 --> 00:29:49,200
Speaker 1: I want to sustain my career point of view. You

622
00:29:49,240 --> 00:29:51,400
Speaker 1: have to be thinking, I have to write a song

623
00:29:51,440 --> 00:29:52,720
Speaker 1: that could be played on the radio. You have to

624
00:29:52,760 --> 00:29:54,959
Speaker 1: write a single, you do you have to think we

625
00:29:55,000 --> 00:29:56,560
Speaker 1: have to write a single. And I think that's a

626
00:29:56,600 --> 00:30:00,000
Speaker 1: byproduct of there's just you know, there were so many

627
00:30:00,000 --> 00:30:02,960
Speaker 1: of guys songwriters in the nineties that made careers that

628
00:30:03,000 --> 00:30:04,840
Speaker 1: of having album cuts. There were guys that made more

629
00:30:04,840 --> 00:30:07,520
Speaker 1: money off of having songs on Garth albums than having singles.

630
00:30:08,000 --> 00:30:11,280
Speaker 1: And and I'm not saying it, well, I'm not, you know, foolish.

631
00:30:11,320 --> 00:30:13,680
Speaker 1: It's never gonna get back to that, but there is

632
00:30:13,720 --> 00:30:16,720
Speaker 1: a way to make it to level the playing field

633
00:30:16,760 --> 00:30:19,400
Speaker 1: a little bit. And I think if we can people

634
00:30:19,440 --> 00:30:22,400
Speaker 1: like Lee and and honestly people like you having a

635
00:30:22,480 --> 00:30:25,080
Speaker 1: voice on the radio and at least speaking about it,

636
00:30:25,080 --> 00:30:27,440
Speaker 1: it's it's getting it to where people are understanding that

637
00:30:27,480 --> 00:30:29,680
Speaker 1: it is actually an issue. Most people just don't know.

638
00:30:30,160 --> 00:30:32,560
Speaker 1: And you tell them, well, this song was streamed a

639
00:30:32,640 --> 00:30:34,760
Speaker 1: hundred and fifty million times, and and and on my

640
00:30:34,840 --> 00:30:37,480
Speaker 1: last ASCAP statement, I made a thousand dollars for it.

641
00:30:37,480 --> 00:30:40,360
Speaker 1: It blows people's mind. They don't understand it. And and

642
00:30:40,400 --> 00:30:42,880
Speaker 1: I think it's just right now we have a lack

643
00:30:42,880 --> 00:30:44,920
Speaker 1: of knowledge. And I think you have a lot of

644
00:30:44,960 --> 00:30:47,480
Speaker 1: really old people, which is always the case whenever it

645
00:30:47,520 --> 00:30:50,400
Speaker 1: comes to lawmakers. You have a bunch of really old

646
00:30:50,440 --> 00:30:54,240
Speaker 1: white people and they don't understand. But it's always been

647
00:30:54,240 --> 00:30:57,680
Speaker 1: this cycle. It's like, this is new, But we can't

648
00:30:57,720 --> 00:31:01,640
Speaker 1: expect a sixty eight year old guy from Pennsylvania to

649
00:31:01,840 --> 00:31:04,920
Speaker 1: understand what Spotify or Apple Music or I Heart Radio

650
00:31:05,040 --> 00:31:07,320
Speaker 1: or title is. Like we just can't because it's not

651
00:31:07,400 --> 00:31:10,000
Speaker 1: in their life. So it takes and not just for music,

652
00:31:10,160 --> 00:31:14,200
Speaker 1: just in general with laws, and like I think there

653
00:31:14,200 --> 00:31:16,560
Speaker 1: should be a law about texting and walking. Now does

654
00:31:16,600 --> 00:31:19,320
Speaker 1: that sound ridiculous, Yes, But if we're gonna have Seabell

655
00:31:19,400 --> 00:31:22,040
Speaker 1: laws on bike helmet laws and you're gonna walk down

656
00:31:22,080 --> 00:31:24,920
Speaker 1: the road texting, you're gonna hit my car, you're gonna

657
00:31:24,960 --> 00:31:27,320
Speaker 1: get into trail. But who's going to think about that

658
00:31:27,480 --> 00:31:31,880
Speaker 1: unless you're twenty eight to thirty eight years old. But

659
00:31:32,680 --> 00:31:34,680
Speaker 1: that's why I think fourteen year old should run profie.

660
00:31:35,480 --> 00:31:39,000
Speaker 1: We should have one, just one super kid in every state.

661
00:31:39,240 --> 00:31:40,880
Speaker 1: What you're doing now, what you're doing now, is you're

662
00:31:40,880 --> 00:31:43,040
Speaker 1: writing a great movie. Right now, this is gonna be

663
00:31:43,080 --> 00:31:45,560
Speaker 1: a movie where it's like a kid, there's a mix up.

664
00:31:45,600 --> 00:31:48,440
Speaker 1: There's the name of a famous Senis student council, but

665
00:31:48,480 --> 00:31:50,880
Speaker 1: he accident accidentally puts his name in and he's got

666
00:31:50,880 --> 00:31:53,240
Speaker 1: the same name as a famous guy that's running for governor,

667
00:31:53,440 --> 00:31:56,240
Speaker 1: and somehow he gets elected, and because there's some law

668
00:31:56,280 --> 00:31:58,400
Speaker 1: in that state that can't revoke it, so he we

669
00:31:58,440 --> 00:32:00,720
Speaker 1: have a fourteen year old governor and within two years

670
00:32:00,800 --> 00:32:02,479
Speaker 1: that states the best state in the country. And so

671
00:32:02,520 --> 00:32:05,400
Speaker 1: then you're seeing it writes itself. At that point, you

672
00:32:07,840 --> 00:32:09,920
Speaker 1: we have a start here. I know that's kind of

673
00:32:09,920 --> 00:32:12,120
Speaker 1: a ridiculous thing to that, but I worried about songwriters

674
00:32:12,160 --> 00:32:14,000
Speaker 1: in that way. But it will all shake itself out.

675
00:32:14,200 --> 00:32:17,160
Speaker 1: I do. I will say I feel optimistic for the

676
00:32:17,200 --> 00:32:22,080
Speaker 1: first time, um because there are songwriters are being heard

677
00:32:22,520 --> 00:32:25,040
Speaker 1: now the issue right now, and I think everybody would

678
00:32:25,040 --> 00:32:27,000
Speaker 1: acknowledge this. In our country right now, there's just a

679
00:32:27,000 --> 00:32:30,040
Speaker 1: cacophony of noise. It's this is a problem, this is

680
00:32:30,040 --> 00:32:32,400
Speaker 1: a problem. This is a problem. So I think it's

681
00:32:32,440 --> 00:32:35,440
Speaker 1: just finding enough staying in people's ears. And I can't

682
00:32:35,440 --> 00:32:38,000
Speaker 1: say enough about the good that like N. S A

683
00:32:38,120 --> 00:32:42,200
Speaker 1: I does for songwriters and and and it has produced

684
00:32:42,240 --> 00:32:45,480
Speaker 1: someone like Lee who has so much knowledge, and I

685
00:32:45,480 --> 00:32:47,760
Speaker 1: think the inner workings of working with Bard Herbison and

686
00:32:47,840 --> 00:32:50,200
Speaker 1: people like that that are involved it. Um At N

687
00:32:50,280 --> 00:32:52,680
Speaker 1: s A. I it's it's just those kinds of things

688
00:32:52,680 --> 00:32:55,800
Speaker 1: I think are are at least giving me optimistic feelings

689
00:32:55,800 --> 00:32:58,840
Speaker 1: for the future. Let me had another song here, let's

690
00:32:58,880 --> 00:33:02,080
Speaker 1: push a button. And how about this song right here?

691
00:33:04,320 --> 00:33:06,640
Speaker 1: We've had another Sam Hunt song. Make you missed me

692
00:33:07,840 --> 00:33:11,880
Speaker 1: about my checkie? So you're in the Sam Hunt camp, hump.

693
00:33:13,080 --> 00:33:15,640
Speaker 1: This is a town of camps. Well, and I've known

694
00:33:15,680 --> 00:33:19,000
Speaker 1: Sam for I've been writing songs for about eight years now.

695
00:33:19,400 --> 00:33:20,960
Speaker 1: So you were in the sand Hunt camp and he

696
00:33:21,000 --> 00:33:23,080
Speaker 1: was just Sam. You just write with Sam. Sam and

697
00:33:23,080 --> 00:33:26,040
Speaker 1: I wrote our first number one together, which was come Over.

698
00:33:27,000 --> 00:33:31,640
Speaker 1: I sued you I wouldn't come. I sued you wouldn't

699
00:33:31,840 --> 00:33:37,160
Speaker 1: kill baby clamming. Now, wait, is this you singing? Okay?

700
00:33:37,200 --> 00:33:39,280
Speaker 1: I was gonna say Sam, but already missed once on this.

701
00:33:40,400 --> 00:33:45,800
Speaker 1: So this is Sam saying, come out demo, getting many

702
00:33:45,920 --> 00:33:51,480
Speaker 1: cold Come Come Come. That is such a good song.

703
00:33:51,720 --> 00:33:55,120
Speaker 1: Like of all the Kenny songs, that one and you

704
00:33:55,160 --> 00:33:59,160
Speaker 1: went Tequila, but that come Over, that's that's a jamp.

705
00:33:59,240 --> 00:34:01,040
Speaker 1: And I'm not a huge Kenny like, I don't listen

706
00:34:01,040 --> 00:34:03,680
Speaker 1: to Kenny a lot by myself, but when it comes

707
00:34:03,720 --> 00:34:05,080
Speaker 1: to the songs of Kenny thought, I well, listen to

708
00:34:05,120 --> 00:34:06,520
Speaker 1: by myself, this is one of them, like, you guys

709
00:34:06,520 --> 00:34:08,080
Speaker 1: did a good job. You don't need me to say this,

710
00:34:08,080 --> 00:34:09,520
Speaker 1: but you guys did a good job. Like this left

711
00:34:10,040 --> 00:34:13,400
Speaker 1: is a good appreciate So was that ever a thought

712
00:34:13,400 --> 00:34:16,040
Speaker 1: of when di did Sam want to keep come over? Well?

713
00:34:16,080 --> 00:34:19,879
Speaker 1: So again that was early on. And when we wrote

714
00:34:19,880 --> 00:34:21,640
Speaker 1: this song with Sam, he had a different producer. This

715
00:34:21,680 --> 00:34:23,600
Speaker 1: was before I don't even think Sam had met Zak

716
00:34:23,600 --> 00:34:26,600
Speaker 1: Crowley yet, and he was working with a different producer

717
00:34:26,640 --> 00:34:28,680
Speaker 1: and they were trying to make Sam more country because

718
00:34:28,719 --> 00:34:29,840
Speaker 1: you know, at the at the root of all that,

719
00:34:29,920 --> 00:34:34,480
Speaker 1: Sam's Georgia boy, and he's got a country voice, um,

720
00:34:34,560 --> 00:34:37,440
Speaker 1: and he writes about country things, and so his producer

721
00:34:37,480 --> 00:34:41,280
Speaker 1: was trying to make him more uh not necessarily traditional country,

722
00:34:41,320 --> 00:34:44,560
Speaker 1: but just more country. And we wrote this song was

723
00:34:44,680 --> 00:34:48,360
Speaker 1: Shane mcinally, Sam and I and we were all excited

724
00:34:48,360 --> 00:34:49,719
Speaker 1: about it and we went in and cut a demo

725
00:34:49,840 --> 00:34:52,000
Speaker 1: on it, and the producer was like, you know, I

726
00:34:52,080 --> 00:34:53,720
Speaker 1: really liked the song, I just don't think it fits

727
00:34:53,719 --> 00:34:57,319
Speaker 1: Sam and and I was kind of devastated. I was like, man,

728
00:34:57,360 --> 00:34:59,279
Speaker 1: because I loved Sam's voice and I thought, man, this

729
00:34:59,320 --> 00:35:01,440
Speaker 1: feels like the turning point. It feels like we just

730
00:35:01,480 --> 00:35:03,800
Speaker 1: found something because we've written a couple of songs with

731
00:35:03,840 --> 00:35:05,400
Speaker 1: him and then we wrote this and it felt like

732
00:35:05,600 --> 00:35:08,439
Speaker 1: we had sort of cracked open something and gone, here's

733
00:35:08,480 --> 00:35:12,040
Speaker 1: the sound here and um. At the time, Sam was

734
00:35:12,080 --> 00:35:15,719
Speaker 1: managed by Clint Higham, who manages Kenny, and Clint really

735
00:35:15,719 --> 00:35:18,839
Speaker 1: loved the song too, and and he was he was

736
00:35:18,920 --> 00:35:20,840
Speaker 1: really excited about that particular song. And I think he

737
00:35:20,920 --> 00:35:22,920
Speaker 1: sent it to Kenny, not pitching it to Kenny, but

738
00:35:22,920 --> 00:35:24,239
Speaker 1: he sent it to him and said, Hey, this is

739
00:35:24,280 --> 00:35:26,839
Speaker 1: this new kid Sam I'm working with. Just check out

740
00:35:26,880 --> 00:35:29,080
Speaker 1: where he's going. I think he's starting to tap into something.

741
00:35:29,640 --> 00:35:32,279
Speaker 1: And Kenny heard the song and said, I love this song.

742
00:35:32,320 --> 00:35:34,759
Speaker 1: Could I could I have this song? And you have

743
00:35:34,800 --> 00:35:38,680
Speaker 1: to think about it. I mean I didn't, but I

744
00:35:38,719 --> 00:35:42,080
Speaker 1: remember Sam calling me and he said, what what should

745
00:35:42,120 --> 00:35:43,880
Speaker 1: we do? I mean, obviously this is a song that

746
00:35:44,080 --> 00:35:48,439
Speaker 1: you know means a lot to me too, And I said, uh,

747
00:35:49,000 --> 00:35:50,759
Speaker 1: do what do what's best for you And I'll be

748
00:35:50,800 --> 00:35:52,799
Speaker 1: okay either way if you need the song, if you

749
00:35:52,840 --> 00:35:55,000
Speaker 1: feel like you need this song more than you need

750
00:35:55,040 --> 00:35:57,560
Speaker 1: this cut, Because you know his aspiration was to be

751
00:35:57,560 --> 00:35:59,839
Speaker 1: an artist, I said, then I'm totally fine with that.

752
00:36:00,480 --> 00:36:03,279
Speaker 1: And if you are okay with letting Kenny go, letting

753
00:36:03,320 --> 00:36:05,120
Speaker 1: Kenny have it because it would be great exposure for you,

754
00:36:05,520 --> 00:36:08,040
Speaker 1: I'm great with that too. I will support you either

755
00:36:08,040 --> 00:36:09,839
Speaker 1: way you want to go. Because at this point we

756
00:36:09,840 --> 00:36:12,640
Speaker 1: were we're friends, like we had a relationship, and it

757
00:36:12,680 --> 00:36:15,600
Speaker 1: was more you know, when you have a friend, you

758
00:36:15,680 --> 00:36:17,239
Speaker 1: kind of like, I want to do what's best for you.

759
00:36:17,320 --> 00:36:19,719
Speaker 1: I want you to get out of this what you

760
00:36:19,760 --> 00:36:21,920
Speaker 1: need out of it, and um, and he was just

761
00:36:22,120 --> 00:36:24,600
Speaker 1: really open and said, you know, I love Kenny Chasney

762
00:36:24,719 --> 00:36:26,279
Speaker 1: and it would be amazing to hear him on a

763
00:36:26,320 --> 00:36:28,759
Speaker 1: song of mine. And and again at that point, I

764
00:36:28,760 --> 00:36:31,040
Speaker 1: think Shane had had one number one at that point,

765
00:36:31,400 --> 00:36:34,080
Speaker 1: and and Sam and I hadn't had anything. And so

766
00:36:34,280 --> 00:36:36,279
Speaker 1: Sam was like, let's if he wants it, let's let

767
00:36:36,320 --> 00:36:43,080
Speaker 1: him have it. Here's the demo again, one you can

768
00:36:43,200 --> 00:36:45,279
Speaker 1: even in the Kenny version here Sam, though once you

769
00:36:45,360 --> 00:36:48,680
Speaker 1: know Sam, you can still hear Sam and a little

770
00:36:48,680 --> 00:36:53,560
Speaker 1: bit of the verse. The phrasing. That's what I was

771
00:36:53,560 --> 00:36:56,799
Speaker 1: said too. From feeling like we found something was that

772
00:36:56,960 --> 00:37:00,480
Speaker 1: phrasing that sound. Sam kind of came in with that thing.

773
00:37:00,480 --> 00:37:01,960
Speaker 1: He was like, I want the verse to do this

774
00:37:02,040 --> 00:37:05,560
Speaker 1: thing and um, and you know it's funny with that song.

775
00:37:05,640 --> 00:37:08,359
Speaker 1: The hook of it, the come over, come over, coome over.

776
00:37:08,400 --> 00:37:12,359
Speaker 1: It was an accident. We had written this song all

777
00:37:12,440 --> 00:37:14,960
Speaker 1: day and we thought it just needs a simple title,

778
00:37:15,200 --> 00:37:18,280
Speaker 1: and so originally the hook just went getting any colder,

779
00:37:18,760 --> 00:37:21,600
Speaker 1: come over like that was all we were doing. So

780
00:37:21,600 --> 00:37:23,160
Speaker 1: when we're laying down the work tape at the end

781
00:37:23,200 --> 00:37:25,839
Speaker 1: of the day, just so we remember the song as

782
00:37:25,840 --> 00:37:29,080
Speaker 1: we're playing the outro, Sam goes, come o over coome

783
00:37:29,120 --> 00:37:31,400
Speaker 1: o over coome oh over coome o over coome over,

784
00:37:31,800 --> 00:37:33,560
Speaker 1: and I like stopped playing the guitar and Shane I

785
00:37:33,600 --> 00:37:35,160
Speaker 1: looked at each other and we're like, what was that

786
00:37:35,440 --> 00:37:38,000
Speaker 1: and he goes, it was just an outro thing I

787
00:37:38,040 --> 00:37:39,640
Speaker 1: was thinking about doing. I won't do it if you

788
00:37:39,640 --> 00:37:43,240
Speaker 1: think it's distracting, and Shane said, no, I think that's

789
00:37:43,320 --> 00:37:45,680
Speaker 1: the hook. I think when you do that every time,

790
00:37:46,200 --> 00:37:47,879
Speaker 1: every time it comes aroundy of the course, you say

791
00:37:47,920 --> 00:37:51,680
Speaker 1: it like five times like that, And so that really

792
00:37:51,719 --> 00:37:53,160
Speaker 1: became the whole hook of that song. And it was

793
00:37:53,160 --> 00:37:55,839
Speaker 1: sort of a happy little accident that fell out happy

794
00:37:55,840 --> 00:38:01,440
Speaker 1: little accidents. I love this, you know, here's this one

795
00:38:02,400 --> 00:38:05,480
Speaker 1: Blake Shelton Sangarrea. But by the way, the raging it

796
00:38:05,680 --> 00:38:07,600
Speaker 1: is that we're doing our in our parody stage. We

797
00:38:07,680 --> 00:38:12,440
Speaker 1: did Tortilla, Huge, Hit, Monster, Hit, frust We stall your

798
00:38:12,440 --> 00:38:14,439
Speaker 1: song made Monster, I love it. Weren't making the money

799
00:38:14,440 --> 00:38:17,439
Speaker 1: off of it, don't worry. Well, I just don't play

800
00:38:17,480 --> 00:38:21,839
Speaker 1: that things because hold on, it's like, uh e minor CG.

801
00:38:22,200 --> 00:38:24,160
Speaker 1: Is that what it is? No? No, no, no no

802
00:38:24,160 --> 00:38:28,040
Speaker 1: no no, yeah, yeah, yeah, I'll play that. Sometimes I'll

803
00:38:28,040 --> 00:38:32,160
Speaker 1: pop out the old Yeah. Sometimes if I'll just stand

804
00:38:32,280 --> 00:38:34,879
Speaker 1: up and if I'm like bombing, like if people don't

805
00:38:34,920 --> 00:38:36,560
Speaker 1: they're not feeling me, I'm like I'll be like, all right,

806
00:38:36,600 --> 00:38:39,080
Speaker 1: let me played Tortilla. Sometimes you gotta play the hits.

807
00:38:39,080 --> 00:38:40,520
Speaker 1: How do you feel about that? How do you feel

808
00:38:40,520 --> 00:38:43,560
Speaker 1: like getting parodied? Oh? I mean, I think it's awesome.

809
00:38:43,760 --> 00:38:45,480
Speaker 1: But to have a song that's like big enough for

810
00:38:45,520 --> 00:38:48,440
Speaker 1: people to care enough to parody and I think it's awesome.

811
00:38:48,640 --> 00:38:50,000
Speaker 1: Come on, when you heard it the first time it

812
00:38:50,080 --> 00:38:53,280
Speaker 1: was stupid or I don't know. Honestly, I'm being very serious.

813
00:38:53,320 --> 00:38:55,600
Speaker 1: I think it's great that it's like if the song

814
00:38:55,680 --> 00:38:57,239
Speaker 1: is big enough for people like it, enough to do

815
00:38:57,280 --> 00:38:59,960
Speaker 1: a parody of it. I mean, why not, man, that's

816
00:39:00,000 --> 00:39:02,759
Speaker 1: what I like to hear. Why here's Josh sing and

817
00:39:02,800 --> 00:39:10,280
Speaker 1: Sangrio back then Big sad, skin is big and kiss.

818
00:39:13,160 --> 00:39:22,040
Speaker 1: I like this vergeon better with its stilaxin sta slaxin

819
00:39:23,600 --> 00:39:29,200
Speaker 1: so sexy. Yeah, you know that song you wrote. I

820
00:39:29,200 --> 00:39:31,840
Speaker 1: felt like kind of got robbed just because I listen.

821
00:39:31,960 --> 00:39:35,000
Speaker 1: If anyone has fights the radio, it's me like, I

822
00:39:35,080 --> 00:39:37,759
Speaker 1: fight with myself, not myself. I fight with my own

823
00:39:38,719 --> 00:39:40,680
Speaker 1: that way. When I have opinions. People know if I'm like,

824
00:39:41,000 --> 00:39:43,120
Speaker 1: this is awesome, they know that I've also said stuff

825
00:39:43,160 --> 00:39:45,800
Speaker 1: sucks too. What song I felt kind of got a

826
00:39:45,880 --> 00:39:48,440
Speaker 1: raw deal that you wrote was this one right here

827
00:39:49,239 --> 00:39:52,760
Speaker 1: random bis As far as what a great song, people

828
00:39:52,760 --> 00:39:55,160
Speaker 1: didn't know what to do with it. They just it

829
00:39:55,280 --> 00:39:58,280
Speaker 1: was so odd, but it was awesome, but they were sure.

830
00:39:58,480 --> 00:40:01,560
Speaker 1: Radio program directors a lot of we're scared because they're like, oh,

831
00:40:01,640 --> 00:40:03,239
Speaker 1: if I don't know what to do, so I'm just

832
00:40:03,280 --> 00:40:05,759
Speaker 1: gonna get away from it and go back to what's

833
00:40:05,760 --> 00:40:08,320
Speaker 1: familiar and comfortable. And I felt like the song was

834
00:40:08,400 --> 00:40:11,440
Speaker 1: so good, but it was a little uncomfortable. Well twenty

835
00:40:11,480 --> 00:40:14,320
Speaker 1: seconds of acapella at the beginning. The Sam stuff was uncomfortable.

836
00:40:14,320 --> 00:40:16,240
Speaker 1: It took that Sam stuff took forever. But I felt

837
00:40:16,280 --> 00:40:19,239
Speaker 1: like that Vie. I felt like Vice really took in

838
00:40:19,280 --> 00:40:22,200
Speaker 1: the butt. It's that song should have. Really, I appreciate

839
00:40:22,239 --> 00:40:26,240
Speaker 1: you saying that. I'm very proud of it, and she um.

840
00:40:26,360 --> 00:40:29,080
Speaker 1: She is an amazing songwriter. Like I don't know if

841
00:40:29,440 --> 00:40:32,839
Speaker 1: you wrote that with her. And it was the first

842
00:40:32,840 --> 00:40:34,920
Speaker 1: time either of us had written with her, like Shane,

843
00:40:35,640 --> 00:40:37,600
Speaker 1: excuse me, Shane had had a song with her Mom's

844
00:40:37,640 --> 00:40:41,080
Speaker 1: Broken Heart, but I'd never i'd't even had a cut

845
00:40:41,120 --> 00:40:43,239
Speaker 1: with her or anything. But she came in to write

846
00:40:43,239 --> 00:40:46,000
Speaker 1: with us one day. And it was actually around when

847
00:40:46,000 --> 00:40:47,480
Speaker 1: all the stuff was coming out about her and Blake

848
00:40:47,480 --> 00:40:50,880
Speaker 1: getting divorced, and so we is that kind of I

849
00:40:50,880 --> 00:40:54,400
Speaker 1: get it kind of because because we were it was

850
00:40:54,440 --> 00:40:57,560
Speaker 1: all kind of hitting the fans, so to speak. And

851
00:40:57,560 --> 00:41:00,560
Speaker 1: and she's a pro. She just showed up and she

852
00:41:00,680 --> 00:41:02,719
Speaker 1: was like, hey, I'm here to write. I mean, we

853
00:41:02,719 --> 00:41:06,279
Speaker 1: gotta get this stuff out. We gotta write and she

854
00:41:06,560 --> 00:41:09,480
Speaker 1: um that song in particular. I was so proud of

855
00:41:09,480 --> 00:41:11,880
Speaker 1: it because we you know, Shane and I again, or

856
00:41:11,920 --> 00:41:14,000
Speaker 1: we don't know her that well. She's going through this

857
00:41:14,160 --> 00:41:17,160
Speaker 1: sort of traumatic thing in her life. We're trying to

858
00:41:17,320 --> 00:41:19,880
Speaker 1: with kid gloves be like, would you say that, I

859
00:41:19,880 --> 00:41:21,400
Speaker 1: mean when you are you okay with saying that? And

860
00:41:21,440 --> 00:41:23,319
Speaker 1: she would say, I would absolutely say that, Let's do

861
00:41:23,360 --> 00:41:27,160
Speaker 1: it because we're we're trying not to push her um

862
00:41:27,840 --> 00:41:30,239
Speaker 1: into saying something she's uncomfortable with her, or pushing her

863
00:41:30,239 --> 00:41:32,200
Speaker 1: too far. And she was. She was game for all

864
00:41:32,239 --> 00:41:34,279
Speaker 1: of it. What song are yours? Do you feel like

865
00:41:34,880 --> 00:41:37,759
Speaker 1: you chase now? You're like, man, that was my song?

866
00:41:37,880 --> 00:41:39,680
Speaker 1: Like it doesn't have to even be a huge be

867
00:41:39,800 --> 00:41:41,600
Speaker 1: like I wrote this that that's and you're like, man,

868
00:41:41,640 --> 00:41:43,600
Speaker 1: if I could just get that again, like that was

869
00:41:43,640 --> 00:41:46,799
Speaker 1: the bottle song. One of those for me is uh

870
00:41:47,320 --> 00:41:50,600
Speaker 1: John Cougar, John, Dear John? And when that when you

871
00:41:50,640 --> 00:41:53,640
Speaker 1: wrote that one? Was it? Like? Is it like you

872
00:41:53,719 --> 00:42:01,120
Speaker 1: felt it? Yeah? What about it? The lyric, it's not

873
00:42:01,200 --> 00:42:04,200
Speaker 1: a linear lyric. And one of the things I love

874
00:42:04,239 --> 00:42:07,680
Speaker 1: about other genres Country music, traditional countries my favorite music.

875
00:42:08,400 --> 00:42:09,920
Speaker 1: But one of the thing I love about other genres

876
00:42:10,000 --> 00:42:14,000
Speaker 1: is they don't feel this um. They don't feel compelled

877
00:42:14,040 --> 00:42:16,480
Speaker 1: to write everything in a straight line like we do

878
00:42:16,560 --> 00:42:18,879
Speaker 1: in country. And that's what I love about this song.

879
00:42:19,080 --> 00:42:21,560
Speaker 1: They're just scattershot images and these things that are just

880
00:42:22,080 --> 00:42:24,799
Speaker 1: Marilyn Monroe in the Garden of Eden, Like, I don't

881
00:42:24,840 --> 00:42:26,239
Speaker 1: know what that means, but at the same time, I

882
00:42:26,280 --> 00:42:28,560
Speaker 1: knew exactly what that means. It almost felt to me

883
00:42:28,600 --> 00:42:30,040
Speaker 1: like the first time I heard it again, just a

884
00:42:30,080 --> 00:42:32,279
Speaker 1: fans interpretation of it. When I was hearing and you

885
00:42:32,320 --> 00:42:35,760
Speaker 1: mentioned those two things, there are a couple of songs. Uh,

886
00:42:35,760 --> 00:42:38,839
Speaker 1: like we didn't start to fire, huh. You know, it's

887
00:42:38,840 --> 00:42:41,400
Speaker 1: just it's just a lot of stuff and it doesn't

888
00:42:41,400 --> 00:42:43,600
Speaker 1: make sense separately, but when you put it together, you're like, oh,

889
00:42:43,600 --> 00:42:45,040
Speaker 1: this all kind of makes sense. Once you put it

890
00:42:45,040 --> 00:42:47,239
Speaker 1: all into the world as we know it r a

891
00:42:47,400 --> 00:42:51,879
Speaker 1: m same kind of feeling. Stop and you're like, what's also, Yeah,

892
00:42:52,200 --> 00:42:54,360
Speaker 1: what's all this happening? And you're like, Okay, once you

893
00:42:54,400 --> 00:42:56,239
Speaker 1: put it all together, it's like it does kind of

894
00:42:56,239 --> 00:42:58,600
Speaker 1: a cow it's the end of the world as we

895
00:42:58,680 --> 00:43:00,840
Speaker 1: know it, And you're like, yeah, I did feel that

896
00:43:00,880 --> 00:43:02,520
Speaker 1: way about this song too. It's funny you say that.

897
00:43:02,640 --> 00:43:04,400
Speaker 1: I would have never said linear because I'm not smart

898
00:43:04,400 --> 00:43:07,479
Speaker 1: like you and a kind of song writing, but I did.

899
00:43:08,160 --> 00:43:09,960
Speaker 1: And that's that's interesting that you felt like it was

900
00:43:10,040 --> 00:43:14,560
Speaker 1: written in a slightly different formula. Well, and and and even,

901
00:43:14,719 --> 00:43:16,839
Speaker 1: and it's very slight the difference in it. But like

902
00:43:16,920 --> 00:43:19,480
Speaker 1: so much in country music, we feel like we have

903
00:43:19,560 --> 00:43:23,160
Speaker 1: to write to the hook of the song, the lyrical

904
00:43:23,160 --> 00:43:24,719
Speaker 1: hook of the song. And I think on that song

905
00:43:24,760 --> 00:43:27,640
Speaker 1: in particular, we kind of wrote about the hook as

906
00:43:27,680 --> 00:43:30,040
Speaker 1: opposed to feeling like every line has to feed into it,

907
00:43:30,120 --> 00:43:33,279
Speaker 1: every line has to explain it. We just sort of

908
00:43:33,280 --> 00:43:36,640
Speaker 1: thought that line says it all. It's like growing up

909
00:43:37,320 --> 00:43:39,799
Speaker 1: reading the Bible, growing up on John Cougar music, growing

910
00:43:39,880 --> 00:43:41,799
Speaker 1: up on a farm. I mean, that's what that song

911
00:43:41,920 --> 00:43:45,240
Speaker 1: is all about, grow up in a small town. And

912
00:43:45,280 --> 00:43:46,879
Speaker 1: once you have that line, you can kind of put

913
00:43:46,920 --> 00:43:53,280
Speaker 1: anything around it. What is it that you do to stay? I?

914
00:43:53,280 --> 00:43:55,640
Speaker 1: I work. I played country music for five hours a day.

915
00:43:55,719 --> 00:43:57,960
Speaker 1: I had my favorite like they just released what you've

916
00:43:58,040 --> 00:43:59,880
Speaker 1: listened to most lists, like on your computer, and it

917
00:43:59,920 --> 00:44:05,000
Speaker 1: was Um. Obviously Lindsay and I are close friends, Lindsay

918
00:44:05,000 --> 00:44:07,080
Speaker 1: all and I and and I was so close to

919
00:44:07,120 --> 00:44:09,320
Speaker 1: that album. So that's my number one listened to artists.

920
00:44:09,760 --> 00:44:11,600
Speaker 1: But Stapleton, it was Ed Sheer, and it was John

921
00:44:11,640 --> 00:44:14,600
Speaker 1: Mayer that was those are like that. I'm forgetting somebody

922
00:44:14,600 --> 00:44:17,040
Speaker 1: else too, but those are the top people that I've

923
00:44:17,120 --> 00:44:19,960
Speaker 1: listened to this year. What do you listen to outside

924
00:44:19,960 --> 00:44:22,719
Speaker 1: of country, because again, I played all day long, so

925
00:44:22,840 --> 00:44:25,640
Speaker 1: sometimes I just turned on talking podcasts and and get

926
00:44:25,640 --> 00:44:27,920
Speaker 1: away from it. I listened to a lot of podcasts. Yeah,

927
00:44:28,000 --> 00:44:30,960
Speaker 1: Like in the car, I um, I don't listen to

928
00:44:31,040 --> 00:44:32,880
Speaker 1: music a lot because I've worked all day. Like if

929
00:44:33,120 --> 00:44:35,160
Speaker 1: that's how I feel about there in the morning, exactly

930
00:44:35,200 --> 00:44:36,880
Speaker 1: the same way, because you're going for five hours and

931
00:44:36,880 --> 00:44:38,600
Speaker 1: play songs that I go in for for five or

932
00:44:38,600 --> 00:44:41,040
Speaker 1: six hours and write on a song and and typically

933
00:44:41,080 --> 00:44:42,839
Speaker 1: by the end of it, and I know, look, I'm

934
00:44:42,840 --> 00:44:44,600
Speaker 1: not trying to say this is a hard job. It's not.

935
00:44:44,680 --> 00:44:47,120
Speaker 1: It's just a different kind of job. It's it's more

936
00:44:47,160 --> 00:44:49,719
Speaker 1: mentally exhausting. Like you're thinking the whole day, this has

937
00:44:49,760 --> 00:44:51,640
Speaker 1: to connect with this, and it's it's like putting. It's

938
00:44:51,680 --> 00:44:53,080
Speaker 1: like if every day you went to your job and

939
00:44:53,080 --> 00:44:56,000
Speaker 1: your job was to put a puzzle together, and and

940
00:44:56,440 --> 00:44:58,440
Speaker 1: at the end of that day, when you're done with

941
00:44:58,440 --> 00:45:00,279
Speaker 1: the puzzle, you'd be like I just we go home

942
00:45:00,320 --> 00:45:02,400
Speaker 1: and eat some pizza or something to watch TV and

943
00:45:02,440 --> 00:45:04,719
Speaker 1: so a lot of times in the car, even I um,

944
00:45:04,840 --> 00:45:06,799
Speaker 1: I listen to podcasts or I listen to books a lot,

945
00:45:06,800 --> 00:45:08,919
Speaker 1: like audio books and things. Do you feel like that's cheating?

946
00:45:08,920 --> 00:45:11,080
Speaker 1: Because I listen to audio books too, And then when

947
00:45:11,120 --> 00:45:13,120
Speaker 1: someone's like, hey, what have you read, I'm like, oh,

948
00:45:13,160 --> 00:45:15,080
Speaker 1: I read that, you know? Well, I will tell you

949
00:45:15,080 --> 00:45:17,160
Speaker 1: this about myself. If this gives you a window into it.

950
00:45:17,239 --> 00:45:19,600
Speaker 1: I'd never tell anybody I listened to a book. I'll say, oh,

951
00:45:19,640 --> 00:45:22,040
Speaker 1: I read that, you know, So you don't feel like

952
00:45:22,040 --> 00:45:24,480
Speaker 1: it's cheating, or you do, and you just I do,

953
00:45:24,560 --> 00:45:26,320
Speaker 1: and I lie, And I think I do feel like

954
00:45:26,320 --> 00:45:30,799
Speaker 1: it's cheating because you're still consuming the same information. I mean,

955
00:45:30,960 --> 00:45:34,360
Speaker 1: I'm with you, like if I you Seinfeld, I know

956
00:45:34,400 --> 00:45:36,680
Speaker 1: your friends from your Seinfeld. Remember the whole thing with

957
00:45:36,719 --> 00:45:38,600
Speaker 1: Castanza where he said I can't read a book because

958
00:45:38,600 --> 00:45:40,440
Speaker 1: it's in my own voice, but if somebody, if I

959
00:45:40,440 --> 00:45:42,439
Speaker 1: could get a book on tape, it's in someone else's voice.

960
00:45:42,640 --> 00:45:45,160
Speaker 1: I think I have that thought. I hear enough nonsense

961
00:45:45,239 --> 00:45:47,680
Speaker 1: in my own voice, you know, if I can hear

962
00:45:47,719 --> 00:45:50,920
Speaker 1: someone else explain the same information to me, all the better.

963
00:45:51,560 --> 00:45:53,600
Speaker 1: So I listen to the podcast see which one. The

964
00:45:53,600 --> 00:45:55,800
Speaker 1: one I really like is I don't know what you

965
00:45:55,880 --> 00:45:59,799
Speaker 1: listened to, but um, I like the one that NPR does.

966
00:46:00,040 --> 00:46:01,440
Speaker 1: It's called How I Built This? Do you ever listen

967
00:46:01,800 --> 00:46:03,560
Speaker 1: How I Built this? Man? I listened to the one

968
00:46:03,600 --> 00:46:06,600
Speaker 1: on five hour energy but the guy who who who

969
00:46:06,680 --> 00:46:10,360
Speaker 1: invented five hour energy? And I did that one I

970
00:46:10,400 --> 00:46:13,120
Speaker 1: did Alvin and the Chipmunks where they talked about how

971
00:46:13,160 --> 00:46:16,160
Speaker 1: that happened. It was like, I love but it's probably

972
00:46:16,200 --> 00:46:18,480
Speaker 1: why I love doing this. Like when I started this podcast,

973
00:46:18,520 --> 00:46:20,640
Speaker 1: it wasn't to reach some mass amount of audience like this.

974
00:46:20,760 --> 00:46:22,640
Speaker 1: It was an accident. The fact that the thing is

975
00:46:22,680 --> 00:46:26,960
Speaker 1: bown up is a complete accident. It's a heavy, little accident,

976
00:46:27,560 --> 00:46:29,880
Speaker 1: and so but I was just passionate about it. I

977
00:46:29,920 --> 00:46:33,000
Speaker 1: was like, man, I love that. Second, I love songwriters, producers.

978
00:46:33,200 --> 00:46:35,560
Speaker 1: I don't think people know about this, and the people

979
00:46:35,600 --> 00:46:37,239
Speaker 1: that want to know, we're gonna be super served and

980
00:46:37,239 --> 00:46:39,920
Speaker 1: then everybody else is not gonna pay any attention to it.

981
00:46:40,040 --> 00:46:41,920
Speaker 1: But I was surprised, and I'm surprised when they were,

982
00:46:41,920 --> 00:46:46,239
Speaker 1: like I genuinely was. And so the podcast like that,

983
00:46:46,480 --> 00:46:48,959
Speaker 1: like that How I Built this? The nerdut I listened

984
00:46:49,000 --> 00:46:50,920
Speaker 1: to that sometimes I've listened to a couple of times.

985
00:46:51,120 --> 00:46:54,320
Speaker 1: I listened to UM a lot of times on trips.

986
00:46:54,320 --> 00:46:58,160
Speaker 1: I love the podcasts that are like Cereal so you

987
00:46:58,239 --> 00:47:00,560
Speaker 1: like the episode of ones I do. But I also

988
00:47:00,640 --> 00:47:02,399
Speaker 1: loved like UM. I haven't listened it in a long time,

989
00:47:02,480 --> 00:47:04,440
Speaker 1: so I say loved. But I used to listen to

990
00:47:04,600 --> 00:47:07,319
Speaker 1: UM Here's the Thing a lot with Alec Baldwin because

991
00:47:07,320 --> 00:47:11,520
Speaker 1: he would interview just interesting people like it wouldn't all

992
00:47:11,600 --> 00:47:14,080
Speaker 1: be actors, it would be people from different walks of

993
00:47:14,080 --> 00:47:16,640
Speaker 1: of different successes and things. He would interview musicians, he

994
00:47:16,640 --> 00:47:19,560
Speaker 1: would interview actors or whatever. But it was very similar

995
00:47:19,560 --> 00:47:20,839
Speaker 1: to this, and it was just kind of a peek

996
00:47:20,880 --> 00:47:24,120
Speaker 1: behind the curtain. Yeah. I also felt like podcasts like

997
00:47:24,160 --> 00:47:26,080
Speaker 1: reading a book, like I'm learning, so I don't feel

998
00:47:26,080 --> 00:47:28,319
Speaker 1: like I'm wasting my time. No, I agree. What kind

999
00:47:28,360 --> 00:47:30,360
Speaker 1: of music do you listen to it that isn't country?

1000
00:47:31,000 --> 00:47:32,640
Speaker 1: I listened to a little bit of everything. I listened

1001
00:47:32,640 --> 00:47:36,200
Speaker 1: to a lot of Lightning One. Yeah, because it's it's

1002
00:47:36,239 --> 00:47:39,080
Speaker 1: just UM, it's country music without country. I mean, it

1003
00:47:39,280 --> 00:47:42,680
Speaker 1: is just real. It's a triple A format or whatever

1004
00:47:42,760 --> 00:47:44,719
Speaker 1: you want to call a format. And I'll get started

1005
00:47:44,719 --> 00:47:46,239
Speaker 1: on formats, and I'll drive you crazy because I have

1006
00:47:46,280 --> 00:47:49,080
Speaker 1: this whole thing. Formats are stupid and the phone is

1007
00:47:49,080 --> 00:47:50,840
Speaker 1: all in any format. It's a whole thing, right, I

1008
00:47:50,840 --> 00:47:53,560
Speaker 1: could do a book on it. But yes, I also

1009
00:47:53,640 --> 00:47:56,200
Speaker 1: enjoy Lightning one Hunter because that's just music. It is, yeah,

1010
00:47:56,239 --> 00:47:59,120
Speaker 1: and it's um and it's a great way to discover stuff.

1011
00:47:59,280 --> 00:48:01,720
Speaker 1: Like there's a band called Lord Huron that I've recently

1012
00:48:02,160 --> 00:48:04,960
Speaker 1: got into and I've discovered them on Lighting one hundred.

1013
00:48:05,480 --> 00:48:09,040
Speaker 1: Um um the National Sorry, I can remember the event

1014
00:48:09,120 --> 00:48:11,640
Speaker 1: I discovered those those guys through Lighting one hundred. It's

1015
00:48:11,680 --> 00:48:13,480
Speaker 1: just a lot of music that's like not what I

1016
00:48:13,520 --> 00:48:15,879
Speaker 1: hear every day, and it's music that bleeds over into

1017
00:48:15,960 --> 00:48:19,040
Speaker 1: my music. I think it's stuff that gets me excited

1018
00:48:19,080 --> 00:48:21,600
Speaker 1: creatively or or or or I love so much a

1019
00:48:21,640 --> 00:48:25,000
Speaker 1: turn of phrase. Um, like there's a line, and I

1020
00:48:25,040 --> 00:48:28,440
Speaker 1: love everything. I love so much music because I can

1021
00:48:28,440 --> 00:48:31,120
Speaker 1: find something in all of it and stuff. As you

1022
00:48:31,160 --> 00:48:33,360
Speaker 1: were born in napster age where we were, it was

1023
00:48:33,400 --> 00:48:36,160
Speaker 1: okay to different kinds of music. Well, you could access everything,

1024
00:48:36,200 --> 00:48:38,200
Speaker 1: You're right, I mean back in those days this was,

1025
00:48:38,920 --> 00:48:40,160
Speaker 1: like you said, you and out of the same age.

1026
00:48:40,200 --> 00:48:44,600
Speaker 1: We were just our our height of consuming music, like

1027
00:48:44,680 --> 00:48:46,480
Speaker 1: when we're just dying for it, like when you were

1028
00:48:46,760 --> 00:48:56,399
Speaker 1: this massive Creed fan, and I imagine, but we were.

1029
00:48:56,480 --> 00:48:59,600
Speaker 1: We were just prior to the iPod thing. And so

1030
00:48:59,760 --> 00:49:02,200
Speaker 1: I used to have all these burnt CDs at my

1031
00:49:02,239 --> 00:49:05,200
Speaker 1: house and it would be fifteen songs that wouldn't be

1032
00:49:05,200 --> 00:49:08,439
Speaker 1: the same artist twice, you know, and um, it would

1033
00:49:08,440 --> 00:49:12,680
Speaker 1: be Oasis and Blur and and it probably was a

1034
00:49:12,719 --> 00:49:14,919
Speaker 1: Creed song. I mean, obviously wasn't. I'm not gonna challenge

1035
00:49:14,960 --> 00:49:17,160
Speaker 1: your fanhood on that, but I'm doing a Creed song

1036
00:49:17,200 --> 00:49:18,799
Speaker 1: on there. But you know, so it would be a

1037
00:49:18,800 --> 00:49:21,680
Speaker 1: little mix of everything. And because of that, I think

1038
00:49:21,719 --> 00:49:24,880
Speaker 1: we come from that generation where all music was just music.

1039
00:49:25,040 --> 00:49:29,880
Speaker 1: It was just music. And so again my I tweeted

1040
00:49:29,880 --> 00:49:31,719
Speaker 1: and I get in trouble for tweets. Last night. I

1041
00:49:31,760 --> 00:49:33,719
Speaker 1: was tweeting because I was looking at and it said

1042
00:49:33,760 --> 00:49:36,319
Speaker 1: I had listened to twenty six different genres. First of all,

1043
00:49:36,600 --> 00:49:41,120
Speaker 1: that made genres. I didn't either. And even with radio John,

1044
00:49:41,320 --> 00:49:45,120
Speaker 1: the country genre is now because people will go, you know,

1045
00:49:45,400 --> 00:49:48,840
Speaker 1: play more traditional country, and again that and it's always

1046
00:49:48,880 --> 00:49:50,560
Speaker 1: been like that. And that's the thing first that people

1047
00:49:50,600 --> 00:49:52,960
Speaker 1: I guys have to realize is that this played traditional country.

1048
00:49:53,400 --> 00:49:55,759
Speaker 1: This isn't people now going, hey, the music you're doing

1049
00:49:55,800 --> 00:49:58,960
Speaker 1: now to progressive. It's always happened. Like I sat with

1050
00:49:59,040 --> 00:50:01,400
Speaker 1: Guards and he was He's like, man, people did this

1051
00:50:01,440 --> 00:50:03,680
Speaker 1: to me. They were like, you're not real country. Yeah,

1052
00:50:03,719 --> 00:50:06,040
Speaker 1: I'm so glad he knows that because that's the that's right.

1053
00:50:06,120 --> 00:50:07,440
Speaker 1: He's like, I came to town and people were like,

1054
00:50:07,440 --> 00:50:09,680
Speaker 1: what is this guy? This is not real country. So

1055
00:50:09,760 --> 00:50:11,799
Speaker 1: this is a and I've told the story before when

1056
00:50:11,800 --> 00:50:14,560
Speaker 1: my grandmash she went from Arkansas. When you're from Arkansas,

1057
00:50:14,640 --> 00:50:16,480
Speaker 1: you love Arkansas things because we don't have a lot.

1058
00:50:17,040 --> 00:50:20,160
Speaker 1: And so it's Glenn Campbell and Brooks Robinson, Thart, Basic

1059
00:50:20,200 --> 00:50:22,120
Speaker 1: for the Orioles and Johnny Cash. And so she went

1060
00:50:22,120 --> 00:50:24,320
Speaker 1: to a Johnny Cash concert and they were protesting outside

1061
00:50:24,320 --> 00:50:25,960
Speaker 1: because they were like, this is rock and roll. This

1062
00:50:26,040 --> 00:50:28,880
Speaker 1: is not country. The guy that we see as the

1063
00:50:28,960 --> 00:50:34,120
Speaker 1: quintessentil country artist country artists was told you aren't country.

1064
00:50:34,840 --> 00:50:36,319
Speaker 1: So this is the thing that happens all the time.

1065
00:50:36,440 --> 00:50:38,680
Speaker 1: But my point last night with my tweets that got

1066
00:50:38,840 --> 00:50:41,839
Speaker 1: so many people piste off at me was that it's

1067
00:50:42,040 --> 00:50:45,600
Speaker 1: country music is not the walls are shifting a bit too,

1068
00:50:45,600 --> 00:50:47,720
Speaker 1: more of we're kind of feeding a life group instead

1069
00:50:47,760 --> 00:50:52,000
Speaker 1: of a country group, because there's no country group. It

1070
00:50:52,120 --> 00:50:55,000
Speaker 1: used to be the music in the southeastern California, like

1071
00:50:55,080 --> 00:50:58,279
Speaker 1: that's where people really consumed country music, and it didn't

1072
00:50:58,320 --> 00:51:00,360
Speaker 1: go really into the big cities. It wasn't an urban

1073
00:51:00,560 --> 00:51:03,359
Speaker 1: population thing. But now when the digital age comes, we're

1074
00:51:03,400 --> 00:51:05,359
Speaker 1: all affected by this music we're hearing all the time,

1075
00:51:05,520 --> 00:51:08,040
Speaker 1: even subconsciously. We don't even have an idea, but we

1076
00:51:08,200 --> 00:51:11,200
Speaker 1: just this is what we know music as. And I

1077
00:51:11,239 --> 00:51:13,160
Speaker 1: think when people go, hey, look at Sam and I've

1078
00:51:13,800 --> 00:51:15,400
Speaker 1: it's easy to say it now because he's a monster,

1079
00:51:15,440 --> 00:51:17,680
Speaker 1: but I've always been a huge Stamp opponent because he's

1080
00:51:18,040 --> 00:51:20,600
Speaker 1: what country music is right now. But country music is

1081
00:51:20,600 --> 00:51:23,320
Speaker 1: a life group more than a format, right. I agree

1082
00:51:23,560 --> 00:51:25,759
Speaker 1: you're preaching to the choir. I think you're exactly right.

1083
00:51:26,200 --> 00:51:28,520
Speaker 1: I get asked that question a lot about Sam because

1084
00:51:28,600 --> 00:51:32,520
Speaker 1: I um have a relationship with him, and people will say,

1085
00:51:32,960 --> 00:51:35,720
Speaker 1: does it bother you when people say Sam Hunt's not country?

1086
00:51:36,239 --> 00:51:39,040
Speaker 1: And I'm so glad the Garth thing because one of

1087
00:51:39,080 --> 00:51:40,480
Speaker 1: the funniest things to me a couple of years ago,

1088
00:51:40,480 --> 00:51:43,560
Speaker 1: when Garth did the live TV show UM in Vegas,

1089
00:51:43,680 --> 00:51:47,200
Speaker 1: Yes Vegas, and the Facebook feed or Twitter everything, and

1090
00:51:47,280 --> 00:51:49,080
Speaker 1: it was all people saying, man, I miss the old

1091
00:51:49,120 --> 00:51:51,319
Speaker 1: days when country was country. And I just remember thinking

1092
00:51:51,360 --> 00:51:53,520
Speaker 1: when I first moved to town, even in the late nineties,

1093
00:51:53,520 --> 00:51:56,160
Speaker 1: it was still you know, well Garth Brooks is ruining

1094
00:51:56,160 --> 00:51:58,879
Speaker 1: country music, and you know so it's like you're right,

1095
00:51:59,000 --> 00:52:03,240
Speaker 1: time shifts everything and everything changes, but nothing changes. Everything

1096
00:52:03,320 --> 00:52:06,640
Speaker 1: changes and nothing changes. That's exactly right. So when people

1097
00:52:06,680 --> 00:52:08,759
Speaker 1: go with Sam Hunt's not country, I'm like, Sam one

1098
00:52:08,880 --> 00:52:11,320
Speaker 1: is exactly what the country music life group is, because

1099
00:52:11,320 --> 00:52:15,640
Speaker 1: look at this freaking show. Look a look at the

1100
00:52:15,680 --> 00:52:17,800
Speaker 1: people exactly, and they love it and they're there to

1101
00:52:17,880 --> 00:52:20,799
Speaker 1: have a good time. And it's like, I love the thing.

1102
00:52:20,840 --> 00:52:22,680
Speaker 1: As you said, it's it's more of a life group

1103
00:52:22,719 --> 00:52:24,880
Speaker 1: than a country group. It's more than a bunch of

1104
00:52:24,920 --> 00:52:27,279
Speaker 1: farmers it is. It's like, it's it's people that just hey,

1105
00:52:27,320 --> 00:52:29,759
Speaker 1: I like this guy's music. And that is a byproduct

1106
00:52:29,760 --> 00:52:32,399
Speaker 1: of the digital age, and I think it's again we're

1107
00:52:32,400 --> 00:52:34,759
Speaker 1: trying to figure out how digital streaming pays, but I

1108
00:52:34,840 --> 00:52:38,160
Speaker 1: think we're also still figuring out how digital streaming affects

1109
00:52:38,520 --> 00:52:40,600
Speaker 1: the country. I mean, the whole. I mean the country

1110
00:52:40,680 --> 00:52:43,560
Speaker 1: as a country because we all have access to the

1111
00:52:43,560 --> 00:52:45,800
Speaker 1: same music. You can be listening on a Spotify playlist

1112
00:52:45,880 --> 00:52:47,399
Speaker 1: and have edge here and in the next song could

1113
00:52:47,400 --> 00:52:49,440
Speaker 1: be body like a back Road and it's like, all

1114
00:52:49,440 --> 00:52:51,080
Speaker 1: of a sudden you're introduced to that and then people

1115
00:52:51,120 --> 00:52:55,600
Speaker 1: do like it. So I it's just an interesting time.

1116
00:52:55,680 --> 00:52:58,080
Speaker 1: And I'm with you on the genre thing. I don't know.

1117
00:52:58,680 --> 00:53:01,200
Speaker 1: We country music sometimes feels like we are such a

1118
00:53:01,320 --> 00:53:03,600
Speaker 1: rigid genre. I think we're one of the only ones

1119
00:53:03,640 --> 00:53:07,640
Speaker 1: that will chastise someone for Lett, he's not country, but

1120
00:53:07,719 --> 00:53:10,480
Speaker 1: he wants to be in this format, like he's he's

1121
00:53:10,520 --> 00:53:13,839
Speaker 1: good for this format. Why do we feel the need

1122
00:53:13,880 --> 00:53:15,920
Speaker 1: to push him out or you know, or whatever. I

1123
00:53:15,960 --> 00:53:18,960
Speaker 1: don't think anybody's saying Taylor Swifts not pop or Taylor

1124
00:53:19,000 --> 00:53:21,440
Speaker 1: Swifts not top forty radio, like we're not gonna play her,

1125
00:53:21,840 --> 00:53:24,879
Speaker 1: And I don't know why we. I mean, I guess fundamentally,

1126
00:53:25,080 --> 00:53:27,080
Speaker 1: people feel like we have to protect the past. We

1127
00:53:27,120 --> 00:53:29,520
Speaker 1: have to protect the history, and I'm all for that,

1128
00:53:29,920 --> 00:53:33,279
Speaker 1: but at the same time, don't, for lack of a

1129
00:53:33,320 --> 00:53:35,359
Speaker 1: better term, don't bite the hand that feeds you. Don't

1130
00:53:35,400 --> 00:53:38,200
Speaker 1: don't take these people that are bringing fans too country

1131
00:53:38,320 --> 00:53:41,000
Speaker 1: quote unquote country music. Don't push him out the door

1132
00:53:41,080 --> 00:53:43,040
Speaker 1: and go, well we don't want you here. Well, you're

1133
00:53:43,080 --> 00:53:45,759
Speaker 1: gonna kill the format. And it's not just music that

1134
00:53:45,880 --> 00:53:47,880
Speaker 1: this happens in. But if you don't stop, if you

1135
00:53:48,040 --> 00:53:53,080
Speaker 1: stop the growing, eventually it will die. And again, I

1136
00:53:53,120 --> 00:53:56,120
Speaker 1: came here because I was just arrogant enough to think, Okay,

1137
00:53:56,120 --> 00:54:00,000
Speaker 1: I can come and actually change some things and some ideas.

1138
00:54:00,120 --> 00:54:02,840
Speaker 1: And it was brutal for about all time. Even today

1139
00:54:03,160 --> 00:54:06,600
Speaker 1: it's always brutal. But I'm happy to take that on.

1140
00:54:07,080 --> 00:54:10,319
Speaker 1: But yeah, yeah, yeah, enough, I listen, you're not gonna

1141
00:54:10,320 --> 00:54:14,480
Speaker 1: just sit here and talk about the theory. Oh my goodness,

1142
00:54:14,520 --> 00:54:17,960
Speaker 1: because I am. I will go NonStop. I can't. I

1143
00:54:18,000 --> 00:54:20,719
Speaker 1: get missed so many fights with people. I think I'm

1144
00:54:20,800 --> 00:54:22,719
Speaker 1: the perfect person for this job because I have an

1145
00:54:22,719 --> 00:54:28,000
Speaker 1: absolute respect and history for classic country. Like so, I

1146
00:54:28,080 --> 00:54:29,640
Speaker 1: was just wanting much to adopted me for a while

1147
00:54:29,760 --> 00:54:31,120
Speaker 1: my mom a little bit, I got moved around a

1148
00:54:31,120 --> 00:54:34,239
Speaker 1: bit and so but it was you know, I was

1149
00:54:34,280 --> 00:54:37,279
Speaker 1: from Arkansas, so Arkansas things matter first. Because you just

1150
00:54:37,320 --> 00:54:39,719
Speaker 1: like you're from Kentucky. I'm sure you're a freaking Wildcat

1151
00:54:39,760 --> 00:54:45,359
Speaker 1: fan gag, right, because that's right, not on purpose. It's

1152
00:54:45,360 --> 00:54:48,319
Speaker 1: just not even sent of my clothes. It's just law

1153
00:54:48,360 --> 00:54:51,719
Speaker 1: of averages, pull up shirt and so are you know

1154
00:54:51,920 --> 00:54:54,000
Speaker 1: you from Arkansas? You love that first, but then it's

1155
00:54:54,320 --> 00:54:57,080
Speaker 1: you know, with her, it was records because she was

1156
00:54:56,719 --> 00:55:00,400
Speaker 1: It was the Hank Seniors, it was even Hank Junior

1157
00:55:00,640 --> 00:55:03,080
Speaker 1: in his early days. It was. But I grew up

1158
00:55:03,120 --> 00:55:05,600
Speaker 1: listening to all of this, and so I have so

1159
00:55:05,800 --> 00:55:09,279
Speaker 1: much respect for it. Yet I still have so much like,

1160
00:55:09,280 --> 00:55:12,719
Speaker 1: look at what's happening. They're like, I'm at least the

1161
00:55:12,840 --> 00:55:16,240
Speaker 1: right age to be the person to preach. Not everybody

1162
00:55:16,280 --> 00:55:19,239
Speaker 1: feels that way. John. I don't know if you've heard,

1163
00:55:19,280 --> 00:55:21,600
Speaker 1: but I can be polarizing. I'm a polarizing figure. I've

1164
00:55:21,600 --> 00:55:25,120
Speaker 1: seen the Twitter stuff. I want to talk about music.

1165
00:55:25,239 --> 00:55:27,759
Speaker 1: How about let's just hit a button here. What about

1166
00:55:27,800 --> 00:55:32,520
Speaker 1: this one? Girls? Recent recent number one for you? Most recent?

1167
00:55:33,120 --> 00:55:42,279
Speaker 1: Nicole is on this one. Welcome to the Mirror. That's

1168
00:55:42,320 --> 00:55:43,800
Speaker 1: somebody else was kind of crushing it right now. It

1169
00:55:43,840 --> 00:55:47,880
Speaker 1: is Nicole. She's doing fantastic. She's an amazing writer, and

1170
00:55:47,920 --> 00:55:49,680
Speaker 1: she talks to play Downey and she's like, you know,

1171
00:55:50,640 --> 00:55:52,560
Speaker 1: and just write a little bit my spare time. Oh

1172
00:55:52,640 --> 00:55:55,640
Speaker 1: I know, yeah, exactly. Well, I will say she does

1173
00:55:55,840 --> 00:55:58,160
Speaker 1: write in her spare time from making Instagram posts. So

1174
00:55:58,200 --> 00:56:01,040
Speaker 1: I think the greatest instagrams already maker I've ever seen.

1175
00:56:01,560 --> 00:56:03,839
Speaker 1: You know how we get inspired by, like I get

1176
00:56:03,840 --> 00:56:06,560
Speaker 1: inspired by comedians. You get inspired by like when I

1177
00:56:06,600 --> 00:56:11,400
Speaker 1: when it's Instagram storytime and I watched Nicole. Yeah, Nicole

1178
00:56:11,440 --> 00:56:14,319
Speaker 1: got she makes she has this been all the time.

1179
00:56:14,680 --> 00:56:17,399
Speaker 1: We're all making those Instagram stories. And and her kids

1180
00:56:17,400 --> 00:56:20,279
Speaker 1: are famous to me, like her and Shane's kids. Both

1181
00:56:20,320 --> 00:56:23,400
Speaker 1: they're famous to me. I said with a Shane on

1182
00:56:23,440 --> 00:56:26,719
Speaker 1: a flight, well one road behind them, and he was

1183
00:56:26,760 --> 00:56:29,080
Speaker 1: the first class and I wasn't. So I wasn't. I

1184
00:56:29,120 --> 00:56:32,319
Speaker 1: wasn't like almost first class, you know that one right

1185
00:56:32,320 --> 00:56:35,400
Speaker 1: behind the barrier, and Shane's kids at first class seats.

1186
00:56:37,160 --> 00:56:39,920
Speaker 1: This sounds about And I was like, come on, exactly,

1187
00:56:41,440 --> 00:56:47,040
Speaker 1: they don't in the same seat, like yeah, but on Instagram,

1188
00:56:47,320 --> 00:56:49,960
Speaker 1: Nicole and Shane's kids are famous to me. Absolutely. That's

1189
00:56:50,040 --> 00:56:52,279
Speaker 1: weird that social media makes me feel like people are

1190
00:56:52,280 --> 00:56:55,120
Speaker 1: famous because I followed people. You follow people you don't

1191
00:56:55,120 --> 00:56:56,919
Speaker 1: even know them, and you feel like you know them

1192
00:56:56,960 --> 00:57:00,320
Speaker 1: a little bit. Yeah, I mean, I'm not. I don't

1193
00:57:00,640 --> 00:57:03,399
Speaker 1: Instagram and stuff to the degree of like Shane, It's

1194
00:57:04,040 --> 00:57:06,120
Speaker 1: my whole purpose of my Instagram is just trying to

1195
00:57:06,160 --> 00:57:08,280
Speaker 1: be funny, Like I just try to putt like funny

1196
00:57:08,320 --> 00:57:10,480
Speaker 1: pictures one of my favorite things to do. If you

1197
00:57:10,520 --> 00:57:13,520
Speaker 1: ever go check it out. You mentioned Ashley Gorley earlier.

1198
00:57:13,560 --> 00:57:16,640
Speaker 1: I love Ashley Gorley. He's from Kentucky. He has no

1199
00:57:16,760 --> 00:57:19,400
Speaker 1: presence on social media, like he's not on Facebook, he's

1200
00:57:19,440 --> 00:57:21,960
Speaker 1: not on Instagram. So I started doing this thing, and

1201
00:57:21,960 --> 00:57:24,360
Speaker 1: I don't know why it started, but I would take

1202
00:57:24,400 --> 00:57:27,120
Speaker 1: the app where you can blow things up, so there

1203
00:57:27,120 --> 00:57:28,800
Speaker 1: would be a big picture of a group of riders,

1204
00:57:28,840 --> 00:57:30,600
Speaker 1: like a CMA triple play, And for some reason I

1205
00:57:30,600 --> 00:57:32,920
Speaker 1: decided to blow Ashley's head up in the picture, like

1206
00:57:33,000 --> 00:57:35,560
Speaker 1: really big, like a balloon. And so now every time

1207
00:57:35,640 --> 00:57:37,360
Speaker 1: actually has a number one or something, I'll post some

1208
00:57:37,360 --> 00:57:39,800
Speaker 1: pictures and I'll just and I'll never acknowledge it. I

1209
00:57:39,840 --> 00:57:41,640
Speaker 1: just blow his head up really big in the picture

1210
00:57:41,640 --> 00:57:43,680
Speaker 1: and his wife. At one point I forgot to do

1211
00:57:43,720 --> 00:57:45,440
Speaker 1: it for a couple of songs, and his wife texted

1212
00:57:45,480 --> 00:57:47,680
Speaker 1: me and said, you haven't gone soft on Ashley, have you.

1213
00:57:47,760 --> 00:57:52,000
Speaker 1: We've been waiting for another picture. So that's basically my

1214
00:57:52,160 --> 00:57:54,600
Speaker 1: extent of Instagram is that I'm just trying to make

1215
00:57:54,640 --> 00:57:58,080
Speaker 1: myself laugh. But here's this one. This is for I

1216
00:57:59,120 --> 00:58:14,760
Speaker 1: Graham here too. People said, gotta they're gonna win. I

1217
00:58:14,800 --> 00:58:18,400
Speaker 1: don't think. I mean, I don't know. I'm hoping either

1218
00:58:18,440 --> 00:58:21,280
Speaker 1: that every body like a background. I think. But listen,

1219
00:58:21,920 --> 00:58:24,440
Speaker 1: I know because I think I presented song of the

1220
00:58:24,520 --> 00:58:28,560
Speaker 1: Year at I did it in Taylor one for better Man.

1221
00:58:29,320 --> 00:58:31,080
Speaker 1: I think Sam should I think you guys should have

1222
00:58:31,080 --> 00:58:34,320
Speaker 1: won the g That song is the biggest song we've

1223
00:58:34,360 --> 00:58:39,040
Speaker 1: had in years, and it's a small only a small group.

1224
00:58:39,360 --> 00:58:42,920
Speaker 1: I'm gonna give you an example, big sports guy. Okay,

1225
00:58:42,920 --> 00:58:46,080
Speaker 1: Peyton Manning got screwed out of the Heisman. Okay, Now

1226
00:58:46,120 --> 00:58:48,600
Speaker 1: I'm not a Tennessee I'm not a volunteer favor but

1227
00:58:48,640 --> 00:58:50,520
Speaker 1: there was a certain group of people that did that

1228
00:58:50,680 --> 00:58:53,520
Speaker 1: put Peyton Manning solo on their list. They didn't even

1229
00:58:53,520 --> 00:58:55,520
Speaker 1: put him second or third that he ended up not

1230
00:58:55,560 --> 00:58:59,600
Speaker 1: winning the Heisman and finishing second. Charles to Charles Woodson right,

1231
00:58:59,720 --> 00:59:02,480
Speaker 1: who you know kicker turned was the defensive back, also

1232
00:59:02,480 --> 00:59:05,439
Speaker 1: played a little wide receiver. What's in phenomenal Peyton Manning

1233
00:59:05,440 --> 00:59:07,640
Speaker 1: should have won the high and everyone says, and he

1234
00:59:07,680 --> 00:59:10,040
Speaker 1: had more first placeboats than than Watson did, I believe,

1235
00:59:10,320 --> 00:59:12,720
Speaker 1: but some people kept him off the ballot period. I

1236
00:59:12,760 --> 00:59:15,560
Speaker 1: think body like a back Road is had that happened

1237
00:59:15,560 --> 00:59:17,560
Speaker 1: where they're just there are just a few haters that

1238
00:59:17,640 --> 00:59:20,400
Speaker 1: hate so much they won't even put it up there

1239
00:59:20,400 --> 00:59:22,240
Speaker 1: in the top few, just to be like I do.

1240
00:59:22,320 --> 00:59:24,600
Speaker 1: And and that's what's kept it from winning awards. It

1241
00:59:24,600 --> 00:59:28,160
Speaker 1: pisses me off. Well, I mean, it is part of

1242
00:59:28,160 --> 00:59:30,840
Speaker 1: the you know, it's just part of the business. It

1243
00:59:30,880 --> 00:59:33,120
Speaker 1: happens like that. I mean, it's the biggest song in

1244
00:59:33,160 --> 00:59:38,120
Speaker 1: the past five years, ever seven years. I mean it

1245
00:59:38,200 --> 00:59:40,000
Speaker 1: used to be Cruised, but it's bigger than Cruise now.

1246
00:59:40,960 --> 00:59:42,880
Speaker 1: So and I say bigger. Hasn't had time to out

1247
00:59:42,880 --> 00:59:45,560
Speaker 1: sell it yet, but it has. It was number one

1248
00:59:45,560 --> 00:59:47,520
Speaker 1: of Billboard longer than Cruise when it broke the record.

1249
00:59:47,760 --> 00:59:49,480
Speaker 1: I'm so piste off about your song. You should be

1250
00:59:49,480 --> 00:59:53,000
Speaker 1: mad and you you should be doing I can't. I can't.

1251
00:59:53,000 --> 00:59:54,480
Speaker 1: You know what I mean, you kind of you kind

1252
00:59:54,480 --> 00:59:58,960
Speaker 1: of just it's uh, there's a small group of haters

1253
00:59:59,000 --> 01:00:01,040
Speaker 1: because they they hate on me too. I just want

1254
01:00:01,040 --> 01:00:02,760
Speaker 1: to punch them all right in the face. But I'm

1255
01:00:02,760 --> 01:00:05,000
Speaker 1: a big boss and you can't punch it well, you

1256
01:00:05,040 --> 01:00:09,240
Speaker 1: can't punch down. You gotta just you gotta down. Well,

1257
01:00:09,360 --> 01:00:11,200
Speaker 1: good luck with the Midlands on Those guys are nuts.

1258
01:00:12,240 --> 01:00:14,200
Speaker 1: And that's that's one of my favorite songs too, because

1259
01:00:14,200 --> 01:00:17,200
Speaker 1: it has that, like I said, you're talking about loving

1260
01:00:17,200 --> 01:00:21,120
Speaker 1: everything Arkansas. I grew up in Kentucky and we had

1261
01:00:21,280 --> 01:00:23,800
Speaker 1: one radio station near Virgie. It was w z okay,

1262
01:00:23,880 --> 01:00:27,200
Speaker 1: and every morning they would play old traditional country music

1263
01:00:27,560 --> 01:00:30,360
Speaker 1: and they played Gary Stewart, who's from Kentucky every morning,

1264
01:00:30,360 --> 01:00:32,520
Speaker 1: an empty Glass. They would play that at seven thirty

1265
01:00:32,560 --> 01:00:34,440
Speaker 1: in the morning. I would be getting ready for school.

1266
01:00:34,440 --> 01:00:37,240
Speaker 1: They would play that and Keith Whitley And like I

1267
01:00:37,280 --> 01:00:38,960
Speaker 1: didn't even know Keith Whitley passed away. When I was

1268
01:00:39,000 --> 01:00:40,760
Speaker 1: a kid, I thought, I'm still star because he played

1269
01:00:40,800 --> 01:00:43,560
Speaker 1: him on the radio all the time. So drinking problem is,

1270
01:00:43,560 --> 01:00:46,760
Speaker 1: is those songs for me? Like it's that kind of

1271
01:00:46,840 --> 01:00:49,840
Speaker 1: the heart of that kind of snuck into that song

1272
01:00:51,480 --> 01:00:53,040
Speaker 1: so many I'm just gonna push a couple of buttons

1273
01:00:53,040 --> 01:00:55,520
Speaker 1: so quick. Yeah, I mean, good god man, why don't

1274
01:00:55,520 --> 01:01:00,320
Speaker 1: you write some more songs? They're hits by the houses.

1275
01:01:00,360 --> 01:01:04,400
Speaker 1: You got just this one? Come on, you gotta you

1276
01:01:04,400 --> 01:01:07,800
Speaker 1: gotta have more than that. Let's see here. How about

1277
01:01:08,160 --> 01:01:12,600
Speaker 1: this is interesting? I know the Billy Carrington we Are Tonight?

1278
01:01:16,120 --> 01:01:22,640
Speaker 1: She wrote Sam wrote this together, remember, And I don't

1279
01:01:22,640 --> 01:01:24,200
Speaker 1: think if it was on the air off a Sam

1280
01:01:24,200 --> 01:01:25,840
Speaker 1: being like, we thought about that song for me and

1281
01:01:25,840 --> 01:01:27,760
Speaker 1: if that was the direction I wanted to go, Yep,

1282
01:01:28,040 --> 01:01:30,960
Speaker 1: that's exactly right. Well it was again that was pre

1283
01:01:32,240 --> 01:01:36,680
Speaker 1: Zack producing Sam and Shane cut the original demo of

1284
01:01:36,800 --> 01:01:39,280
Speaker 1: we Are Tonight. It wasn't even a demo, it was

1285
01:01:39,360 --> 01:01:43,880
Speaker 1: just he did the original cut on Sam and I

1286
01:01:43,880 --> 01:01:46,800
Speaker 1: think it was in a batch of songs with Make

1287
01:01:46,840 --> 01:01:49,920
Speaker 1: You Miss Me and we Are Tonight, and there was

1288
01:01:49,960 --> 01:01:51,840
Speaker 1: another one out all think ended up making the record either.

1289
01:01:51,880 --> 01:01:54,000
Speaker 1: It was just kind of the early start of stuff

1290
01:01:54,720 --> 01:01:56,560
Speaker 1: and it was one that Sam just never was quite

1291
01:01:56,640 --> 01:01:59,320
Speaker 1: sure it fit him, like on a record, since he

1292
01:01:59,360 --> 01:02:00,800
Speaker 1: does it live till he does it in his shows

1293
01:02:00,800 --> 01:02:02,920
Speaker 1: and stuff, but he didn't feel like it fits that record.

1294
01:02:03,160 --> 01:02:05,960
Speaker 1: And I think Dan, I'm trying to remember. I think

1295
01:02:05,960 --> 01:02:08,160
Speaker 1: Mark Beason had played it for Dan Huff because Mark

1296
01:02:08,200 --> 01:02:11,360
Speaker 1: and Dan are really closed and Mark said, uh, we

1297
01:02:11,400 --> 01:02:13,760
Speaker 1: could really use this for Billy because it's tempo, and

1298
01:02:14,280 --> 01:02:16,240
Speaker 1: you know, Billy has such a great voice. I don't

1299
01:02:16,280 --> 01:02:18,440
Speaker 1: think he gets pitched a ton of great tempo stuff

1300
01:02:18,440 --> 01:02:21,040
Speaker 1: because people are always wanting to hear him croon on something.

1301
01:02:21,600 --> 01:02:23,240
Speaker 1: And Dan was like, man, if you, if you guys

1302
01:02:23,240 --> 01:02:25,760
Speaker 1: would let us have it. If you, I think we'd

1303
01:02:25,760 --> 01:02:28,280
Speaker 1: cut it on Billy. And again it was very similar

1304
01:02:28,280 --> 01:02:30,200
Speaker 1: to the Canny Thing, a little different at that point

1305
01:02:30,200 --> 01:02:32,040
Speaker 1: because Sam had some success as a writer and he

1306
01:02:32,080 --> 01:02:35,280
Speaker 1: had remember I think he had the record deal already

1307
01:02:35,280 --> 01:02:37,520
Speaker 1: at that point. Um, but he felt like that song

1308
01:02:37,520 --> 01:02:39,880
Speaker 1: she went right for ver Mont of Vallum, so he um,

1309
01:02:39,880 --> 01:02:41,560
Speaker 1: he let it go. And and Billy, I mean, they

1310
01:02:41,600 --> 01:02:43,160
Speaker 1: just cut the crap out of it. That's such an

1311
01:02:43,160 --> 01:02:51,080
Speaker 1: amazing cut. Here's Sam doing weird tonight. It still feel

1312
01:02:51,120 --> 01:02:52,880
Speaker 1: like a Sam lat song. What's crazy about that? It

1313
01:02:52,880 --> 01:02:55,240
Speaker 1: does sound like a Sam Lait song whatever whatever that

1314
01:02:55,680 --> 01:02:57,520
Speaker 1: I mean, probably because it's Sam La singing it. But

1315
01:02:59,280 --> 01:03:03,320
Speaker 1: this is small town girl. Everything is right, and we

1316
01:03:03,480 --> 01:03:07,520
Speaker 1: flew the world to twelves in the truck back beating

1317
01:03:07,920 --> 01:03:15,880
Speaker 1: bunch of rock stones on the river bank, singing everything.

1318
01:03:16,440 --> 01:03:18,520
Speaker 1: Here's a couple of songs that I haven't been singles

1319
01:03:18,760 --> 01:03:21,640
Speaker 1: that I really like. First of all, I thought I

1320
01:03:21,800 --> 01:03:24,320
Speaker 1: just just begging Black River to really square pegs on

1321
01:03:24,400 --> 01:03:31,280
Speaker 1: Kelson's last record, thank You loved that song you can.

1322
01:03:31,440 --> 01:03:34,920
Speaker 1: Maybe it's because I'm awkward and I related to it.

1323
01:03:34,920 --> 01:03:44,600
Speaker 1: It's like, I love the song. Everybody Got Everybody Got

1324
01:03:44,760 --> 01:03:50,919
Speaker 1: a ting sales and square person the world. God, Yeah,

1325
01:03:50,920 --> 01:03:53,400
Speaker 1: that's a good one. Thank you. Sorry it wasn't a single.

1326
01:03:53,600 --> 01:03:55,919
Speaker 1: Oh man, it's it happens. Life goes on. I guess

1327
01:03:55,920 --> 01:03:58,760
Speaker 1: these other fourteen number one life goes on? You know

1328
01:03:58,800 --> 01:04:01,480
Speaker 1: another one that isn't it? Well? I imagine if iur

1329
01:04:01,520 --> 01:04:02,920
Speaker 1: a betting man, I bet this one's going to be

1330
01:04:03,000 --> 01:04:07,840
Speaker 1: a single. Is this one that I think? You? Shane?

1331
01:04:07,840 --> 01:04:13,920
Speaker 1: And maybe Lindsay wrote just another girl? Oh yes, with

1332
01:04:14,040 --> 01:04:19,600
Speaker 1: the Broken? This is on lindsay Ls record. Yeah, with

1333
01:04:19,680 --> 01:04:23,840
Speaker 1: the Broken. I was talking to her because she criminal

1334
01:04:23,920 --> 01:04:26,160
Speaker 1: that they just put out singles doing massive right now,

1335
01:04:26,200 --> 01:04:28,840
Speaker 1: it's gonna be that song is gonna be a top

1336
01:04:28,840 --> 01:04:30,280
Speaker 1: ten song. It's not even out for ads and it's

1337
01:04:30,280 --> 01:04:31,680
Speaker 1: already get like thirty ads. It doesn't go up to

1338
01:04:31,720 --> 01:04:34,200
Speaker 1: for next week, and so criminal is gonna be. And

1339
01:04:34,240 --> 01:04:36,920
Speaker 1: I was like your next single is probably just another

1340
01:04:36,960 --> 01:04:39,280
Speaker 1: girl after it's number one, Like what do I know?

1341
01:04:39,600 --> 01:04:41,720
Speaker 1: I have a lot? Yeah yeah, yeah, yeah yeah, just

1342
01:04:41,840 --> 01:04:43,360
Speaker 1: I could pressure just you know, I hope you know

1343
01:04:43,440 --> 01:04:46,160
Speaker 1: somebody big in radio. Yeah yeah, yeah, yeah, yeah. That's

1344
01:04:46,160 --> 01:04:48,360
Speaker 1: a good one. Like I remember that's one of the

1345
01:04:48,400 --> 01:04:50,600
Speaker 1: last songs that she had. She was like, hey, I'm

1346
01:04:50,640 --> 01:04:52,640
Speaker 1: going to drive with Josh and she was doing Chane

1347
01:04:52,720 --> 01:04:54,800
Speaker 1: right and she came back and I was like, dang,

1348
01:04:54,880 --> 01:04:56,720
Speaker 1: that's a really good song. I said, but we were

1349
01:04:56,720 --> 01:04:58,040
Speaker 1: and we were still dating at the time, and I

1350
01:04:58,080 --> 01:05:00,040
Speaker 1: was like, except I sound like a total douche. It

1351
01:05:00,080 --> 01:05:05,360
Speaker 1: sounds like you're thinking about the weird thing is I

1352
01:05:05,400 --> 01:05:08,080
Speaker 1: gotta tell you about your songwriters? Man, Like I get

1353
01:05:08,080 --> 01:05:09,280
Speaker 1: it to in a different way because I go on

1354
01:05:09,360 --> 01:05:11,640
Speaker 1: the air and I talked to whatever amount of million

1355
01:05:11,680 --> 01:05:14,640
Speaker 1: people and I put I say really personal things and

1356
01:05:14,680 --> 01:05:18,000
Speaker 1: I put it out there, and it's my therapy. You

1357
01:05:18,040 --> 01:05:21,040
Speaker 1: have to go and into a room and be super

1358
01:05:21,120 --> 01:05:24,680
Speaker 1: vulnerable with somebody else and to go like, here's my sadness,

1359
01:05:24,720 --> 01:05:27,360
Speaker 1: so here's my happiness, and let's turn it into something.

1360
01:05:27,880 --> 01:05:30,640
Speaker 1: And it's a very and you know this well too,

1361
01:05:30,760 --> 01:05:32,960
Speaker 1: is you right as well? It's a very vulnerable thing.

1362
01:05:33,120 --> 01:05:36,520
Speaker 1: I mean, you, uh, nobody. I don't think anybody ever

1363
01:05:36,640 --> 01:05:38,840
Speaker 1: wants to look like a fool. And when you sit

1364
01:05:38,840 --> 01:05:41,520
Speaker 1: down in those rooms, it's it's who's the first one

1365
01:05:41,560 --> 01:05:43,439
Speaker 1: to say I have an idea or who's the first

1366
01:05:43,440 --> 01:05:44,919
Speaker 1: one to say this is what I've been going through.

1367
01:05:45,560 --> 01:05:47,560
Speaker 1: And that's why in those writing systems you get so

1368
01:05:47,640 --> 01:05:49,760
Speaker 1: much of of I don't know if this is the

1369
01:05:49,840 --> 01:05:52,560
Speaker 1: right thing, but but you know, because we're all, you know,

1370
01:05:52,600 --> 01:05:55,640
Speaker 1: trying to protect ourselves. But I think that's part of

1371
01:05:55,680 --> 01:05:58,200
Speaker 1: what I love, and especially when you get I think

1372
01:05:58,760 --> 01:06:02,000
Speaker 1: part of the reason again talking about Shane mcinally, part

1373
01:06:02,040 --> 01:06:04,040
Speaker 1: of the reason that he and I right so well

1374
01:06:04,080 --> 01:06:06,560
Speaker 1: together is we just know each other so well, and

1375
01:06:06,600 --> 01:06:09,640
Speaker 1: we met each other at a time when we didn't

1376
01:06:09,680 --> 01:06:12,400
Speaker 1: have anything going on. He had a there's trust there

1377
01:06:12,440 --> 01:06:13,800
Speaker 1: with that too. They're not in the same way with

1378
01:06:13,840 --> 01:06:16,320
Speaker 1: people absolutely because I don't feel like they're they're my

1379
01:06:16,360 --> 01:06:19,200
Speaker 1: buddy now because of any sort of success. They've been

1380
01:06:19,200 --> 01:06:21,240
Speaker 1: your buddy the whole time, my buddy when I was broke,

1381
01:06:22,040 --> 01:06:24,640
Speaker 1: and that's that's Shane and I. And so it's also

1382
01:06:24,680 --> 01:06:26,320
Speaker 1: a comfort level and you can find that with other

1383
01:06:26,360 --> 01:06:30,080
Speaker 1: people eventually, like, um, when Ross Copperman is another one

1384
01:06:30,120 --> 01:06:31,840
Speaker 1: that I write with a lot. And when Ross and

1385
01:06:31,880 --> 01:06:33,560
Speaker 1: I met, he had had some success and I had

1386
01:06:33,560 --> 01:06:35,600
Speaker 1: had some success, but we just bonded and got really

1387
01:06:35,640 --> 01:06:37,920
Speaker 1: close over that. So you can definitely find it in

1388
01:06:38,000 --> 01:06:40,760
Speaker 1: other people and um, but it is a very vulnerable thing.

1389
01:06:40,800 --> 01:06:43,080
Speaker 1: I mean, it's very much you're just putting it out there.

1390
01:06:43,200 --> 01:06:45,600
Speaker 1: You ever go to a therapist, I don't know. I

1391
01:06:45,640 --> 01:06:47,880
Speaker 1: do every day from about eleven to four, fair enough,

1392
01:06:47,920 --> 01:06:51,400
Speaker 1: and I do every day from five until yeah, exactly,

1393
01:06:51,440 --> 01:06:56,000
Speaker 1: But man, I got it. I gotta go tomorrow. We

1394
01:06:56,120 --> 01:06:58,800
Speaker 1: talk about being vulnerable. Man, this isn't from the Twitter thing?

1395
01:06:58,880 --> 01:07:00,800
Speaker 1: Is that we go? That's all ever from the Twitter things,

1396
01:07:00,960 --> 01:07:04,600
Speaker 1: everything from Twitter everything. I appreciate you coming by. I

1397
01:07:04,600 --> 01:07:06,439
Speaker 1: I'm a big fan. And I know we've been able

1398
01:07:06,440 --> 01:07:08,680
Speaker 1: to say hello a bunch of times and and give

1399
01:07:08,720 --> 01:07:11,240
Speaker 1: each other half hugs, and neither one of us kind

1400
01:07:11,240 --> 01:07:12,760
Speaker 1: of want to not that we don't want to be

1401
01:07:12,800 --> 01:07:14,880
Speaker 1: where we are, We don't want to be anybody's way.

1402
01:07:15,720 --> 01:07:17,640
Speaker 1: That's a great description. When you said that, I was like,

1403
01:07:17,680 --> 01:07:19,320
Speaker 1: because I feel like every time we see each other

1404
01:07:19,360 --> 01:07:21,240
Speaker 1: it is very much like like Hey man, I want

1405
01:07:21,240 --> 01:07:23,320
Speaker 1: to bother you. All right, I'm gonna get out your way.

1406
01:07:23,320 --> 01:07:25,840
Speaker 1: Because we met the first time at the Saint Jude

1407
01:07:25,840 --> 01:07:28,160
Speaker 1: thing a couple of years ago. Oh at the Writer's

1408
01:07:29,280 --> 01:07:31,520
Speaker 1: X thing and uh, and it was a huge deal

1409
01:07:31,560 --> 01:07:34,280
Speaker 1: for me to meet you. I was like, oh man,

1410
01:07:34,960 --> 01:07:36,920
Speaker 1: but you were. But we've had a very similar thing

1411
01:07:36,920 --> 01:07:38,680
Speaker 1: that we just kind of said hi and we sort

1412
01:07:38,680 --> 01:07:41,320
Speaker 1: of receded into the night. You know, when I get

1413
01:07:41,360 --> 01:07:47,040
Speaker 1: the reputation of being this yeah loner or or douche

1414
01:07:47,240 --> 01:07:49,840
Speaker 1: or because I don't talk to people mostly because I

1415
01:07:49,840 --> 01:07:52,200
Speaker 1: don't want to bother people, and I'm okay with at

1416
01:07:52,240 --> 01:07:54,560
Speaker 1: this point in my life. It's like, I am who

1417
01:07:54,600 --> 01:07:57,080
Speaker 1: I am, and if you want to think I'm a dick,

1418
01:07:58,480 --> 01:08:00,680
Speaker 1: I just I just I just I just I'll feel comfortable.

1419
01:08:00,680 --> 01:08:01,760
Speaker 1: I'm not the guy that goes to a room and

1420
01:08:01,840 --> 01:08:05,080
Speaker 1: is the lafe of the party. And I mean me neither.

1421
01:08:05,120 --> 01:08:06,840
Speaker 1: But I do love you know what, people like you.

1422
01:08:06,840 --> 01:08:09,160
Speaker 1: Everybody's like, gods, great, ask them about me. It's like

1423
01:08:09,200 --> 01:08:10,960
Speaker 1: not even the other way. It's like that Bobby, I

1424
01:08:10,960 --> 01:08:12,520
Speaker 1: can't take much of him. And to give you, I'm

1425
01:08:12,560 --> 01:08:14,480
Speaker 1: gonna leave you with one piece of wisdom. This is

1426
01:08:14,520 --> 01:08:16,519
Speaker 1: my goal of life, and this is this, this will

1427
01:08:16,560 --> 01:08:19,200
Speaker 1: help you. The reason people think that about me is

1428
01:08:19,240 --> 01:08:21,679
Speaker 1: I always leave early, so I don't I don't stay

1429
01:08:21,680 --> 01:08:23,759
Speaker 1: around long enough for them to be like man, that guy,

1430
01:08:23,800 --> 01:08:25,640
Speaker 1: that guy wore out as welcome. I kind of go

1431
01:08:25,720 --> 01:08:27,840
Speaker 1: in and I hang out for a little while, and

1432
01:08:27,880 --> 01:08:29,479
Speaker 1: I have this thing in my head of when is

1433
01:08:29,520 --> 01:08:31,960
Speaker 1: the socially acceptable time that I can duck out of here?

1434
01:08:32,200 --> 01:08:33,840
Speaker 1: And that is right when I dug out of there,

1435
01:08:33,920 --> 01:08:35,759
Speaker 1: And I'd like to leave you the piece of wisdom. Okay,

1436
01:08:36,479 --> 01:08:38,880
Speaker 1: anytime there's a party and they started seven, you get

1437
01:08:38,920 --> 01:08:40,880
Speaker 1: there on six fifty and they're still making the food,

1438
01:08:40,960 --> 01:08:45,559
Speaker 1: don't do that. Thank you very much, exactly. All right,

1439
01:08:45,600 --> 01:08:47,880
Speaker 1: there we go. Uh hey, dude, thanks for coming about me.

1440
01:08:48,640 --> 01:08:51,120
Speaker 1: That was good in your rote today, Huh, I did

1441
01:08:51,760 --> 01:08:54,599
Speaker 1: is a good one. I think it was really good

1442
01:08:54,880 --> 01:08:58,439
Speaker 1: with the Matt Dragstrum and Jaren Johnston. It's a good one,

1443
01:08:59,160 --> 01:09:04,680
Speaker 1: say Jared. I think Jaren wins our biggest truck contest, right, Like,

1444
01:09:04,720 --> 01:09:07,400
Speaker 1: he drove his truck over and you couldn't park into

1445
01:09:07,400 --> 01:09:09,479
Speaker 1: my garage and he threw a fit because he's like,

1446
01:09:09,520 --> 01:09:11,240
Speaker 1: were you giving a parket spot. I was like, dude,

1447
01:09:11,240 --> 01:09:13,000
Speaker 1: I know you're driving your eight team. We learned the

1448
01:09:13,040 --> 01:09:16,200
Speaker 1: parking lot. That sounds like I like that Jared School.

1449
01:09:16,200 --> 01:09:19,559
Speaker 1: I like Jarren a lot. Man. He's honest, So you

1450
01:09:19,560 --> 01:09:21,400
Speaker 1: gotta take a lot of the good with a little

1451
01:09:21,400 --> 01:09:23,360
Speaker 1: bit of the Come on, man, don't we I love

1452
01:09:23,439 --> 01:09:25,640
Speaker 1: that dude. I like that dude. Al Right, there we go.

1453
01:09:25,680 --> 01:09:29,240
Speaker 1: Josh I was moren episode Mike episode nine. Hey, good

1454
01:09:29,280 --> 01:09:32,720
Speaker 1: luck in your career, buddy. I'll see you next time.

1455
01:09:32,920 --> 01:09:33,440
Speaker 1: Alrighty