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Speaker 1: All right, welcome episode seventy nine and with Forest. Hey,

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Speaker 1: let me ask you a question because I was. And

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Speaker 1: by the way, you're like twelve, which is fun. How

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Speaker 1: old are you really? Twenty seven? Alrighty six something good? Yeah,

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Speaker 1: we have twenty seven win soon November here. I mean,

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Speaker 1: if you're a girl like I wonder if you're that

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Speaker 1: a like, yeah, it's still good for me. Let me

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Speaker 1: my girlfriend's twenty eight. Let's say eight. We think we hope,

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Speaker 1: so a fourth wide it's here and you are your

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Speaker 1: twenty eight young guy and you've and we'll kind of

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Speaker 1: really quick roll through what you've done and they come

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Speaker 1: back around to it. But you've written list off list

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Speaker 1: off to the songs that people would know that you've written,

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Speaker 1: um most familiar with with Kelsey Ballerini, let me like

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Speaker 1: you mean it, Peter Pan, Yeah, boy unapologetically um legends.

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Speaker 1: So all those you do pretty good for twenty seven

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Speaker 1: year old. You've been pretty good for twenty seven year

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Speaker 1: old day. So let's see what I want to talk

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Speaker 1: about first is I was at the a c M

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Speaker 1: Honor show. I presented one of the awards at the

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Speaker 1: a c M Honors and you were there were you

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Speaker 1: there when you're playing, right, I said it was you

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Speaker 1: and Hillary. You're looking at me like it wasn't me.

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Speaker 1: I was like, oh, well, I got the wrong dude.

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Speaker 1: This is the reason that I was like, hey, we

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Speaker 1: should reach out to him, because what happened was I

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Speaker 1: was presenting probably a couple of awards after Kelsey played,

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Speaker 1: but you were playing acoustic. Kelsey was singing and Hillary

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Speaker 1: Lindsay was singing, backing up vocals, and there's a three

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Speaker 1: piece and you guys did legends on stage, and so

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Speaker 1: I'm watching you and I don't know you're right. I

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Speaker 1: only know of you because we used to work at

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Speaker 1: the same at the same place. I knew of you.

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Speaker 1: And I was like, man, all the pressure is on

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Speaker 1: Forest here because he's the only guy with the guitar.

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Speaker 1: They're playing this raw and stripped down like he can't suck,

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Speaker 1: like you're on natural. This is being tape for CBS.

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Speaker 1: You can't suck. It gets real? Is there is that

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Speaker 1: more of a pressure felt situation when it's just you're

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Speaker 1: the only instrument and there are millions of people? Man,

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Speaker 1: I love that. I almost I would love playing a

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Speaker 1: more acoustic style show than more of an overproduced show

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Speaker 1: um because all was on you. Well, you know, I

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Speaker 1: just love hearing an acoustic guitar felling room like that

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Speaker 1: rather than kind of be in the mix, so I

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Speaker 1: can play a different way and almost more confident in

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Speaker 1: a way in that situation because I'm trying to feel

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Speaker 1: so much space, you know. I thought the acoustic version

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Speaker 1: of that song was awesome, So I like it for

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Speaker 1: the radio, but it's it's it's produced for the radio.

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Speaker 1: It's produced big and for it to sound big and

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Speaker 1: for it to be full and production. I loved it

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Speaker 1: stripped down, and it wouldn't work on the radio. Like

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Speaker 1: every everybody, it would work. I think it would work anyway,

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Speaker 1: but people that don't think like me would go, well,

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Speaker 1: this isn't big enough. We can't play it. Actually, I

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Speaker 1: think it's not a better like I loved. I loved

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Speaker 1: that song stripped down like that. And I was with

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Speaker 1: my manager and we were sitting there were watching because

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Speaker 1: we were like right there next the stage, and I

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Speaker 1: was like, man, that's legend sounded probably better acoustic with

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Speaker 1: just YouTube and Hillary lends these things like crazy too,

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Speaker 1: So so you wrote this and you produce this too.

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Speaker 1: I co produced that no offense to you're producing, because

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Speaker 1: I think the producing is good too, But I know

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Speaker 1: that's you know, it's there's so many different ways you

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Speaker 1: can take a song like that, so I love doing

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Speaker 1: the contrast at acoustic situation that it always brings a

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Speaker 1: different light too. I thought it was really good. It's crazy.

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Speaker 1: It's it's crazy that you were with Kelsey on that

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Speaker 1: first album, because well, we'll just start with love Me

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Speaker 1: like you mean. This song to me, even in my

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Speaker 1: life of being here in Nashville, is a big song

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Speaker 1: for me because it was like the first song that

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Speaker 1: I just stood out on and for weeks fought for.

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Speaker 1: It was like the first time that I was a

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Speaker 1: real jackass about music, and I mean, and now everything

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Speaker 1: comes full circle again and here you and I've never met.

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Speaker 1: You wrote produced the song We've never met, And for

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Speaker 1: that song for me was a big deal because I

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Speaker 1: actually got to prove people hate relax like I kind

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Speaker 1: of can hear some good things sometimes. So that was

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Speaker 1: a big thing for me. It was a huge thing

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Speaker 1: for Kelsey. It was a big thing for you. Obviously

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Speaker 1: it's huge and so was this your first number one?

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Speaker 1: It was have you been paid fully for this song

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Speaker 1: at this point, I guess. I mean, I don't know.

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Speaker 1: I'm still hopefully it'll keep trickling, but it's just trickles

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Speaker 1: at this point, right, Yeah, alright, So tell me about this.

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Speaker 1: So you meet this girl named Kelsey Ware. So I

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Speaker 1: met Kelsey as she came into Black River. UM my

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Speaker 1: publisher at the time, Robert Carlton, had to set her

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Speaker 1: up to come cut some vocals in the studio and

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Speaker 1: over to the studio and she was just doing a

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Speaker 1: couple of songs that I think she wrote by herself,

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Speaker 1: was tracking the vocal and m you know, I think

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Speaker 1: one of our first times that I met her, she like, she's, hey,

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Speaker 1: come come check this song out. You know, just pure excitement,

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Speaker 1: pure the same person you meet today, but just so

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Speaker 1: on fire with what she was doing. And you know,

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Speaker 1: we we went in one of those sad writer rooms

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Speaker 1: and she played this song. I couldn't even tell you

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Speaker 1: what it was at the time. It just blew me away,

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Speaker 1: you know. And I remember walking out of that room

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Speaker 1: into my publisher's office, like, what's going on with her?

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Speaker 1: Is she? How are y'all thinking about sign or what?

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Speaker 1: You know? What's the deal? You know? And just immediately

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Speaker 1: had that excitement of there's definitely something here, you know. Um.

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Speaker 1: So it didn't take long for her to her to

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Speaker 1: get signed and we were in a room together, um

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Speaker 1: not long after that and just writing. I mean, how

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Speaker 1: did you get to be? Because I remember Kelsey getting

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Speaker 1: signed to the Christmas party at their party. Uh, because

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Speaker 1: she was I had a publishing deal, which means she

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Speaker 1: was paid to write, and then they gave an artist deal,

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Speaker 1: which means they're gonna invest money in her. And here

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Speaker 1: you are another not those kids that they're gonna pay

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Speaker 1: money to produce. Okay, yeah, interesting stories. So as we

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Speaker 1: were writing from the very beginning, how it was just

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Speaker 1: doing demos of not necessarily thinking, oh, we're making a

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Speaker 1: record on this girl. We were just I was trying

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Speaker 1: my best to make these songs that I was writing

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Speaker 1: with her sound the best they could be, you know.

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Speaker 1: So I was spending people totally, I mean, just just

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Speaker 1: for anybody to get interested in whatever this is, you know,

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Speaker 1: because at those stages, you don't know what it is.

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Speaker 1: You're just creating. Um. And so a lot of the

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Speaker 1: demos that we made turned into the master record. Um.

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Speaker 1: So it was I owe everything for her kind of

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Speaker 1: going to bat for me with the label, Um, I'm

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Speaker 1: sure they had other ideas of producers and things that

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Speaker 1: they thought would be a better fit. And she's the

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Speaker 1: one that went to bat for me and was like, no,

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Speaker 1: I want him to do it. He's been doing the demos.

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Speaker 1: I like the sound that we're creating. We have a

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Speaker 1: vibe writing. It feels right to do it this way.

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Speaker 1: And so her kind of being confident enough to say

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Speaker 1: that she wanted to do it that way enabled me

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Speaker 1: the opportunity. And that's cute. No, but she doesn't have

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Speaker 1: any power unless you didn't unless you were doing a

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Speaker 1: really good job. She's a brand new artists. She has

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Speaker 1: no elaboration, she has no power. They're just going okay,

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Speaker 1: our new artists and telling us what to do. Unless

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Speaker 1: you're production those demos, as the kids would say, fire right,

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Speaker 1: they're not looking at it a second way. So when

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Speaker 1: you're producing these demos, are you producing them a little

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Speaker 1: bit as a resume? Like, look what I can do?

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Speaker 1: So to anybody who hears it, even people are plugging songs,

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Speaker 1: are you are you doing? Is that in your mind? Well,

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Speaker 1: you know it's it's I'm inspired differently with every artist

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Speaker 1: that I work with, so that it takes the demo

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Speaker 1: in a different land. When I was with Kelsey early on,

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Speaker 1: I was inspired to put more pop elements. It's not

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Speaker 1: like I was doing that to all my demos, so really,

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Speaker 1: in a way, she kind of helped me find the

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Speaker 1: sound too. It's not like that's what I did, and

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Speaker 1: I just messed it with her. That's what inspired in

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Speaker 1: the room. The things that she got excited about, the

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Speaker 1: things that we would right just lended towards a more

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Speaker 1: pop vibe. And I kind of started exploring that and

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Speaker 1: involving my co producer Jason Massey, who brings us a

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Speaker 1: ton as far as the pop side of things into that.

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Speaker 1: And I feel like where me and him kind of

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Speaker 1: meet in the middle was the sweet spot for that

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Speaker 1: sound that you hear in that sound that and it

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Speaker 1: was really I would say, probably of course love me

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Speaker 1: like you mean. It was the the initial sound that

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Speaker 1: kind of throwing the wake for everything else on that record.

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Speaker 1: Um that kind of fell behind that. But Peter Pan

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Speaker 1: was the track even on the demo that I remember

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Speaker 1: she just freaked out about and I was like, there's

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Speaker 1: something special about this combination of of of you know

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Speaker 1: sonic landscape that were given on her record. That's getting exciting,

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Speaker 1: you know. Um So, I mean we just kind of

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Speaker 1: found a certain lane and and war it out. Tried

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Speaker 1: to write every song and a part of that record

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Speaker 1: in that similar lane of love Me Like You Mean

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Speaker 1: It and Peter Pan to give it an identity. Really,

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Speaker 1: it also shows that everything is important here you are

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Speaker 1: giving an identity early. But again, even Kelsey said, the

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Speaker 1: people weren't they were shopping love Me Like You Mean

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Speaker 1: It to other people. A lot of people passed on this,

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Speaker 1: and a lot of people are like, that's not for me.

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Speaker 1: And you know what, it probably was up for a

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Speaker 1: lot of people, and a lot of people couldn't have

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Speaker 1: made it work. And Kelsey created her own different type

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Speaker 1: of lane that I don't think other people would have

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Speaker 1: been able to do because of her voice, her age,

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Speaker 1: her she's a female. It's so a lot of perfect

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Speaker 1: things came to get at the right time. But it's

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Speaker 1: a testament that you put so much work into something

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Speaker 1: that you don't even really know it's gonna be something.

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Speaker 1: And there's a lot to be said about that too. Yeah,

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Speaker 1: even we play ball and it's like a practice. Perfect

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Speaker 1: makes you perfect perfect. So here you are working on

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Speaker 1: a demo, making a perfect demo lack of a better term,

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Speaker 1: that's so good. They're like, Okay, we think this is

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Speaker 1: good enough for you to do it. Anyway, from a

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Speaker 1: whole point is you didn't have to probably have to

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Speaker 1: produce it like you did. You did well. Like I said,

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Speaker 1: whenever you're inspired by something, it's it's not work at

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Speaker 1: all at that point. Whenever you know you lose hours

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Speaker 1: on the clock very quickly when you find you land

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Speaker 1: on a song that you're excited about, be didn't even

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Speaker 1: know that you were just put in a demo that

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Speaker 1: you didn't even for money. Now, well that's the thing.

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Speaker 1: I've never done any of this necessarily for for money

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Speaker 1: at first, in this sense of where you know, uh,

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Speaker 1: if you're if you're looking for a pub deal and

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Speaker 1: you don't have much going on, you're not getting paid

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Speaker 1: a lot of money. So it definitely was not about that.

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Speaker 1: It was more about discovering something that we felt like

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Speaker 1: UM was was different and and we felt that there

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Speaker 1: was a different quality to the lane that we were

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Speaker 1: entertaining than UM what was going on at country radio

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Speaker 1: at the time. And I felt like that was more

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Speaker 1: exciting to us than than worrying about, you know, trying

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Speaker 1: to get paid for the demo. It was just like, dude,

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Speaker 1: this is cool. I feel like this is different. Um

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Speaker 1: let's just roll with it. And and you know, thank God,

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Speaker 1: like I said, she kind of went aback for me

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Speaker 1: when it came to the label and that really enabled

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Speaker 1: the opportunity. What's like, what your deal musical? You play

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Speaker 1: a bunch of instruments away. I grew up playing drums,

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Speaker 1: I uh, you know, learned guitar and piano self all.

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Speaker 1: I took a little bit of drum lessons earlier on.

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Speaker 1: I think that helped me rhythmically for a lot of things.

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Speaker 1: But I mean self taught, self taught, meaning listen to

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Speaker 1: Brad Hasley records, trying to figure out what the hell

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Speaker 1: he was doing, repelling it over and over and over

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Speaker 1: until I could get those licks like he played them.

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Speaker 1: And I still can't do it like he played them.

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Speaker 1: But it was really more of a listening to the

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Speaker 1: radio than necessarily having a teacher sit down and say

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Speaker 1: hey do this. Um. So self taught was just I

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Speaker 1: learned the things that I loved. I listened to popular

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Speaker 1: music in a sense where it didn't matter if it

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Speaker 1: was wrapped reggae, um whatever. I wanted to know what

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Speaker 1: was making a popular song. Can you read music? I can't?

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Speaker 1: I can. I can do the Nashville numbers system. You

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Speaker 1: can or can't? You can't, cannot And a lot of

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Speaker 1: people who are self taught can't read music, Like I

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Speaker 1: don't think Paul Shaffer can read music, and he is.

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Speaker 1: He's a genius. He's back in the I mean before

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Speaker 1: I was born, before about the born, he was, you know,

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Speaker 1: leading the SNL band and and uh did Letterman forever?

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Speaker 1: Are some of these guys that are self taught and

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Speaker 1: they never learned to read music, because that's like, why

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Speaker 1: do I I've learned this system my way, but it's

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Speaker 1: have you ever thought that it would help you if

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Speaker 1: you learn to read music? You know? Um, I know

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Speaker 1: that it might help me in a situation if I

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Speaker 1: were trying to map an arrangement out for another person

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Speaker 1: to play. But I can honestly find people to do that.

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Speaker 1: You can translate and just go hey I need this,

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Speaker 1: and they can yeah. Um. So you know, I feel

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Speaker 1: like most people that are traditionally taught, they can't sit

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Speaker 1: down or maybe some of them can. But the people

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Speaker 1: that I've I've been around most of them, if they're

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Speaker 1: traditionally read sheet music, they can't sit down and improvise

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Speaker 1: to a song. And I've always come at any instrument

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Speaker 1: that I've sat down with from the base of how

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Speaker 1: does it serve the song? So if i'm anything that

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Speaker 1: I play, I'm always thinking that lane of a thought,

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Speaker 1: like how can I make this sound like a song?

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Speaker 1: Rather than learning piece that's already arranged. I don't know.

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Speaker 1: That just came to me early on, so I never

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Speaker 1: really worried about learning, uh, properly how to play things.

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Speaker 1: I probably don't even you know, put my fingers on

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Speaker 1: the right places on the keyboard. But it just sounds

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Speaker 1: good to me. You know. It's like news anchor versus

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Speaker 1: we'll say radio personality. News anchor can't talk normal. They

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Speaker 1: have to read from a prompter, but they're fantastic at it. Me.

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Speaker 1: I don't like read it from prompter, but I can

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Speaker 1: talk and talk like a human and and actually communicate

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Speaker 1: better than they can, right unless it's it needed to

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Speaker 1: be prompt. It's just two different styles. And now the

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Speaker 1: one I was gonna do, the other I'm gonna do

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Speaker 1: a commercially real quick. I'm talking about sleep number real quick.

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Speaker 1: I have a sleep in her bed and so my

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Speaker 1: sleep and we're setting a thirty going to the store

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Speaker 1: at sleep number and there's a screen over the top

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Speaker 1: of you, and well, I guess it depends what the store.

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Speaker 1: The one I get to, there's a screen to the

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Speaker 1: top of you and it shows your back and your

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Speaker 1: neck and they say, okay, look here's you're like, your back,

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Speaker 1: your your neck, and here's why maybe not sleeping right,

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Speaker 1: and they give you a sleep number. The sleep number

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Speaker 1: bed lets you choose the comfort of the support that's

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Speaker 1: right for you. It adjusts on each side, even if

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Speaker 1: it's the perfect bet for couples. Now there's the three

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Speaker 1: three sixty. It's the sleep number three sixty. It is

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Speaker 1: so smart. It actually senses your moves and adjusts to

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Speaker 1: you while you're sleeping, so you can stay comfortably to

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Speaker 1: the night sleeping. So if you're it also warms you.

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Speaker 1: The bed pre warms as well. The sleep number three

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Speaker 1: sixty can pre warm each side of the bed and

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Speaker 1: so you get in you're all warm and ready to go.

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Speaker 1: Especially in the winter. Man, if you live in like

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Speaker 1: one of the up States and it's cold. My sleep

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Speaker 1: number setting is thirty and right now, big sale the

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Speaker 1: Queen c two matches six nine in Sunday. You gotta

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Speaker 1: sleep number dot com and find a store near you

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Speaker 1: sleep number dot com and they're like five stores and

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Speaker 1: you can only get it at those stores right there.

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Speaker 1: See like that's me, I'm doing a commercial. I'm kind

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Speaker 1: of talking. Give me a news anchor. They can do that.

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Speaker 1: They can't do that. Have you seen that Instagram count?

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Speaker 1: I think it's called the Music City Memes Love. It's

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Speaker 1: so like I was laughing out loud at them and

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Speaker 1: it's such an inside thing, but I think it's it.

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Speaker 1: I'm gonna pull it up because it's the last account

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Speaker 1: that I followed, and so what it is is a

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Speaker 1: lot of things from I think it's a songwriter who's

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Speaker 1: doing it right, and they've actually said I read an

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Speaker 1: article who it is. It's called music City Memes. And

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Speaker 1: for example, when your friend introduces you as a great

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Speaker 1: songwriter and you don't know how to take compliments and

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Speaker 1: it shows a picture of awkward ted cruise and they're

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Speaker 1: so inside. Here's one when you're when you are Taylor

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Speaker 1: Swift and you have to listen to songwriters who have

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Speaker 1: never had a hit, tweet about how bad your new

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Speaker 1: single is, and it's hurt holding all the Grammys. It's

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Speaker 1: funny the songwriter. And even doing this, I've got to

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Speaker 1: meet and hang out and befriends some good songwriters in town.

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Speaker 1: But it's very competitive. It's almost like high school clicks,

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Speaker 1: like people liking each other and they're facing the not

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Speaker 1: behind there. But I guess that's that's any industry, any

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Speaker 1: entertainment industry. How did you end up down here? Man?

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Speaker 1: I just I moved to Nashville from Louisiana when I

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Speaker 1: was eighteen. I graduated high school and I just had

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Speaker 1: to be around music. Um, that's that's lost so much money.

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Speaker 1: The boats. We really waited to drive straightport out in college.

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Speaker 1: I went to college in Arkansas, Southern Arkansas every weekend,

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Speaker 1: so which one Henderson State? Okay, So we drove. We

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Speaker 1: drove to the boats all the time. Yeah, man, And

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Speaker 1: that was home. H Yeah it was. And and you know,

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Speaker 1: only until only long enough for me to to kind

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Speaker 1: of get my footing and raise enough money where I

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Speaker 1: could I could buy a travel trailer and pull it

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Speaker 1: to Nashville. Because that's what happened and two thousand nine,

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Speaker 1: and you know I never looked back really, So you

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Speaker 1: moved here to thousand nine and what happens? Uh? Part

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Speaker 1: my travel trailer at the k o A off Music

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Speaker 1: Valley Drive. So you were living in it. You were

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Speaker 1: running a spot and living in a camper. Can you

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Speaker 1: believe it was eight hundred dollars a month? I'm like, dude,

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Speaker 1: that's like legit. That could be like an apartment. Especially

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Speaker 1: five years ago, that definitely could have been an apartment.

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Speaker 1: I didn't know. For some reason, I thought, well, if

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Speaker 1: I have a travel trailer, I could move it anywhere

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Speaker 1: I wanted whenever I figure out what the landscape Isn't

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Speaker 1: that I find travel because I know a camper Yeah yeah, yeah, okay,

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Speaker 1: it's the same thing as a camper, So I mean

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Speaker 1: just same thing. You would you know about to hook

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Speaker 1: it behind the truck, you know. So you were living

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Speaker 1: and basically camper. You bought it, you rented a spot,

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Speaker 1: and you lived in the camper at age nineteen for

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Speaker 1: how long? Um So if you remember the flood in

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Speaker 1: two ten, right up two weeks before that flood, I

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Speaker 1: sold that camper and the crazy thing about that is

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Speaker 1: everything at the opery and that Music Valley Drive was submerged.

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Speaker 1: So had I not sold that right before that, man,

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Speaker 1: I would have lost everything. Um. So it was just

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Speaker 1: one of those crazy times. Uh. But I met a friend. Um,

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Speaker 1: I guess I was about six months in town where

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Speaker 1: I met a friend at a pawn shop that I

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Speaker 1: got a job at to kind of make ends meet

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Speaker 1: and um, and and he had a roommate that was

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Speaker 1: moving out and he offered me a room. So I

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Speaker 1: was so ready by that time, just six months in

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Speaker 1: Nashville and experiencing the trailer. I was so ready just

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Speaker 1: to have some space and you know, uh, just have

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Speaker 1: a legit place to sleep at night. So you moved

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Speaker 1: up here and living in a camper for six months off? Yeah, Man,

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Speaker 1: do you ever hear about the Parma guys in their story?

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Speaker 1: I don't. I'm familiar with them. I don't know the

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Speaker 1: story though. So they moved up here, all of them together,

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Speaker 1: and they were living in a camper and they would

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Speaker 1: driving around the shows too that they lived. Yeah, they

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Speaker 1: just had a camper and they have it off of

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Speaker 1: Music Row. I believe. I don't know how much of

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Speaker 1: our spot was Bucks I think crazy. So I always

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Speaker 1: say that because I moved up here with the roommate, um,

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Speaker 1: and he hung out for about I would say, six

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Speaker 1: seven weeks and then in the camper we get a roommate.

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Speaker 1: Yeah yeah, yeah, he moved from from Louisiana with me

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Speaker 1: and you were living with someone in the camper. Dude,

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Speaker 1: he was trying to help me play in man. I

390
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Speaker 1: couldn't pay the rent by myself, you know. Wow. So

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Speaker 1: when he left the actually the dude the ended up

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Speaker 1: renting me my room. His name is Ryan Griffin. UM.

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Speaker 1: But early on he helped me pull that camper when

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Speaker 1: my roommate left out to Lebanon. So I pulled it

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Speaker 1: thirty minutes outside of town, and so I would make

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Speaker 1: the thirty minute drive to Nashville every day. But I

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Speaker 1: had a hundred all runt out there, so that was better.

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Speaker 1: So when you're living, I'm gonna go back to the

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Speaker 1: campra because I live in the camper. I never had

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Speaker 1: a bedroom growing up. We had a like five people

401
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Speaker 1: in the nine square foot house, and so I never

402
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Speaker 1: had a bedroom. And then finally I was like, I'm

403
00:19:36,520 --> 00:19:38,840
Speaker 1: gonna go live in the camper because I was like

404
00:19:38,920 --> 00:19:40,639
Speaker 1: it just sucks. I just slept on the couch in

405
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Speaker 1: my closet was underneath the couch, and I was like,

406
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Speaker 1: I'm not doing this anymore. We had a camper and

407
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Speaker 1: I'm just moved into it. But there was no air

408
00:19:48,680 --> 00:19:50,280
Speaker 1: and it was Arkansas heat. It was summer, and it

409
00:19:50,320 --> 00:19:52,560
Speaker 1: was miserable. But I had to go like inside take

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Speaker 1: a shower. Had like this is when phones had like cords,

411
00:19:56,359 --> 00:19:58,200
Speaker 1: said of like pulled the phone cord through the window

412
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Speaker 1: to actually have a phone. Are you taking showers? Okay?

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Speaker 1: So that's an interesting question because that was one of

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Speaker 1: those winners that there's a ton of snow and a

415
00:20:06,920 --> 00:20:10,840
Speaker 1: ton of ice, so um, your pipe would freeze and

416
00:20:10,960 --> 00:20:14,680
Speaker 1: you you wouldn't have running water sometimes. Uh, And so

417
00:20:14,760 --> 00:20:16,040
Speaker 1: that my dad was like, well, if you leave it

418
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Speaker 1: dripping a little bit, then maybe it'll it'll it'll you know,

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Speaker 1: not freeze up. So I did that one day and

420
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Speaker 1: I come home to about like three or four inches

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Speaker 1: of water cover my whole camper where it froze even

422
00:20:27,040 --> 00:20:28,800
Speaker 1: though it was dripping, but it kept feeling. The tank

423
00:20:28,880 --> 00:20:31,000
Speaker 1: came through the bathtub and just flooded the whole thing.

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Speaker 1: Um that was the day my roommate left when he

425
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Speaker 1: came home to that because I can't do this, man,

426
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Speaker 1: I yeah, so yeah, yeah, so like since it was

427
00:20:41,320 --> 00:20:44,480
Speaker 1: just frozen all that. Man, it was a mess. Really,

428
00:20:44,600 --> 00:20:46,600
Speaker 1: So you're asking about where did I take a shower?

429
00:20:46,640 --> 00:20:49,080
Speaker 1: There was a bath house, you know, in in the

430
00:20:49,400 --> 00:20:52,080
Speaker 1: community that we had there at k o A uh

431
00:20:52,080 --> 00:20:54,280
Speaker 1: that that I used every day. You know, I would

432
00:20:54,320 --> 00:20:56,080
Speaker 1: walk to the bath house in the snow or whatever.

433
00:20:56,119 --> 00:20:57,680
Speaker 1: But you don't think of it at that time. You're

434
00:20:57,680 --> 00:20:59,399
Speaker 1: just happy to be in Nashville. You know, you're not

435
00:20:59,440 --> 00:21:01,359
Speaker 1: thinking and this sucks. You're just like you. No, I

436
00:21:01,400 --> 00:21:03,000
Speaker 1: would still think it sucked that, but I'd still be

437
00:21:03,040 --> 00:21:04,680
Speaker 1: like this natural bay, like, man, this sucks. Like what

438
00:21:04,800 --> 00:21:07,080
Speaker 1: didn't make it? I don't know when I look back

439
00:21:07,119 --> 00:21:09,960
Speaker 1: on it, I don't really remember dreading that much. Part

440
00:21:09,960 --> 00:21:12,280
Speaker 1: of there's more of just the excitement of like being

441
00:21:12,320 --> 00:21:14,440
Speaker 1: in a new place, which if you understand, like the

442
00:21:14,520 --> 00:21:16,760
Speaker 1: kind of place I'm from, like Nashville just seems like

443
00:21:16,840 --> 00:21:19,680
Speaker 1: culture shock. Just like all the interstates, all the exits,

444
00:21:19,680 --> 00:21:22,080
Speaker 1: all the energy, it's just a completely different place. So

445
00:21:22,119 --> 00:21:24,480
Speaker 1: I was more excited at the thought of just being

446
00:21:24,520 --> 00:21:29,760
Speaker 1: there than the situation I had to be in Nashville interstates, lights, showers,

447
00:21:30,440 --> 00:21:34,120
Speaker 1: I would think all that together, Well, that's what I'm saying.

448
00:21:34,720 --> 00:21:37,200
Speaker 1: I love it, like I love that story, because that's

449
00:21:37,440 --> 00:21:40,840
Speaker 1: that's just you wanting to make it sure. And you

450
00:21:40,880 --> 00:21:42,320
Speaker 1: know what, That's what I was saying. When I finally

451
00:21:42,359 --> 00:21:44,919
Speaker 1: moved into the roommate. The appreciation that I had that

452
00:21:44,960 --> 00:21:46,560
Speaker 1: I could sit on the edge of my bed and

453
00:21:46,600 --> 00:21:48,919
Speaker 1: not have the guitar neck hit the wall, or that

454
00:21:48,960 --> 00:21:50,520
Speaker 1: I could just walk across the hall and take a

455
00:21:50,560 --> 00:21:52,320
Speaker 1: shower and not have to, you know, go outside of

456
00:21:52,320 --> 00:21:53,679
Speaker 1: where it was. It was a huge thing to me.

457
00:21:53,720 --> 00:21:56,760
Speaker 1: So I had a different appreciation for little things like

458
00:21:56,800 --> 00:21:59,800
Speaker 1: that all of a sudden, that's awesome. Yeah. So okay,

459
00:22:00,080 --> 00:22:02,800
Speaker 1: let's how in the world if you move here in

460
00:22:02,840 --> 00:22:05,399
Speaker 1: your nineteen living in a camper, Like, how do you

461
00:22:05,520 --> 00:22:08,600
Speaker 1: date somebody and be like, hey, well, you know, honestly,

462
00:22:08,960 --> 00:22:10,879
Speaker 1: uh yeah, I wasn't even worried about that when I

463
00:22:10,880 --> 00:22:13,240
Speaker 1: got here, But but you're still always worried about that.

464
00:22:13,240 --> 00:22:14,600
Speaker 1: I know you're not worried about that, but it's still

465
00:22:14,640 --> 00:22:17,200
Speaker 1: always a thing. Like we're human beings. Sure you're worried

466
00:22:17,240 --> 00:22:18,639
Speaker 1: about that at all. Like I'll just you'd be like

467
00:22:18,680 --> 00:22:22,720
Speaker 1: I just go to your place in my mansion being renovated,

468
00:22:22,960 --> 00:22:24,919
Speaker 1: like how do how do you? Man? You know, it

469
00:22:25,080 --> 00:22:27,520
Speaker 1: was more about just trying to be around music, and

470
00:22:27,560 --> 00:22:31,760
Speaker 1: I was so busy by trying to just stay afloat here,

471
00:22:31,800 --> 00:22:34,199
Speaker 1: Like I was taking so many gigs, whether it be

472
00:22:34,320 --> 00:22:37,520
Speaker 1: with a blues band, whether it be you know, cutting grass,

473
00:22:37,600 --> 00:22:39,600
Speaker 1: whether it wasn't always music. I was just so busy

474
00:22:39,640 --> 00:22:42,560
Speaker 1: trying to survive here. There was no time to do

475
00:22:42,640 --> 00:22:47,200
Speaker 1: anything but goals. Man, And you move here and you start, okay,

476
00:22:47,200 --> 00:22:50,159
Speaker 1: that's that's what do you start doing? Man? I was

477
00:22:50,200 --> 00:22:52,359
Speaker 1: so naive. I was walking up down Music Road just

478
00:22:52,440 --> 00:22:55,560
Speaker 1: knocking on doors. The whole story. Really yeah you literally

479
00:22:55,640 --> 00:22:58,800
Speaker 1: are you literally with cold calling buildings? I wouldn't even

480
00:22:58,800 --> 00:23:00,200
Speaker 1: call on them. I was just showing up, I guess,

481
00:23:00,480 --> 00:23:03,320
Speaker 1: like it's just a cold and they answered the door.

482
00:23:03,720 --> 00:23:06,480
Speaker 1: Like publishing companies and some of them, and a lot

483
00:23:06,520 --> 00:23:08,280
Speaker 1: of them, you can't even like, you know, get to

484
00:23:08,320 --> 00:23:10,560
Speaker 1: the door. They have gates or whatever that you gotta

485
00:23:10,560 --> 00:23:12,760
Speaker 1: buzz in or whatever. What do you say you're knocking

486
00:23:12,840 --> 00:23:15,359
Speaker 1: someone answers or what do you say? Man? What did

487
00:23:15,440 --> 00:23:18,320
Speaker 1: I say? I probably just almost song writers, you know,

488
00:23:18,359 --> 00:23:19,960
Speaker 1: I don't even know what it was, but it was.

489
00:23:20,160 --> 00:23:22,360
Speaker 1: It was very green, and I don't I didn't even realize.

490
00:23:22,400 --> 00:23:25,040
Speaker 1: It took me months of doing that to figure out, Okay,

491
00:23:25,119 --> 00:23:26,679
Speaker 1: this ship is not gonna work. You gotta come at

492
00:23:26,720 --> 00:23:29,760
Speaker 1: it from a different perspective, uh, and a different angle.

493
00:23:30,119 --> 00:23:32,359
Speaker 1: And it took me years of kind of going to

494
00:23:32,440 --> 00:23:36,440
Speaker 1: writers nights and finding my own community of writers that

495
00:23:36,600 --> 00:23:39,440
Speaker 1: um kind of helped me grind on some songs before

496
00:23:39,440 --> 00:23:41,800
Speaker 1: I could get the attention of somebody who can kind

497
00:23:41,800 --> 00:23:43,240
Speaker 1: of give you that green light to make it in

498
00:23:43,280 --> 00:23:45,480
Speaker 1: those doors and make it in those buildings to where

499
00:23:45,520 --> 00:23:47,439
Speaker 1: they can take you serious. And it took me a

500
00:23:47,480 --> 00:23:51,800
Speaker 1: minute to really understand what I needed to to have

501
00:23:51,880 --> 00:23:54,000
Speaker 1: that stamp up approval to go on these places. So

502
00:23:54,040 --> 00:23:57,160
Speaker 1: you would go to a writer's night, let's say restaurant,

503
00:23:57,240 --> 00:24:00,359
Speaker 1: and they have three or four songwriters probably just watching

504
00:24:00,359 --> 00:24:04,199
Speaker 1: at first and and saying, hey the forest, Yeah, uh

505
00:24:04,560 --> 00:24:06,600
Speaker 1: can I be a friend? I mean, same thing like

506
00:24:06,640 --> 00:24:08,840
Speaker 1: a cold call to like, hey can I can I

507
00:24:08,880 --> 00:24:11,639
Speaker 1: hang out? Like? What what's so? I mean? I was

508
00:24:11,720 --> 00:24:14,040
Speaker 1: at the Douglas Corner, it was at the Commodore, it

509
00:24:14,119 --> 00:24:17,280
Speaker 1: was at you know, the Bluebird, even um, you know

510
00:24:17,359 --> 00:24:20,439
Speaker 1: when they had their open runners nights. Uh, and you

511
00:24:20,480 --> 00:24:23,000
Speaker 1: would just have a couple of people that would play

512
00:24:23,080 --> 00:24:25,399
Speaker 1: that you know, would stand out more than the rest,

513
00:24:25,520 --> 00:24:27,399
Speaker 1: and maybe you try to write a song with that

514
00:24:27,440 --> 00:24:29,600
Speaker 1: person or make connection there. I mean it literally was

515
00:24:29,960 --> 00:24:31,919
Speaker 1: you know that whole thought of start from the bottom.

516
00:24:31,960 --> 00:24:34,560
Speaker 1: You're just going out trying to figure out who you

517
00:24:34,600 --> 00:24:36,720
Speaker 1: want to be creative with. I have no idea where

518
00:24:36,760 --> 00:24:39,879
Speaker 1: to start. So anybody and everybody that I thought, you know,

519
00:24:40,119 --> 00:24:41,880
Speaker 1: kind of halfway had a cool song. I was writing

520
00:24:41,880 --> 00:24:43,879
Speaker 1: with them. Did you see anybody early on, because we

521
00:24:43,960 --> 00:24:45,879
Speaker 1: are if you moved to early, I mean you've been

522
00:24:45,920 --> 00:24:49,679
Speaker 1: how long tho plus eight years years? Anybody early on

523
00:24:49,720 --> 00:24:52,040
Speaker 1: that you saw it was really earlier, like man, that

524
00:24:52,080 --> 00:24:54,200
Speaker 1: there's something there and and now we kind of know

525
00:24:54,240 --> 00:24:57,200
Speaker 1: who they are, Like anybody you saw even as maybe

526
00:24:57,359 --> 00:24:58,720
Speaker 1: we don't know there are, but they're a writer now

527
00:24:58,760 --> 00:25:00,720
Speaker 1: and they've written a bunch and you're like, and I

528
00:25:00,760 --> 00:25:03,320
Speaker 1: was watching that like before they even started, like cracking

529
00:25:03,320 --> 00:25:07,560
Speaker 1: the egg. Okay. Um, A cool story is um, you

530
00:25:07,560 --> 00:25:09,840
Speaker 1: know one of the first artists that I met that

531
00:25:09,920 --> 00:25:12,639
Speaker 1: had a deal, um we related because he was also

532
00:25:12,680 --> 00:25:16,240
Speaker 1: from Louisiana. It was Dylan Scott Um whenever he moved

533
00:25:16,640 --> 00:25:19,480
Speaker 1: uh here. You know, I met him very early on

534
00:25:19,760 --> 00:25:21,600
Speaker 1: and you know, we were writing together. He was the

535
00:25:21,640 --> 00:25:23,520
Speaker 1: first person that I knew that had a record deal.

536
00:25:23,920 --> 00:25:25,760
Speaker 1: So there was a new excitement whenever you're right with

537
00:25:25,800 --> 00:25:27,639
Speaker 1: someone with a record deal as a young writer, you know,

538
00:25:27,880 --> 00:25:31,440
Speaker 1: because you sure you know. And so I was like, man,

539
00:25:31,480 --> 00:25:33,480
Speaker 1: this is you know, this could this could really be

540
00:25:33,720 --> 00:25:37,040
Speaker 1: an awesome opportunity for for you know, for production or whatever.

541
00:25:37,080 --> 00:25:39,720
Speaker 1: I was even that early on thinking that lane and

542
00:25:40,080 --> 00:25:42,639
Speaker 1: you know, um, it took some years for you know,

543
00:25:43,000 --> 00:25:44,879
Speaker 1: Dylan has been grinding it out, man, and he just

544
00:25:44,920 --> 00:25:48,840
Speaker 1: celebrated that number one song and that's been a crazy

545
00:25:48,920 --> 00:25:52,080
Speaker 1: thing to kind of watch the whole thing of how

546
00:25:52,119 --> 00:25:55,520
Speaker 1: that happened and see how hard he's worked, um, you know,

547
00:25:55,680 --> 00:25:59,080
Speaker 1: just from from years back. Uh. And so that those

548
00:25:59,119 --> 00:26:01,080
Speaker 1: are those are the moment is that you know, you're

549
00:26:01,080 --> 00:26:02,720
Speaker 1: just like, man, I've been here a minute now to

550
00:26:02,760 --> 00:26:05,280
Speaker 1: see that they see people moved to town, get the

551
00:26:05,320 --> 00:26:07,919
Speaker 1: record deal, go through the ropes of trying different songs

552
00:26:07,920 --> 00:26:10,560
Speaker 1: with different producers, whatever, and then finally land on something

553
00:26:10,600 --> 00:26:14,080
Speaker 1: that connects um And you know, I just couldn't be

554
00:26:14,080 --> 00:26:18,160
Speaker 1: more happy for him. You know, see moved town. You're

555
00:26:18,440 --> 00:26:20,920
Speaker 1: pounding away, just trying to get anybody to write with you.

556
00:26:21,560 --> 00:26:23,879
Speaker 1: You start writing, when does someone go, hey, you're actually

557
00:26:23,960 --> 00:26:27,280
Speaker 1: pretty good. We might start paying you to write. Sure?

558
00:26:27,640 --> 00:26:30,560
Speaker 1: How many years? It was about two and a half

559
00:26:30,600 --> 00:26:33,040
Speaker 1: three years from me. Um, And like I said, a

560
00:26:33,040 --> 00:26:35,879
Speaker 1: lot of that probably could have been Um, you know,

561
00:26:35,960 --> 00:26:38,280
Speaker 1: cut back, had I've been spending my time in the

562
00:26:38,359 --> 00:26:41,200
Speaker 1: right places. As far as meeting the right people, we

563
00:26:41,520 --> 00:26:44,480
Speaker 1: never meet the people right. Half of learning is spending

564
00:26:44,480 --> 00:26:46,520
Speaker 1: time in the wrong places. You're right, that's so true.

565
00:26:46,640 --> 00:26:51,040
Speaker 1: And and so whenever you're writing with these songwriters who

566
00:26:51,240 --> 00:26:53,879
Speaker 1: might not necessarily be associated with a publisher, you know,

567
00:26:54,359 --> 00:26:56,399
Speaker 1: it's really up to you and make sure the songs

568
00:26:56,440 --> 00:27:00,800
Speaker 1: get heard, you know. Um. So it took um a

569
00:27:00,840 --> 00:27:04,880
Speaker 1: co writer of mine who passed a CD along to

570
00:27:04,920 --> 00:27:07,000
Speaker 1: another writer who got it to an ask Cap rep.

571
00:27:07,040 --> 00:27:10,040
Speaker 1: That's ultimately how the door opened for me. So when

572
00:27:10,040 --> 00:27:14,280
Speaker 1: that ask Cap rep reached out, UM, very excited about

573
00:27:14,320 --> 00:27:16,720
Speaker 1: what I was doing. Uh, we we met, and then

574
00:27:16,760 --> 00:27:18,840
Speaker 1: like a week later he had meetings set up and

575
00:27:18,840 --> 00:27:21,919
Speaker 1: then all of a sudden, with the same songs, Um,

576
00:27:21,960 --> 00:27:24,000
Speaker 1: that I was toting around for the years prior or

577
00:27:24,080 --> 00:27:26,840
Speaker 1: whatever had a different light on them in a different

578
00:27:27,040 --> 00:27:29,800
Speaker 1: kind of you know, appreciation when I walked into the buildings,

579
00:27:29,880 --> 00:27:32,720
Speaker 1: just because you have the stamp of approval from somebody reputable,

580
00:27:33,200 --> 00:27:36,760
Speaker 1: you know. And there's the goal I should say, is

581
00:27:36,760 --> 00:27:39,240
Speaker 1: is it still to be an artist? I'm not interested

582
00:27:39,280 --> 00:27:42,560
Speaker 1: in being an artist. I'm more interested in creating records

583
00:27:42,640 --> 00:27:44,960
Speaker 1: for other people. Where are you interested being an artist?

584
00:27:44,960 --> 00:27:49,600
Speaker 1: At eighteen? Maybe at some point, But it took me

585
00:27:49,840 --> 00:27:53,959
Speaker 1: really realizing what my strength was, uh in in the

586
00:27:53,960 --> 00:27:57,560
Speaker 1: writer room and so where there have been times where

587
00:27:57,600 --> 00:27:59,680
Speaker 1: I thought, well, I would like to sing this demo

588
00:27:59,800 --> 00:28:01,560
Speaker 1: or whatever and like put it on CD from my

589
00:28:01,600 --> 00:28:04,800
Speaker 1: own artist project. I couldn't get near as excited about

590
00:28:04,800 --> 00:28:06,920
Speaker 1: those things. That's when I did whenever I get in

591
00:28:06,960 --> 00:28:09,160
Speaker 1: the room with somebody like Kelsey or Dylan who can

592
00:28:09,200 --> 00:28:12,560
Speaker 1: deliver that vocal a totally different way than I can

593
00:28:13,200 --> 00:28:16,639
Speaker 1: um and they are the true artist where it doesn't

594
00:28:16,680 --> 00:28:18,359
Speaker 1: take much. You just put a mic in front of

595
00:28:18,400 --> 00:28:20,480
Speaker 1: him and with a great song and you capture something.

596
00:28:20,520 --> 00:28:22,240
Speaker 1: I feel like for me personally, I have to work

597
00:28:22,359 --> 00:28:24,440
Speaker 1: way too hard to make it sound good to consider

598
00:28:24,480 --> 00:28:27,640
Speaker 1: myself an artist, but me being in the studio uh

599
00:28:28,280 --> 00:28:30,959
Speaker 1: land of things, I know how to kind of you know,

600
00:28:31,280 --> 00:28:34,760
Speaker 1: make records sound cool. But I would much rather do

601
00:28:34,800 --> 00:28:38,040
Speaker 1: that for somebody else than to try to do it

602
00:28:38,040 --> 00:28:40,200
Speaker 1: for myself in a sense where I feel like when

603
00:28:40,240 --> 00:28:42,800
Speaker 1: you involve other people and have a lot of of

604
00:28:42,800 --> 00:28:45,280
Speaker 1: of the people involved to get excited about it, it

605
00:28:45,280 --> 00:28:47,360
Speaker 1: brings a whole different life to it, to where if

606
00:28:47,400 --> 00:28:49,560
Speaker 1: I were just to kind of cut a record for myself,

607
00:28:49,640 --> 00:28:52,120
Speaker 1: you know, so that's where your heart is, yeah, man,

608
00:28:52,120 --> 00:28:55,040
Speaker 1: I would I want to produce, uh for for anybody

609
00:28:55,080 --> 00:28:58,000
Speaker 1: that you know, connects with when we're in the writing room.

610
00:28:58,560 --> 00:29:00,960
Speaker 1: If if I do a demo up and they're inspired

611
00:29:01,000 --> 00:29:03,320
Speaker 1: by and they want me to take it on and

612
00:29:03,560 --> 00:29:05,680
Speaker 1: do a full production on it, that's what excites me

613
00:29:05,720 --> 00:29:07,240
Speaker 1: the most. I'm not the kind of person that will

614
00:29:07,280 --> 00:29:09,120
Speaker 1: be like, hey, let me produce your record, Like I

615
00:29:09,160 --> 00:29:10,720
Speaker 1: would rather get in the room and you spend some

616
00:29:10,760 --> 00:29:12,959
Speaker 1: time try to figure out who that artist is as

617
00:29:13,000 --> 00:29:15,960
Speaker 1: a person, And really I do rely on a lot

618
00:29:16,040 --> 00:29:19,000
Speaker 1: of their personalities to kind of dictate where I take

619
00:29:19,000 --> 00:29:22,760
Speaker 1: it musically. So hopefully whenever you hear Kelsey Vallerini song.

620
00:29:23,080 --> 00:29:25,000
Speaker 1: You know that it's a Kelsey Valerini song for she

621
00:29:25,040 --> 00:29:27,160
Speaker 1: even says a lyric, because you hear it. You hear

622
00:29:27,160 --> 00:29:28,840
Speaker 1: it in the sounds, you hear it in the tempo,

623
00:29:29,000 --> 00:29:32,120
Speaker 1: the way that everything is kind of delivered on those records.

624
00:29:32,280 --> 00:29:35,120
Speaker 1: So if I were to work with, you know, an

625
00:29:35,200 --> 00:29:38,120
Speaker 1: artist that was um just completely pulled it opposite of that.

626
00:29:38,520 --> 00:29:42,360
Speaker 1: You know, I don't want that same sonic characteristic to

627
00:29:42,440 --> 00:29:44,400
Speaker 1: that album. You know, I want it to be true

628
00:29:44,440 --> 00:29:46,960
Speaker 1: to that artist. UM. So that's what I get fired

629
00:29:47,040 --> 00:29:50,880
Speaker 1: up about. Um. I would rather wake up every day

630
00:29:50,960 --> 00:29:53,200
Speaker 1: knowing that I have the opportunity to create something fresh

631
00:29:53,520 --> 00:29:56,600
Speaker 1: with a new artist that maybe hasn't maybe they haven't

632
00:29:56,640 --> 00:29:59,320
Speaker 1: experienced before. So that, I mean, that's what I get

633
00:29:59,360 --> 00:30:02,440
Speaker 1: fired up. Well, you give me a line you wrote

634
00:30:02,480 --> 00:30:05,480
Speaker 1: that you remember because that we jokes that. I'm like,

635
00:30:05,560 --> 00:30:08,320
Speaker 1: I remember that one. I remember coming up with that line.

636
00:30:08,560 --> 00:30:09,680
Speaker 1: Give me a line and let me like you mean

637
00:30:09,720 --> 00:30:11,320
Speaker 1: it where you're like, I was gonna give you a

638
00:30:11,320 --> 00:30:14,680
Speaker 1: Peter Pan line. I'll take one from where you're like.

639
00:30:15,560 --> 00:30:22,120
Speaker 1: So when I hear the song, I'm like many people

640
00:30:22,120 --> 00:30:27,560
Speaker 1: in the room and who knows, you know, Uh, this

641
00:30:27,640 --> 00:30:30,120
Speaker 1: is gonna sound weird, but I feel like, you know,

642
00:30:30,480 --> 00:30:32,960
Speaker 1: throwing stuff out early on, trying to get the song rolling.

643
00:30:34,440 --> 00:30:37,600
Speaker 1: I think it was, you know, the very first line,

644
00:30:37,720 --> 00:30:41,440
Speaker 1: hey boy, where you ha back? Just because I feel

645
00:30:41,480 --> 00:30:46,000
Speaker 1: like I was trying to pull out a really confident

646
00:30:46,080 --> 00:30:49,440
Speaker 1: personality in Kelsey early on, and we were throwing out

647
00:30:49,440 --> 00:30:51,800
Speaker 1: a couple of lines that just were just you know,

648
00:30:51,840 --> 00:30:55,680
Speaker 1: that felt true and authentic to what she would just say. Um.

649
00:30:55,800 --> 00:30:59,320
Speaker 1: So I remember influencing that very first line. I'll say

650
00:30:59,320 --> 00:31:04,920
Speaker 1: that one all right to Peter pan Okay, in the

651
00:31:04,960 --> 00:31:08,400
Speaker 1: bridge of Peter pan Um, I was so stoked. It

652
00:31:08,480 --> 00:31:12,400
Speaker 1: was one of those moments where you get chills, um

653
00:31:12,960 --> 00:31:16,160
Speaker 1: whenever I can't even remember how it goes now, but

654
00:31:16,440 --> 00:31:20,600
Speaker 1: in the bridge change where you're just a lost boy

655
00:31:20,640 --> 00:31:24,280
Speaker 1: and you don't know what you lost, Comma boy, you know,

656
00:31:24,480 --> 00:31:27,440
Speaker 1: I love that those kind of lyrical plays, And whenever

657
00:31:27,520 --> 00:31:29,880
Speaker 1: we landed on that in the session, I just got

658
00:31:29,960 --> 00:31:32,920
Speaker 1: chills and I was like, man, it couldn't have been better.

659
00:31:33,360 --> 00:31:37,600
Speaker 1: You gave yourself chills. That's well. You know, I feel

660
00:31:37,600 --> 00:31:41,880
Speaker 1: like as creative, it's not like you're almost there just

661
00:31:41,960 --> 00:31:45,160
Speaker 1: to accept what's going on, Like I really can't take

662
00:31:45,160 --> 00:31:48,200
Speaker 1: credit for that's just the right moment. It could have

663
00:31:48,240 --> 00:31:50,840
Speaker 1: been inspired by what somebody else said, but it did

664
00:31:50,920 --> 00:31:54,280
Speaker 1: come through me saying it. But I'm listen. I don't

665
00:31:54,280 --> 00:31:56,320
Speaker 1: think you should say that. But yeah, I gave myself chills,

666
00:31:56,360 --> 00:32:00,400
Speaker 1: like when I was like, this is the greatest ever

667
00:32:01,080 --> 00:32:04,400
Speaker 1: and it happens, and when you get those are like God,

668
00:32:04,440 --> 00:32:07,000
Speaker 1: because it's so rare that it is. And even as

669
00:32:07,000 --> 00:32:08,920
Speaker 1: a writer, there's been very I could probably count on

670
00:32:09,320 --> 00:32:12,280
Speaker 1: you know, one hand, the times that that that's happened

671
00:32:12,360 --> 00:32:14,680
Speaker 1: and you don't know what it is. You can't bottle

672
00:32:14,720 --> 00:32:16,920
Speaker 1: it up, uh, and you can't really explain it. You

673
00:32:16,960 --> 00:32:19,840
Speaker 1: just know when something feels right. Um, And I feel

674
00:32:19,880 --> 00:32:22,160
Speaker 1: like that's what that's what songwriting is about. It's all

675
00:32:22,160 --> 00:32:24,480
Speaker 1: on that gut feeling of I don't know why, it

676
00:32:24,560 --> 00:32:26,880
Speaker 1: just feels right. I have a couple of jokes and

677
00:32:26,920 --> 00:32:28,800
Speaker 1: in my set that when I wrote then I was like,

678
00:32:29,040 --> 00:32:31,080
Speaker 1: oh man, this is funny and this is gonna be

679
00:32:31,120 --> 00:32:33,000
Speaker 1: funny for a long time. And then I have some

680
00:32:33,200 --> 00:32:35,320
Speaker 1: you know, but there are a couple you just know

681
00:32:35,560 --> 00:32:38,240
Speaker 1: and you're like, oh man, this is the feeling. It's

682
00:32:38,240 --> 00:32:39,760
Speaker 1: like hitting and I don't have up like golf in years.

683
00:32:39,760 --> 00:32:41,320
Speaker 1: I don't know if you play golf, but I haven't

684
00:32:41,320 --> 00:32:43,280
Speaker 1: played golf in year. That kind of stopped playing. But

685
00:32:43,400 --> 00:32:45,960
Speaker 1: when you would hit that perfect golf shot, it was rare,

686
00:32:46,800 --> 00:32:49,560
Speaker 1: but it made you, made you remember why you loved

687
00:32:49,960 --> 00:32:51,959
Speaker 1: doing it. It was so rare, but you needed one

688
00:32:52,000 --> 00:32:55,760
Speaker 1: occasionally to remind you that I can actually do this,

689
00:32:56,120 --> 00:32:58,360
Speaker 1: you know what I feel like. That's a really a

690
00:32:58,400 --> 00:33:00,680
Speaker 1: lot of what a lot of song writers deal with.

691
00:33:00,800 --> 00:33:03,960
Speaker 1: Like we're in the grind of writing songs every single day,

692
00:33:04,000 --> 00:33:06,560
Speaker 1: but every now and then you'll get that perfect swing,

693
00:33:07,080 --> 00:33:10,240
Speaker 1: you know, and you just knock it out, and it's

694
00:33:10,280 --> 00:33:12,200
Speaker 1: one of those things where those of the moments you

695
00:33:12,240 --> 00:33:14,800
Speaker 1: live for. You could write six months and not be,

696
00:33:15,440 --> 00:33:18,400
Speaker 1: you know, totally excited about a song that you wrote

697
00:33:18,480 --> 00:33:21,720
Speaker 1: yesterday that you just know that's why you're writing songs,

698
00:33:21,720 --> 00:33:24,120
Speaker 1: and it makes the six months, last six months of writing,

699
00:33:24,400 --> 00:33:26,920
Speaker 1: you know, songs that didn't necessarily excite you as much,

700
00:33:27,040 --> 00:33:29,640
Speaker 1: totally worth it, just to say, hold out for that

701
00:33:29,720 --> 00:33:33,040
Speaker 1: one song. You know, is that a wedding ring? It is?

702
00:33:33,640 --> 00:33:38,120
Speaker 1: I am I've been happily married for three years. Yeah. Man,

703
00:33:38,280 --> 00:33:41,120
Speaker 1: we back in the campus show. No No, No, No, wait,

704
00:33:41,320 --> 00:33:44,520
Speaker 1: we actually have a nicer place these days. I don't.

705
00:33:45,320 --> 00:33:48,480
Speaker 1: So you're twenty eight, you got, you're married three. I

706
00:33:48,520 --> 00:33:51,360
Speaker 1: mean she kind of got into a good time, right right,

707
00:33:51,440 --> 00:33:54,960
Speaker 1: I mean like she literally she moved up as loved

708
00:33:54,960 --> 00:33:56,600
Speaker 1: me like I mean, it was clouding the charge there

709
00:33:56,600 --> 00:34:02,840
Speaker 1: inside her trading like perfect you wonder Man music. She's

710
00:34:02,880 --> 00:34:06,480
Speaker 1: actually a nurse at Vanderbilt. That's I say that my

711
00:34:06,480 --> 00:34:09,439
Speaker 1: girlf's gonna kill me. But because she's in the best too,

712
00:34:09,920 --> 00:34:12,560
Speaker 1: and this I don't ever see her like it's difficult.

713
00:34:12,600 --> 00:34:15,279
Speaker 1: I'm on the road all time. I'm doing the show

714
00:34:15,400 --> 00:34:18,160
Speaker 1: on the road. She's on the road all time. You got,

715
00:34:18,160 --> 00:34:21,240
Speaker 1: you have, and you have somebody like nurses are awesome

716
00:34:21,400 --> 00:34:27,919
Speaker 1: like camel, empathetic and sympathetic and giving, to be able

717
00:34:27,960 --> 00:34:29,800
Speaker 1: to do to be able to wipe poop off somebody,

718
00:34:30,520 --> 00:34:32,600
Speaker 1: right and not even joking, like I know the word

719
00:34:32,600 --> 00:34:34,880
Speaker 1: poop's funny, but to be able to do that and

720
00:34:34,880 --> 00:34:37,080
Speaker 1: take care of somebody that's a different kind of human,

721
00:34:37,200 --> 00:34:40,000
Speaker 1: you know. And she's definitely done that. She but she's

722
00:34:40,040 --> 00:34:43,520
Speaker 1: now in the operating room at Vanderbilt. I might have, yeah,

723
00:34:43,520 --> 00:34:46,000
Speaker 1: I might have, like you know, uh not so good

724
00:34:46,080 --> 00:34:47,799
Speaker 1: day going on, and I come home and she tells

725
00:34:47,800 --> 00:34:50,719
Speaker 1: me about somebody's jaw or nose completely being on the table,

726
00:34:50,719 --> 00:34:53,520
Speaker 1: and I'm like, man, okay, you know it's not near

727
00:34:53,520 --> 00:34:55,560
Speaker 1: as bad as whatever you had to face today, you know.

728
00:34:56,360 --> 00:35:03,080
Speaker 1: So yeah, how about if you another big before you

729
00:35:03,200 --> 00:35:06,680
Speaker 1: huh produced? That didn't right? That doesn't matter. Yeah, it's

730
00:35:06,680 --> 00:35:11,480
Speaker 1: still you're it's still a song you're associated. Yeah, I

731
00:35:11,480 --> 00:35:13,319
Speaker 1: thought it's still talking about song lyrics. I was like,

732
00:35:13,360 --> 00:35:17,439
Speaker 1: I can't we just talking about your wife? We've yeah,

733
00:35:17,440 --> 00:35:24,040
Speaker 1: we're talking about all right, so here. So I wonder

734
00:35:24,080 --> 00:35:26,960
Speaker 1: about co producing because there's no way that I'm sitting

735
00:35:26,960 --> 00:35:30,120
Speaker 1: with someone and fighting about what happened on my radio show.

736
00:35:30,320 --> 00:35:32,120
Speaker 1: There's no worry. I'm not just not doing it like

737
00:35:32,239 --> 00:35:34,560
Speaker 1: I'm going to win. I might be wrong, but I'm

738
00:35:34,560 --> 00:35:38,759
Speaker 1: gonna win. You're co producing, you're both picking what ends

739
00:35:38,840 --> 00:35:41,560
Speaker 1: up being the sound of the song. There's gotta be time.

740
00:35:41,600 --> 00:35:44,080
Speaker 1: But you just don't agree. Sure, And I feel like

741
00:35:44,800 --> 00:35:47,920
Speaker 1: most of finding a good co producers finding the contrast.

742
00:35:48,120 --> 00:35:51,560
Speaker 1: So if you know, I'm sure we'd have more disagreements

743
00:35:51,600 --> 00:35:53,799
Speaker 1: if we kind of did the same thing. But you

744
00:35:53,840 --> 00:35:56,400
Speaker 1: know the difference and what Jason and I do is

745
00:35:56,440 --> 00:35:59,359
Speaker 1: he brings a more pop element to it, and he

746
00:35:59,440 --> 00:36:02,880
Speaker 1: programs DRAMs a certain way that I can't, and I,

747
00:36:03,200 --> 00:36:06,960
Speaker 1: you know, early on, you know, recognized the value that

748
00:36:07,000 --> 00:36:10,520
Speaker 1: he brought to that whole whole thing, you know, because Um,

749
00:36:10,880 --> 00:36:13,520
Speaker 1: I can of course go off and produce tracks by myself,

750
00:36:13,600 --> 00:36:16,360
Speaker 1: but honestly, I get I get more exciting whenever you

751
00:36:16,400 --> 00:36:18,640
Speaker 1: collab with somebody because you can have that extra ear

752
00:36:18,680 --> 00:36:21,960
Speaker 1: to run things by um and sometimes I mean ultimately

753
00:36:21,960 --> 00:36:24,719
Speaker 1: it comes down. There was actually an unapologetically there's a

754
00:36:24,760 --> 00:36:26,920
Speaker 1: sound that we use in intro that me and Jason

755
00:36:26,920 --> 00:36:28,799
Speaker 1: were stoked about, like, man, that's cool, and we sent

756
00:36:28,880 --> 00:36:31,239
Speaker 1: it to Kelsey's like I don't know what y'are doing that,

757
00:36:31,600 --> 00:36:34,160
Speaker 1: you know intro, but it's gotta change, you know, uh.

758
00:36:34,200 --> 00:36:36,560
Speaker 1: And so we ended up trying some new things and

759
00:36:36,600 --> 00:36:40,080
Speaker 1: so just even though we were on board with it, um,

760
00:36:40,120 --> 00:36:42,720
Speaker 1: you know, she kind of influenced us to try different

761
00:36:42,760 --> 00:36:45,200
Speaker 1: things that now we're even more happier with it and

762
00:36:45,239 --> 00:36:47,279
Speaker 1: we feel like it's in a different spot. So I

763
00:36:47,280 --> 00:36:50,800
Speaker 1: feel like as many ears, um that you trust involved

764
00:36:50,800 --> 00:36:53,640
Speaker 1: with something, the better, you know. On Kelsey State Record

765
00:36:53,800 --> 00:36:56,279
Speaker 1: and you know, these podcasts live forever. So if you're

766
00:36:56,280 --> 00:36:58,600
Speaker 1: hearing this now after the Kelsey's records out, that, uh,

767
00:36:58,880 --> 00:37:00,880
Speaker 1: this will kind of just be not it. But I

768
00:37:00,920 --> 00:37:04,160
Speaker 1: have legends, which is you know played earlier, and so

769
00:37:04,360 --> 00:37:07,759
Speaker 1: you wrote and produced this, and did you produced it

770
00:37:07,760 --> 00:37:10,759
Speaker 1: by yourself produced? So you wrote and co produced this.

771
00:37:12,000 --> 00:37:15,080
Speaker 1: But like I, there are only a few artists that

772
00:37:15,120 --> 00:37:17,240
Speaker 1: I have music from that hasn't been like I couldn't

773
00:37:17,239 --> 00:37:19,920
Speaker 1: put unapologetically up because it's I mean, I guess I

774
00:37:19,960 --> 00:37:22,600
Speaker 1: could have because I have it, but it's not out.

775
00:37:23,280 --> 00:37:25,400
Speaker 1: I don't think to download, is it. Oh that's one

776
00:37:25,400 --> 00:37:28,280
Speaker 1: of the yah So like if you order the album,

777
00:37:28,360 --> 00:37:29,719
Speaker 1: get that already have it. I just don't know what

778
00:37:29,760 --> 00:37:32,319
Speaker 1: she puts out. It's like, yeah, I could have put

779
00:37:32,320 --> 00:37:37,040
Speaker 1: that out. That's check it out. I remember her sending

780
00:37:37,120 --> 00:37:41,040
Speaker 1: these songs for this next record a year ago, like

781
00:37:41,160 --> 00:37:44,120
Speaker 1: working on it. There's there's a song I'm gonna get

782
00:37:44,120 --> 00:37:47,320
Speaker 1: that the Thomas right Umm has a song called grave.

783
00:37:47,520 --> 00:37:51,360
Speaker 1: She has a song called Graveyard. I know I have it.

784
00:37:51,400 --> 00:37:53,200
Speaker 1: I've had it. I've had it. I don't have the

785
00:37:53,800 --> 00:37:55,279
Speaker 1: first of all, I have the right to play the cut,

786
00:37:55,400 --> 00:37:58,919
Speaker 1: but I have the work tape. When did you write

787
00:37:58,960 --> 00:38:01,600
Speaker 1: that with her you So she sent that to me.

788
00:38:03,080 --> 00:38:06,200
Speaker 1: I'm assuming you guys wrote that just by the remembering

789
00:38:06,680 --> 00:38:10,719
Speaker 1: eight months nine months ago, that's been along. Well, that's

790
00:38:10,719 --> 00:38:13,680
Speaker 1: probably one of the earlier songs for this next album.

791
00:38:13,719 --> 00:38:16,360
Speaker 1: So yes, and she was like, dude, we're writing for

792
00:38:16,360 --> 00:38:17,640
Speaker 1: the next record. And she said it to me, and

793
00:38:17,640 --> 00:38:21,360
Speaker 1: I was like, because I had, Yeah, that's cool. So

794
00:38:21,400 --> 00:38:23,960
Speaker 1: you know that, huh play right now because it's such

795
00:38:23,960 --> 00:38:25,960
Speaker 1: a jam. Man, I can't wait for you to hear

796
00:38:26,000 --> 00:38:29,120
Speaker 1: the fully produced version. What what's the deal with the

797
00:38:29,160 --> 00:38:32,120
Speaker 1: new record? Like, what are you on on the new record? So?

798
00:38:32,560 --> 00:38:37,160
Speaker 1: Uh legends unapologetically? Um, and I don't know. I don't

799
00:38:37,160 --> 00:38:40,200
Speaker 1: even have in front of me. Um. There's a song

800
00:38:40,239 --> 00:38:42,920
Speaker 1: called funny Games I'm so excited about. It's not on

801
00:38:42,960 --> 00:38:45,440
Speaker 1: the uh, you know, the original twelve tracks, but I

802
00:38:45,440 --> 00:38:48,319
Speaker 1: think it'll come out as like a deluxe or something, right,

803
00:38:48,920 --> 00:38:54,600
Speaker 1: some kind of thing. We can produced the full record

804
00:38:54,800 --> 00:38:59,879
Speaker 1: with the exception of a think two songs songs, yes,

805
00:39:00,120 --> 00:39:01,160
Speaker 1: I mean, I don't I don't know if that's the

806
00:39:01,160 --> 00:39:04,799
Speaker 1: exact number, but but yeah, yeah, so, I mean in

807
00:39:04,840 --> 00:39:06,640
Speaker 1: the same in the same way we kind of did.

808
00:39:06,719 --> 00:39:10,000
Speaker 1: I mean, me and Jason did the whole first record, so, um,

809
00:39:10,040 --> 00:39:14,280
Speaker 1: you know, it's it's been awesome to hear the songs

810
00:39:14,320 --> 00:39:16,000
Speaker 1: that she's written over the last couple of years and

811
00:39:16,040 --> 00:39:18,120
Speaker 1: bring a whole different life to them, you know, because

812
00:39:18,120 --> 00:39:20,480
Speaker 1: I feel like we've done deeper on the production. There's

813
00:39:20,520 --> 00:39:24,160
Speaker 1: a lot more I would say, even like thematic, it's

814
00:39:24,200 --> 00:39:30,480
Speaker 1: not the cinematic is what I'm looking for. Elements even Kelsey.

815
00:39:30,560 --> 00:39:32,480
Speaker 1: And it's hard for me to go what I know

816
00:39:32,600 --> 00:39:35,920
Speaker 1: and then what she said because I know Kelsey privately,

817
00:39:35,960 --> 00:39:37,880
Speaker 1: and there are things that I'm like, oh, did she

818
00:39:37,880 --> 00:39:40,040
Speaker 1: said to me like a private conversation or in like

819
00:39:40,320 --> 00:39:41,839
Speaker 1: this is stuff you can talk about. But I think

820
00:39:42,120 --> 00:39:44,160
Speaker 1: she said where it's like she put the tracks in

821
00:39:44,280 --> 00:39:46,719
Speaker 1: order like to tell a story, right, You're saying cinematic

822
00:39:46,760 --> 00:39:50,839
Speaker 1: Like that's right, yeah, man. Even and whenever you track one,

823
00:39:50,840 --> 00:39:54,040
Speaker 1: whenever you press play, it sounds like a projector's coming

824
00:39:54,080 --> 00:39:56,000
Speaker 1: on if you looked listen really clock and that's on

825
00:39:56,040 --> 00:39:58,919
Speaker 1: Graveyard too, that's the very first track. Um, so there's

826
00:39:58,960 --> 00:40:00,880
Speaker 1: a lot of elements. There's song called high School on

827
00:40:00,920 --> 00:40:03,480
Speaker 1: there where you know, we have clips of you know,

828
00:40:03,560 --> 00:40:07,279
Speaker 1: an actual high school uh you know, football game, going on,

829
00:40:07,440 --> 00:40:10,400
Speaker 1: and and the sights and scenes that you would hopefully

830
00:40:11,040 --> 00:40:13,560
Speaker 1: here and see in those situations. We tried to put

831
00:40:13,560 --> 00:40:17,680
Speaker 1: it um the audio in these tracks so um, and

832
00:40:17,960 --> 00:40:21,440
Speaker 1: I'm specifically excited about that track because the drums and

833
00:40:21,480 --> 00:40:24,160
Speaker 1: that are a full high school drum line. So it's

834
00:40:24,160 --> 00:40:27,279
Speaker 1: not like your standard you know, Nashville drummer session that

835
00:40:27,320 --> 00:40:29,759
Speaker 1: comes to play on a you know, a song. It's

836
00:40:29,880 --> 00:40:32,200
Speaker 1: it's it was more like if you walked into your

837
00:40:32,239 --> 00:40:36,359
Speaker 1: band room, what instruments would you have access to? And

838
00:40:36,440 --> 00:40:39,279
Speaker 1: that's what we put on that track. So coming at

839
00:40:39,280 --> 00:40:44,560
Speaker 1: production from that standpoint of just trying to make it unique. Um,

840
00:40:44,600 --> 00:40:47,160
Speaker 1: working with the artists like her, she gets fired up

841
00:40:47,160 --> 00:40:49,319
Speaker 1: about that stuff, you know, and it gives a whole

842
00:40:49,320 --> 00:40:51,680
Speaker 1: different live to the record because there's really no rules.

843
00:40:51,719 --> 00:40:54,080
Speaker 1: Do you play instruments of these things? Yes, look at

844
00:40:54,120 --> 00:40:58,760
Speaker 1: this guy instead of paying a session player, or because

845
00:40:58,760 --> 00:41:01,520
Speaker 1: you're you feel like you know the sound better than

846
00:41:01,560 --> 00:41:04,120
Speaker 1: anyone could come in. Well, I do both, so like

847
00:41:04,320 --> 00:41:07,040
Speaker 1: I'll hire. But when you do it okay, when you

848
00:41:07,040 --> 00:41:08,920
Speaker 1: feel like you know what the sound needs to be

849
00:41:09,080 --> 00:41:10,759
Speaker 1: and as great as they are, because they're the best,

850
00:41:11,120 --> 00:41:14,120
Speaker 1: the players are the best. They are but do you

851
00:41:14,120 --> 00:41:16,600
Speaker 1: feel like because you know it, you can play it better.

852
00:41:17,000 --> 00:41:20,879
Speaker 1: I feel like I'm gonna play things more simplistic um

853
00:41:21,480 --> 00:41:25,239
Speaker 1: and in a way that UM is true to me

854
00:41:26,040 --> 00:41:29,280
Speaker 1: to where I think that it influences the whole sound

855
00:41:29,400 --> 00:41:31,560
Speaker 1: of the record, and you know that it's not a

856
00:41:31,600 --> 00:41:34,319
Speaker 1: Snashville player, uh, because I mean, I don't play the

857
00:41:34,320 --> 00:41:37,040
Speaker 1: most flashiest things. It's very simple things. If you if

858
00:41:37,080 --> 00:41:39,080
Speaker 1: you've been playing guitar for three or four much, you

859
00:41:39,080 --> 00:41:42,080
Speaker 1: could probably play most of the things on her first

860
00:41:42,120 --> 00:41:45,880
Speaker 1: record for sure. UM. And that comes from you know,

861
00:41:45,960 --> 00:41:47,960
Speaker 1: I feel like that's part of the sound. It's just

862
00:41:48,040 --> 00:41:50,239
Speaker 1: having you know, if you listen to the loving like

863
00:41:50,280 --> 00:41:53,879
Speaker 1: COMMUNI like bound up, bound up, but up Onuh, it's

864
00:41:53,920 --> 00:41:57,000
Speaker 1: just like everything is so ABC like that for licks.

865
00:41:57,080 --> 00:41:59,520
Speaker 1: That's the way I hear them, uh, to where you

866
00:41:59,560 --> 00:42:02,640
Speaker 1: know there's sometimes you know, you probably won't hear like

867
00:42:02,680 --> 00:42:06,800
Speaker 1: a lot of ripping, crazy solos on her her records

868
00:42:06,840 --> 00:42:09,520
Speaker 1: because most most of the time they're just very we

869
00:42:09,600 --> 00:42:11,759
Speaker 1: try to keep it very simple and melodic. And I

870
00:42:11,760 --> 00:42:15,040
Speaker 1: feel like I play things in a way that I

871
00:42:15,080 --> 00:42:18,640
Speaker 1: hear Kelsey. So where a session player may play things

872
00:42:18,680 --> 00:42:21,160
Speaker 1: similar to on a session that they did yesterday or

873
00:42:21,200 --> 00:42:23,360
Speaker 1: the day before. I try to make sure when I

874
00:42:23,400 --> 00:42:26,480
Speaker 1: sit down with the Kelsey session that it does sound

875
00:42:26,560 --> 00:42:28,640
Speaker 1: different and true to that song. You know, what do

876
00:42:28,680 --> 00:42:32,160
Speaker 1: you do today? What do I do today? Yeah? Um,

877
00:42:32,320 --> 00:42:35,160
Speaker 1: well I woke up. I cut some vocals today or

878
00:42:36,800 --> 00:42:40,239
Speaker 1: de Yeah it was a demo. Um, you know at

879
00:42:40,280 --> 00:42:42,279
Speaker 1: my house. Um, now you can afford a studio. I

880
00:42:42,280 --> 00:42:46,360
Speaker 1: went from a camper. I wish I had a studio,

881
00:42:46,360 --> 00:42:48,120
Speaker 1: and yeah, it's actually in my living room. I had

882
00:42:48,120 --> 00:42:52,120
Speaker 1: a studio. I'm in between finding studio spots. So um

883
00:42:52,680 --> 00:42:55,200
Speaker 1: right now I'm in my living room. But you know,

884
00:42:55,280 --> 00:42:57,960
Speaker 1: I wrote with Brendi Clark all last week. So we

885
00:42:58,000 --> 00:43:01,319
Speaker 1: were finishing up some demos and dude, like, she's one

886
00:43:01,360 --> 00:43:05,960
Speaker 1: of my favorite people like her and I could have talked.

887
00:43:06,200 --> 00:43:07,560
Speaker 1: She came up and we did this. We could talked

888
00:43:07,560 --> 00:43:11,200
Speaker 1: for three hours. And I have all and not the sidetrack.

889
00:43:11,239 --> 00:43:13,840
Speaker 1: I just Brandy is one of my favorites. I'm with

890
00:43:14,000 --> 00:43:16,920
Speaker 1: you as a person, as an artist, as a writer,

891
00:43:17,400 --> 00:43:21,080
Speaker 1: like all of it. And when her live record, to

892
00:43:21,200 --> 00:43:25,839
Speaker 1: just put the live record and I'm just such a

893
00:43:25,840 --> 00:43:27,960
Speaker 1: fan and so you and Brandy wrote But yeah, so

894
00:43:28,480 --> 00:43:29,600
Speaker 1: I used to play on the road with her for

895
00:43:29,600 --> 00:43:31,520
Speaker 1: about two and a half years. I didn't know. Yeah,

896
00:43:31,560 --> 00:43:34,399
Speaker 1: so that was right after I finished I was literally

897
00:43:34,440 --> 00:43:38,279
Speaker 1: cutting guitars for Kelsey Ballerini's album on her bus, you know,

898
00:43:38,840 --> 00:43:41,520
Speaker 1: on on Brandy's bus as I was a tour musician

899
00:43:41,680 --> 00:43:44,080
Speaker 1: with her for a while, and through that, um, I

900
00:43:44,200 --> 00:43:46,200
Speaker 1: learned so much just being around her, being in the

901
00:43:46,200 --> 00:43:49,400
Speaker 1: writing room with her. You can't help but be influenced

902
00:43:49,400 --> 00:43:53,960
Speaker 1: by her awesomeness. You know. Yeah, she's a good one.

903
00:43:54,200 --> 00:43:57,200
Speaker 1: She makes you feel like a human. Yeah, you know,

904
00:43:57,239 --> 00:43:58,680
Speaker 1: I was. I was so nervous the first time I

905
00:43:58,719 --> 00:44:00,560
Speaker 1: got in a riding room with her, and you know

906
00:44:00,719 --> 00:44:03,200
Speaker 1: that she made me comfortable very quick. Just the way

907
00:44:03,200 --> 00:44:06,400
Speaker 1: that she responded. She really showed me how a writer

908
00:44:06,560 --> 00:44:09,640
Speaker 1: of of that you know, kind of talent can can

909
00:44:09,680 --> 00:44:12,279
Speaker 1: really bring the best out of everybody else in the room.

910
00:44:12,320 --> 00:44:14,680
Speaker 1: You know, because you know where I've been in other

911
00:44:14,719 --> 00:44:16,920
Speaker 1: situations where I was with the writer that really admired

912
00:44:16,960 --> 00:44:19,440
Speaker 1: and they kind of give off this intimidation thing or

913
00:44:19,440 --> 00:44:22,200
Speaker 1: this you know whatever. That was totally not her. She

914
00:44:22,560 --> 00:44:24,120
Speaker 1: you know, I don't know, I feel like she's just

915
00:44:24,200 --> 00:44:27,719
Speaker 1: a great example for you know, just working hard and

916
00:44:28,040 --> 00:44:30,960
Speaker 1: being great you know, yeah, and continue and like just

917
00:44:31,960 --> 00:44:34,719
Speaker 1: again you have a great story of it too. Just working, yeah, man,

918
00:44:34,920 --> 00:44:37,120
Speaker 1: just working and keeping and knowing what you want to

919
00:44:37,160 --> 00:44:39,320
Speaker 1: do and working towards what you want to do and

920
00:44:39,320 --> 00:44:41,359
Speaker 1: then if it pops, great, If it doesn't, okay, cool,

921
00:44:41,360 --> 00:44:43,399
Speaker 1: I'm still gonna keep doing it. That's what it's about.

922
00:44:43,440 --> 00:44:45,080
Speaker 1: Because if you love doing it, you work hard right

923
00:44:45,120 --> 00:44:46,520
Speaker 1: at you work hard right at e. Actually it's gonna

924
00:44:46,560 --> 00:44:48,120
Speaker 1: you're gonna be a more successful at it. That's what

925
00:44:48,160 --> 00:44:50,680
Speaker 1: it's about. And like you know, talking about getting paid

926
00:44:50,680 --> 00:44:52,120
Speaker 1: and so if I didn't get paid necessary for the

927
00:44:52,160 --> 00:44:54,479
Speaker 1: demos I cranked out this morning on her, but it's

928
00:44:54,520 --> 00:44:57,480
Speaker 1: like I'm I'm more inspired to try to give those

929
00:44:57,480 --> 00:45:00,919
Speaker 1: demos a different sound. Um, you know that that gets

930
00:45:00,920 --> 00:45:05,759
Speaker 1: her excited. So yeah, the songs, well, hopefully you know

931
00:45:05,840 --> 00:45:10,400
Speaker 1: we've uh there they are I think you guys wrote together.

932
00:45:10,520 --> 00:45:12,399
Speaker 1: That's being thrown out in the universe, like hopefully they're

933
00:45:12,440 --> 00:45:14,759
Speaker 1: for her, man. That's that's that's the hope. I'm hoping

934
00:45:14,800 --> 00:45:16,839
Speaker 1: she will be able to at least record a few

935
00:45:16,920 --> 00:45:19,480
Speaker 1: of them. Um, But that being said, we never know.

936
00:45:19,560 --> 00:45:21,759
Speaker 1: We just try to write the best song possible. And

937
00:45:21,800 --> 00:45:24,359
Speaker 1: if she decides that it's not for her, hopefully does

938
00:45:24,400 --> 00:45:27,120
Speaker 1: get pitched and play somewhere else. But um, you know,

939
00:45:27,280 --> 00:45:31,080
Speaker 1: I mean I cranked out too this morning sing and

940
00:45:31,160 --> 00:45:34,520
Speaker 1: my good singer, I sing backgrounds better than I do leads,

941
00:45:34,800 --> 00:45:39,359
Speaker 1: so harmonies yeah, yeah, So back to the artist thing

942
00:45:39,480 --> 00:45:42,040
Speaker 1: a lot. I used to be very self conscious about

943
00:45:42,040 --> 00:45:44,640
Speaker 1: my voice because you know, I don't have the most deep,

944
00:45:44,840 --> 00:45:48,400
Speaker 1: manly done whatever that a lot of country people relate to,

945
00:45:48,640 --> 00:45:51,560
Speaker 1: and a lot of pitches do well. So a lot

946
00:45:51,640 --> 00:45:55,200
Speaker 1: of um my sessions early on, I would kind of

947
00:45:55,640 --> 00:45:58,000
Speaker 1: you know, get offended or whatever. One people say, Yeah,

948
00:45:58,040 --> 00:46:00,040
Speaker 1: you just need another vocal and something that sounds a

949
00:46:00,080 --> 00:46:04,000
Speaker 1: little more grid or whatever. But I learned that my

950
00:46:04,120 --> 00:46:07,480
Speaker 1: talent was harmonizing with other singers, so I would rather

951
00:46:07,520 --> 00:46:10,680
Speaker 1: put somebody else as a lead and knock out some

952
00:46:10,719 --> 00:46:14,920
Speaker 1: harmonies on top of them that sounds, you know, really

953
00:46:14,960 --> 00:46:17,279
Speaker 1: aligned with what they're doing. And I've spend more of

954
00:46:17,320 --> 00:46:21,320
Speaker 1: my vocal time trying to accent what they do, and um,

955
00:46:21,360 --> 00:46:23,279
Speaker 1: you know that works for me, um, because I do

956
00:46:23,360 --> 00:46:26,200
Speaker 1: have a thinner voice and it kind of blends better

957
00:46:26,360 --> 00:46:29,600
Speaker 1: with other lead vocals. Get fantastic voicetop listening to people

958
00:46:29,600 --> 00:46:31,839
Speaker 1: where they got It's an amazing voice. I gotta listen

959
00:46:31,840 --> 00:46:36,239
Speaker 1: to it best. I saw you, you wouldn't well. I

960
00:46:36,280 --> 00:46:41,279
Speaker 1: heard you were you were singing with Kelsey and Hillary Lindsay, Yeah,

961
00:46:41,280 --> 00:46:42,960
Speaker 1: I haven't heard you sings. Do you have any of

962
00:46:43,040 --> 00:46:47,280
Speaker 1: them singing because you hide it black black from the internet.

963
00:46:47,400 --> 00:46:50,200
Speaker 1: Oh you know what, I'll sing for you. I'd rather not.

964
00:46:50,200 --> 00:46:52,920
Speaker 1: I would rather just imagine in my head voice that

965
00:46:52,960 --> 00:46:55,560
Speaker 1: you talk about these memes. Let's see what's funny here.

966
00:46:57,640 --> 00:46:59,400
Speaker 1: When you were the best singer in your hometown, you

967
00:46:59,400 --> 00:47:01,520
Speaker 1: got to Nashville and find out everybody else was to

968
00:47:02,680 --> 00:47:05,880
Speaker 1: That's that's man. Everybody comes here and they were their

969
00:47:05,880 --> 00:47:08,839
Speaker 1: hometown heroes and they were the big music guy at home,

970
00:47:09,360 --> 00:47:11,840
Speaker 1: and you come to the town where everybody else was

971
00:47:11,880 --> 00:47:15,000
Speaker 1: the big It's like the NFL. Like you were the

972
00:47:15,000 --> 00:47:17,160
Speaker 1: best high school player. You were one of the best

973
00:47:17,200 --> 00:47:20,080
Speaker 1: players in your conference. But now you're in the NFL

974
00:47:20,080 --> 00:47:21,960
Speaker 1: where you're playing with all the other best players in

975
00:47:22,000 --> 00:47:26,560
Speaker 1: their conference, and everywhere you look, everybody's good, and there's

976
00:47:26,600 --> 00:47:29,480
Speaker 1: always somebody new just just getting off the bus, ready

977
00:47:29,480 --> 00:47:31,759
Speaker 1: to just come and crush it. You know, when a

978
00:47:31,880 --> 00:47:34,280
Speaker 1: new rider in town asks if you have any advice,

979
00:47:34,480 --> 00:47:37,640
Speaker 1: and it shows a guy praying so so six someone

980
00:47:37,680 --> 00:47:39,680
Speaker 1: comes up to you, twenty two year old and say, hey, fores,

981
00:47:39,800 --> 00:47:42,600
Speaker 1: what do I do? How do I start? Yeah? I

982
00:47:42,640 --> 00:47:46,359
Speaker 1: would say, man, I would find people that, um, you

983
00:47:46,400 --> 00:47:50,000
Speaker 1: believe get you as far as you know, understands what

984
00:47:50,080 --> 00:47:52,360
Speaker 1: you want to say in your songs, and try to

985
00:47:52,960 --> 00:47:56,439
Speaker 1: find people that will chase after that rather than chase

986
00:47:56,480 --> 00:47:58,480
Speaker 1: after what they feel like it's popular or what they

987
00:47:58,480 --> 00:48:01,920
Speaker 1: feel like will be successful. Um. What I love about

988
00:48:01,920 --> 00:48:05,880
Speaker 1: working and producing artists is trying to you know, infuse

989
00:48:06,000 --> 00:48:08,760
Speaker 1: their language and the way they talk into their songs

990
00:48:08,920 --> 00:48:12,960
Speaker 1: and into you know, just their their their whole um

991
00:48:13,480 --> 00:48:15,279
Speaker 1: you know, I don't know, just just the way that

992
00:48:15,320 --> 00:48:18,080
Speaker 1: they deliver a lyric, trying to capture their personality in that.

993
00:48:18,320 --> 00:48:21,080
Speaker 1: And I feel like to be true to your songs

994
00:48:21,120 --> 00:48:25,120
Speaker 1: and to have something that's different, you gotta tap into that.

995
00:48:25,200 --> 00:48:28,439
Speaker 1: You have to really find the way that you would

996
00:48:28,440 --> 00:48:31,000
Speaker 1: say things, the perspective you have, because that's what's gonna

997
00:48:31,000 --> 00:48:33,200
Speaker 1: help you stand out, you know, instead of trying to

998
00:48:33,280 --> 00:48:36,520
Speaker 1: sound like you know, someone more successful or whatever. You know,

999
00:48:36,960 --> 00:48:41,359
Speaker 1: like at you kids do the darnest things. This guy

1000
00:48:41,360 --> 00:48:45,440
Speaker 1: over here, Well, good luck on the next Kelsey record.

1001
00:48:45,600 --> 00:48:47,360
Speaker 1: Thanks man. You know, I know that you got a

1002
00:48:47,400 --> 00:48:51,920
Speaker 1: lot of other stuff kind of popping around too. Um yeah,

1003
00:48:51,960 --> 00:48:56,440
Speaker 1: big things, man, Yeah, dude, I'm excited big things. That

1004
00:48:56,440 --> 00:48:58,560
Speaker 1: makes us makes us hear what you got in your pocket,

1005
00:48:59,200 --> 00:49:02,360
Speaker 1: because it's just like I can tell that you. I

1006
00:49:02,440 --> 00:49:04,319
Speaker 1: gets your path. A lot of writers commit and they

1007
00:49:04,320 --> 00:49:06,400
Speaker 1: came to town to be artists and they found out

1008
00:49:06,440 --> 00:49:08,120
Speaker 1: they were also a good writer, and the artist thing

1009
00:49:08,160 --> 00:49:09,440
Speaker 1: didn't work out. So they were like, I'm gonna move

1010
00:49:09,440 --> 00:49:10,640
Speaker 1: all my chips over and I'm just I'm gonna be

1011
00:49:10,680 --> 00:49:13,040
Speaker 1: a writer, right. But I just felt like you'd love

1012
00:49:14,320 --> 00:49:16,719
Speaker 1: like the creation. I do. I love it all, man.

1013
00:49:16,760 --> 00:49:18,959
Speaker 1: I used to be so conflicted growing up. I would play,

1014
00:49:19,280 --> 00:49:21,319
Speaker 1: you know, in different bands, and one week I would

1015
00:49:21,320 --> 00:49:23,680
Speaker 1: be covering an eminem song, the next week I'll be

1016
00:49:23,680 --> 00:49:25,759
Speaker 1: playing a Christians song, and then I'll be playing a

1017
00:49:25,760 --> 00:49:28,359
Speaker 1: hardcore And I thought that that, like I was so

1018
00:49:28,400 --> 00:49:30,640
Speaker 1: scattering at the time. But that's been the most biggest

1019
00:49:30,680 --> 00:49:33,719
Speaker 1: asset for me um now as a producer, because I

1020
00:49:33,760 --> 00:49:36,840
Speaker 1: mean I've had a love for all kinds of music

1021
00:49:36,920 --> 00:49:38,960
Speaker 1: and even if you know, for me to decide to

1022
00:49:39,000 --> 00:49:40,759
Speaker 1: be an artist. I couldn't even decide what I wanted

1023
00:49:40,800 --> 00:49:43,120
Speaker 1: to do because I just love it all. Probably probably

1024
00:49:44,000 --> 00:49:46,440
Speaker 1: see you joke. But man, dude, I can wrap the

1025
00:49:46,440 --> 00:49:48,640
Speaker 1: hell out of a song in my truck, you know,

1026
00:49:48,800 --> 00:49:52,200
Speaker 1: I really can. If I ever can wrap along with time, No, man,

1027
00:49:52,280 --> 00:49:59,120
Speaker 1: I mean you my flow study man and I had

1028
00:49:59,120 --> 00:50:02,120
Speaker 1: a hip hop record deal for one song as Captain Caucasian.

1029
00:50:02,200 --> 00:50:05,200
Speaker 1: I'm you think I'm planning. I'm worry I'm gonna bring

1030
00:50:05,239 --> 00:50:08,839
Speaker 1: them back. Um, you you worry about getting sued? No,

1031
00:50:08,880 --> 00:50:11,640
Speaker 1: I don't do your music. You don't worry because it's

1032
00:50:11,640 --> 00:50:16,680
Speaker 1: it's awesome. There are only so many avenues to go down. Yeah.

1033
00:50:17,000 --> 00:50:20,640
Speaker 1: Um no, I've never actually I've never had I've never

1034
00:50:20,680 --> 00:50:22,759
Speaker 1: had a reason to think about that. So I'm just

1035
00:50:22,800 --> 00:50:26,400
Speaker 1: trying to all adding on the For example, I'll give

1036
00:50:26,440 --> 00:50:28,839
Speaker 1: an example, the Taylor song that just came out. They

1037
00:50:28,840 --> 00:50:31,480
Speaker 1: had to add rights it Fred to the song because

1038
00:50:31,640 --> 00:50:34,520
Speaker 1: it was to me it sounded more like my humps

1039
00:50:34,520 --> 00:50:37,040
Speaker 1: than it did I'm too sexy. But whatever. They had

1040
00:50:37,040 --> 00:50:39,279
Speaker 1: to add him on instead of get sued. And you

1041
00:50:39,320 --> 00:50:41,440
Speaker 1: see that Tom Shrett had to add a bunch of

1042
00:50:41,440 --> 00:50:46,280
Speaker 1: writers on some songs because again, and I read articles

1043
00:50:46,320 --> 00:50:48,000
Speaker 1: about comedy, and what I try to do is not

1044
00:50:48,040 --> 00:50:50,160
Speaker 1: watch any as I'm on tour. Now I have a

1045
00:50:50,200 --> 00:50:52,399
Speaker 1: couple more a couple more dates on my stand up tour.

1046
00:50:52,960 --> 00:50:55,319
Speaker 1: I try to watch any comedy at all, because it's

1047
00:50:55,360 --> 00:50:58,480
Speaker 1: not that I'm going to purposely steal anything. Subconsciously, I

1048
00:50:58,520 --> 00:51:02,279
Speaker 1: may think, well, that's funny, and come back to I

1049
00:51:02,320 --> 00:51:03,960
Speaker 1: don't remember why I'm thinking about that, this is a

1050
00:51:03,960 --> 00:51:08,280
Speaker 1: funny idea, and then create something, not realizing I've created

1051
00:51:08,280 --> 00:51:10,640
Speaker 1: it because I heard so I tried. And as I'm

1052
00:51:10,640 --> 00:51:13,800
Speaker 1: writing this second second book, I don't read anything because

1053
00:51:13,920 --> 00:51:18,520
Speaker 1: I don't want to accidentally take anything. Yep, that's real, man,

1054
00:51:19,000 --> 00:51:21,279
Speaker 1: that's so true. And and as like my day to

1055
00:51:21,360 --> 00:51:23,160
Speaker 1: listen like if you helped in my truck right now,

1056
00:51:23,280 --> 00:51:26,160
Speaker 1: it probably would be on like you know, uh, some

1057
00:51:26,200 --> 00:51:28,279
Speaker 1: gangster rap or something, and I lose. I use it

1058
00:51:28,320 --> 00:51:30,640
Speaker 1: to cleanse my palette. In that same thought, where I

1059
00:51:30,680 --> 00:51:33,120
Speaker 1: don't try to listen to commercial country or you know,

1060
00:51:33,560 --> 00:51:36,120
Speaker 1: things that I feel like are close to the market

1061
00:51:36,120 --> 00:51:38,600
Speaker 1: where that I'm chasing, I try to listen to things

1062
00:51:38,640 --> 00:51:42,000
Speaker 1: that are the complete contrast um because in the same

1063
00:51:42,040 --> 00:51:45,640
Speaker 1: way you know if it's if it's gonna inspire you

1064
00:51:46,200 --> 00:51:48,959
Speaker 1: in some roundabout way. So I try to pull most

1065
00:51:49,000 --> 00:51:51,719
Speaker 1: of my inspiration from other genres. Yeah. I don't think

1066
00:51:51,719 --> 00:51:53,920
Speaker 1: a lot of the stuff that happens happen on purpose, right,

1067
00:51:54,239 --> 00:51:56,400
Speaker 1: I really don't. I don't think someone sits down and

1068
00:51:56,440 --> 00:51:59,719
Speaker 1: goes But there are times, and again I've benefit of

1069
00:51:59,760 --> 00:52:03,479
Speaker 1: being friends with some really big writers friends buddies. Don't

1070
00:52:03,480 --> 00:52:06,240
Speaker 1: have any friends. I like two friends in my life,

1071
00:52:06,719 --> 00:52:10,320
Speaker 1: one of my dog and so. But I think sometimes

1072
00:52:10,360 --> 00:52:13,160
Speaker 1: you're like, hey, you know, we should go for this vibe.

1073
00:52:13,520 --> 00:52:15,560
Speaker 1: You know that you know, air clopped wonderful tonight. I

1074
00:52:15,560 --> 00:52:17,480
Speaker 1: love that vibe. Why don't we chase that? And all

1075
00:52:17,480 --> 00:52:20,560
Speaker 1: of a sudden you're kind of doing it, and you

1076
00:52:20,960 --> 00:52:23,440
Speaker 1: wanted to go that direction. You actually kind of slipped

1077
00:52:23,480 --> 00:52:26,080
Speaker 1: into that spot. You don't and you don't do it

1078
00:52:26,120 --> 00:52:28,960
Speaker 1: on purpose. Yeah, Well, you know a lot of times

1079
00:52:29,200 --> 00:52:31,120
Speaker 1: I will pull up a track that you know, we're

1080
00:52:31,160 --> 00:52:34,080
Speaker 1: inspired by or or you know, maybe it's a popular

1081
00:52:34,120 --> 00:52:37,120
Speaker 1: track at the time that that people are loving, and

1082
00:52:37,160 --> 00:52:40,200
Speaker 1: maybe it's just simply taking the drumbeat from it and

1083
00:52:40,239 --> 00:52:43,520
Speaker 1: then putting different chords over and then it pulls you

1084
00:52:43,560 --> 00:52:46,399
Speaker 1: away from it where you never really wouldn't know how

1085
00:52:46,440 --> 00:52:49,759
Speaker 1: you got there. It's just you know. Um. Sometimes I

1086
00:52:49,800 --> 00:52:53,160
Speaker 1: will try to mirror a different pattern of a song

1087
00:52:53,239 --> 00:52:56,319
Speaker 1: that I love, but hopefully incorporate other elements to it,

1088
00:52:56,520 --> 00:52:58,880
Speaker 1: pull it away from it far enough to where you

1089
00:52:59,080 --> 00:53:02,399
Speaker 1: just listening to Mozart hip hop. That's stay out of those.

1090
00:53:02,800 --> 00:53:06,359
Speaker 1: They stay out of those. Lawsuits make everybody everybody getting

1091
00:53:06,400 --> 00:53:09,040
Speaker 1: sued now or everybody's having an add on writers more

1092
00:53:09,080 --> 00:53:12,080
Speaker 1: of that now, I think more it's the instead of suing,

1093
00:53:12,160 --> 00:53:16,239
Speaker 1: just make me a co writer. Sure, and I haven't

1094
00:53:16,280 --> 00:53:18,080
Speaker 1: had to deal with it. Yeah, good for you. I mean,

1095
00:53:18,080 --> 00:53:20,600
Speaker 1: I guess if I meant of averages, it's coming. Yeah,

1096
00:53:20,640 --> 00:53:24,200
Speaker 1: well that's what I'm saying. Yeah, I guess it's not

1097
00:53:24,200 --> 00:53:26,040
Speaker 1: necessarily a bad thing because if people want to be

1098
00:53:26,040 --> 00:53:29,279
Speaker 1: on obviously you're flowing some down, you know, obviously they're

1099
00:53:29,360 --> 00:53:32,360
Speaker 1: hearing it, and someone's like, this song is making some money.

1100
00:53:32,600 --> 00:53:35,680
Speaker 1: You should probably listen to this and see if Yeah, man,

1101
00:53:35,719 --> 00:53:39,479
Speaker 1: I enjoyed this time. Yeah, me too. I'll get you well,

1102
00:53:39,800 --> 00:53:41,600
Speaker 1: the best of luck to you. I hope the Kelsey

1103
00:53:41,640 --> 00:53:43,080
Speaker 1: album does great. I'm kind of anxious to see what

1104
00:53:43,080 --> 00:53:45,719
Speaker 1: elsehoul got in your pocket. Um yeah, so let us know,

1105
00:53:45,840 --> 00:53:47,560
Speaker 1: give us a call up here on the hotline. We

1106
00:53:47,600 --> 00:53:50,080
Speaker 1: don't have a hotline doing now. We don't even have

1107
00:53:50,120 --> 00:53:52,799
Speaker 1: an extra microphone. Like we've we've had people like we

1108
00:53:52,880 --> 00:53:56,200
Speaker 1: brought you know, we have the artists come in and

1109
00:53:56,280 --> 00:53:57,880
Speaker 1: like keeping groups. We can't get a group and we

1110
00:53:57,880 --> 00:53:59,319
Speaker 1: can't bring in all a little big town because we

1111
00:53:59,360 --> 00:54:01,759
Speaker 1: have one mic. So Karen came in. We can't we

1112
00:54:01,760 --> 00:54:04,000
Speaker 1: don't have two mikes. So only Preston from low Cash

1113
00:54:04,040 --> 00:54:06,680
Speaker 1: came in. So yeah, this plays a total dude, I

1114
00:54:06,680 --> 00:54:08,320
Speaker 1: can don it some mikes if you need some mis

1115
00:54:08,480 --> 00:54:14,680
Speaker 1: We we only have six channels and I like only three.

1116
00:54:15,200 --> 00:54:17,200
Speaker 1: Like this thing gets millions of listens, right like, this

1117
00:54:17,239 --> 00:54:19,320
Speaker 1: is this podcast that's turned into twenty people listening to

1118
00:54:19,360 --> 00:54:23,040
Speaker 1: it to oddly millions of listens. It sounds up, but

1119
00:54:23,320 --> 00:54:28,000
Speaker 1: that's how we roll, and not on purpose. We when

1120
00:54:28,000 --> 00:54:32,200
Speaker 1: I built this studio, studio do finger quotes. They didn't

1121
00:54:32,200 --> 00:54:33,840
Speaker 1: even know what we're putting this up. Mike d and

1122
00:54:33,840 --> 00:54:37,000
Speaker 1: I were just like, well some computers. This is old

1123
00:54:37,000 --> 00:54:39,400
Speaker 1: equipment from our old when when I live in Texas.

1124
00:54:40,040 --> 00:54:42,239
Speaker 1: We made this and then we just started doing it

1125
00:54:42,719 --> 00:54:49,240
Speaker 1: and eventually we're gonna have to It works barely. Sometimes

1126
00:54:49,239 --> 00:54:51,359
Speaker 1: I'll have multiple channels playing things and I'm like, why

1127
00:54:51,480 --> 00:54:54,560
Speaker 1: is iTunes playing in my or I'll have I'll just

1128
00:54:54,600 --> 00:54:56,080
Speaker 1: trying to play something off this, like let's say the

1129
00:54:56,120 --> 00:54:58,719
Speaker 1: Legends and instead of a playing through here, it'll be

1130
00:54:58,719 --> 00:55:00,480
Speaker 1: planted my legs in my bedroom and I'll be able

1131
00:55:00,520 --> 00:55:01,640
Speaker 1: to hear it through my head. But I'm like, wait,

1132
00:55:01,719 --> 00:55:03,960
Speaker 1: this isn't right. Yeah, is how we roll. That's how

1133
00:55:03,960 --> 00:55:06,359
Speaker 1: we roll. Good luck, man, I appreciate. Yeah, good luck,

1134
00:55:06,360 --> 00:55:10,200
Speaker 1: congratulations and tell your wife a Cello absolutely will and

1135
00:55:10,239 --> 00:55:12,319
Speaker 1: now that's what she does, is that it's much more

1136
00:55:12,360 --> 00:55:15,160
Speaker 1: out more than you. I agree, you have a tweet.

1137
00:55:15,200 --> 00:55:18,520
Speaker 1: He think since April of sixteen, you just don't because

1138
00:55:18,520 --> 00:55:20,520
Speaker 1: I wanted to see what you're like talking about you done.

1139
00:55:20,800 --> 00:55:25,680
Speaker 1: Instagram is what I love so um, tree Man's creative

1140
00:55:25,800 --> 00:55:29,440
Speaker 1: life is the Instagram handle what tree Man's when I

1141
00:55:29,480 --> 00:55:33,400
Speaker 1: was when out? Yeah, tree Man's creative life and Instagram

1142
00:55:33,400 --> 00:55:37,520
Speaker 1: handle when I was growing up. You know, a friend

1143
00:55:37,520 --> 00:55:40,319
Speaker 1: of mine, you know, just coined the nickname tree Man

1144
00:55:40,600 --> 00:55:43,000
Speaker 1: or whatever. It's just kind of hung around and uh,

1145
00:55:43,160 --> 00:55:44,399
Speaker 1: I think I want to keep it for a while,

1146
00:55:44,440 --> 00:55:46,919
Speaker 1: and that's your Instagram names, that's my Instagram name. Checked

1147
00:55:46,960 --> 00:55:49,000
Speaker 1: it out because I wanted to see what your thoughts

1148
00:55:49,000 --> 00:55:52,400
Speaker 1: were in the world and characters less there's there's definitely

1149
00:55:52,440 --> 00:55:56,200
Speaker 1: a lot of thoughts on Instagram. Uh, good one. And

1150
00:55:56,239 --> 00:55:59,279
Speaker 1: thanks to Sleeping number and thanks to Force White who

1151
00:55:59,280 --> 00:56:01,160
Speaker 1: you don't spoke your name with the E so people

1152
00:56:01,280 --> 00:56:05,200
Speaker 1: ever call you Forestead not yet, I get more Forced Whittaker.

1153
00:56:06,040 --> 00:56:12,200
Speaker 1: You look like them, thank you? Exactly the opposite. So

1154
00:56:12,480 --> 00:56:16,080
Speaker 1: the haircut pretty so you kept it substance about third

1155
00:56:16,080 --> 00:56:20,560
Speaker 1: grade or what? Same kind of hair the same haircut here?

1156
00:56:20,600 --> 00:56:22,759
Speaker 1: Oh no, absolutely, it's funny you said that. Tomorrow morning,

1157
00:56:22,760 --> 00:56:25,480
Speaker 1: I'm shaving in what what what do you mean save

1158
00:56:25,520 --> 00:56:27,560
Speaker 1: there's a lot of different shaving your heads, Like, I mean,

1159
00:56:27,600 --> 00:56:29,680
Speaker 1: I'm buzzing it off, man, because I don't know what

1160
00:56:29,680 --> 00:56:31,160
Speaker 1: I don't I never have known what to do with

1161
00:56:31,239 --> 00:56:33,400
Speaker 1: my hair, you know, so I kept into the capital

1162
00:56:33,440 --> 00:56:35,120
Speaker 1: all the time. But I've just decided tomorrow I'm I'm

1163
00:56:35,160 --> 00:56:37,839
Speaker 1: literally like, I'm I'm just gonna shave it off. Yeah,

1164
00:56:38,280 --> 00:56:42,399
Speaker 1: it's happening. That means there's a cleansing, just goes full

1165
00:56:42,440 --> 00:56:46,360
Speaker 1: shave that means they're just good luck, good luck buddy

1166
00:56:46,440 --> 00:56:53,120
Speaker 1: and new beginnings. Or tree Man looks at pictures tree

1167
00:56:53,120 --> 00:56:56,880
Speaker 1: Man's creative life, tree Man's creative life. All right, thank

1168
00:56:56,880 --> 00:57:00,160
Speaker 1: you very much of see next time. The O.